Van Gogh Reborn!

Chapter 118

Chapter 118

Michelle grinned as she counted the days.

Henry, who was preparing a gift 15 days ahead of the birthday, felt cute.

Michelle, who asked,

"But how did you know his birthday?" soon regretted why she asked it.

With the intelligence power of the Marceau family, finding the birthday of a 10-year-old boy wouldnt be hard.

"Why do you ask if you know?"

Henry searched where he kept his 285th self-portrait.

Soon it was indicated on the monitor that it was in the fifth column of the Marceau Gallery storage room 2.

Are you okay by the way?

What?

The strange investment. Didnt you invest to look at Huns work process?"

Henry Marceau paused at Michelle Platini's words.

No.

No?

Michelle asked in surprise.

It was an investment to directly check Ko Hun's work, which was not understandable by common sense.

Somehow, he looked around the filming site immediately, while Ko Hun stayed in Germany for a while due to his personal schedule.

When he came to Paris, he couldn't check the work process because he was distracted by the idea of showing off his collection.

I just invested because the movie looked good.

Hmm.

Michelle squinted at Henry.

It's true.

Yeah, it's better than investing to sneak on a little boy. Okay, I'll get going."

Henry Marceau left alone in the office, twitched his lips. Updated chapters at novelhall.com

This time, he thought he would reveal the secret of Ko Hun, but he failed.

The boy cleverly avoided the situation by praising Sherry Gado's cooking skills, in addition to praising Millet and his other collections.

Im weak.

He vowed to definitely check the process of the work, but the boy got away while flattering him.

Henry Marceau, who thought that the brash little boy had become quite cute, gave up trying to give him his 285th self-portrait as a gift.

Coloring book, huh.

Henry searched a coloring notebook for children with cartoon characters.

When I came back from school, Uncle Bang and an unknown person were doing something in an empty room.

They put in something that I hadn't seen before.

When I greeted Uncle Bang, he looked proud.

"What do you think?"

I don't know what to say when I dont know what he was doing.

"Are you done?" asked the grandpa, who came in after me.

"Yes, I think we just need to test it."

Uncle Bang sat in front of a small TV and did something, and soon his face got reflected.

Its interesting because there's nothing that looks like a camera.

"Where's the camera?"

"Here."

I couldn't believe I could film it like I was in a broadcasting station with a cute lens on a small TV, and I was surprised when grandpa said that I could even do it with my smartphone.

I thought it could only take pictures.

It can really film a video.

Come to think of it, it could make a video call, then why didn't I think it could record?

I wonder if my brain is getting sloppy.

"If you press this, the microphone turns on and this is the button to turn on the cam."

To cool off my head, I searched [A Bar at the Folies-Bergre ] on the tablet.

It is a work that I can't help but admire Eduard Manet's excellence.

Several people are seen in the mirror behind the woman looking forward.

The viewer of the painting looks at the woman from the gentleman's perspective in the right mirror, but the reflection of the mirror is very distorted.

If you drew it realistically, the back of the woman in front of you should come to the center of the picture, and the man wearing the hat should only show his hat, ears, and shoulders.

Critics at the time accused Eduard Manet of being a moron who could not even understand the reflection of light while looking at the foreground of Folies-Bergre.

It was done intentionally to show a wide view that simultaneously expresses a depressed individual placed in that colorful place.

What a bold and extraordinary idea.

KNOCK KNOCK.

"Hun, are you still drawing?"

Grandpa knocked on the door.

Looking at the clock, it's already time for dinner.

"No, come in, grandpa."

As soon as Grandpa comes in, he sees [A Bar at the Folies-Bergre] and smiles.

Oh, it's Manet.

Yes, I'm trying to figure out the concept art composition.

Good. Good.

Grandpa sat next to me.

"People who saw the painting for the first time cursed Manet for being an idiot who didn't even know the basics."

It seems that it is still a famous anecdote that fools who do not know the basics insulted Manet while ignoring the intention of the Artist.

But it turned out that this composition was possible.

What?

I was surprised.

I only guessed Edouard Manet's intention, but I didn't think it was actually possible.

"Dr. Malcolm and a photographer named Greg Callan actually took it. If the perspective is not from the front, but from the right side of this woman, this is the structure."

I couldn't understand what grandpa was saying.

However, when I saw a Photograph titled "Manet's Bar at the Folies-Bergere: One Scholar's Perspective" that grandpa searched for, it showed a way that I hadn't thought of.

The woman in the picture is looking straight ahead, so I thought she would be in parallel with the table.

The Woman was also slightly turning her head, making it possible to have the same composition as Manet's [A Bar at the Folies-Bergre].

Probably not the scene Edouard Manet himself saw and drew.

If he did, it would have been easy to explain just by reproducing the situation when he was criticized at the time.

However, it was surprising that such a fact was not revealed until 2000.

After the invention of the camera, there was a tendency to deliberately ignore perspective, light and shade because they thought it was meaningless.

Perhaps Edouard Manet was a painter who mastered perspective more than anyone else.

What do you think, it's amazing, right?

Yes, I've never thought about it like this.

I should reflect on myself.

"No one knows if Manet knew this and painted it, or if it coincidentally overlaps with his intentions. But at least we shouldn't downplay Manet's work for the reasons critics put forward at the time."

As grandpa said. Whether Manet accidentally painted a realistic picture while trying to make it a wide view of the bar, or capturing the moment doesn't matter.

"It is important that [A Bar at the Folies-Bergre] perfectly expresses the section of the most colorful cafe in Paris at the time.

What should I do?

How can I put the five characters in one scene?

I don't think it'll be easy as there are many perspectives.

After seeing Manet's work, I feel motivated.

(To be Continued)

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