Writer 1879: Solitary Journey in France

Chapter 339 Parisians know their stuff!
This is a fairly large oil painting.

As people approached and saw the title and content of the painting, they couldn't help but let out a soft gasp of surprise.

The scene it depicts is almost identical to Gustave Doré's illustration that caused a sensation in Paris just a few days ago!
It was the same luxurious living room, and the same couple confronting each other amidst the lightning.

However, Gauguin's approach was completely different from Doré's!

Doré sought to capture frozen, dramatic moments, while Gauguin's works are filled with strong subjectivity and powerful emotional force.

Firstly, the colors in this painting have been boldly simplified and also enhanced.

Deep blue, purplish-black, and ochre create the room's somber tone, and the lightning outside the window is no longer the relatively realistic, cold white light depicted in Doré's paintings—

It is a bright yellow to a blinding white, almost like a violent sulfur color, cleaving the canvas with a savage brushstroke, not only illuminating the figures, but also scorching their souls.

The man's face was distorted under the bright light, as if he were wearing a mask. The exaggerated blocks of color and rough lines vividly expressed his fear and anger.

The woman's pain seemed to blend into the dark background; only her eyes and slightly parted lips could be seen, as if she were making a silent cry.

The blurry figures in the shadows become more abstract blocks of color and shapes in Gauguin's paintings, resembling ghosts rather than real people.

The painting no longer relies on traditional perspective and delicate gradations, but instead uses strong color contrasts and unrestrained brushstrokes to create a strong dramatic tension.

It is no longer merely depicting a dramatic scene; it becomes a "thunderstorm" in itself—a storm of emotions, a bombardment of fate, a struggle of the soul...

Everything is frozen on this canvas.

A seasoned critic stood before the painting, unable to look away for a long time: "My God... this... this is the real 'Thunderstorm'! This is the power that painting should have!"

A young art student excitedly gestured to his classmate: "Look at the colors! Look at the lighting!"

Doré's paintings tell us what happened, Gauguin's paintings make us feel what is happening!

A woman pointed to her chest: "I've never seen anything like this before..."

It doesn't 'look like' it, but it's more real than any meticulously crafted visual! It hits you right here!

"Gauguin? Is he the Gauguin who used to work at the stock exchange? When did he develop such talent?"

Praise poured in like a tidal wave.

People crowded in front of "Thunderstorm," trying to savor every stroke of the brush and feel the overwhelming emotional impact.

This painting quickly became the absolute centerpiece of the entire exhibition, even overshadowing Degas' controversial sculpture.

The organizers of the art exhibition had to take temporary measures to limit the time each visitor could spend in front of "Thunderstorm" in order to ensure that the flow of people could move.

Even so, long queues still formed at the entrance of the exhibition hall, with many people coming specifically to see Gauguin's "Thunderstorm".

The news spread like wildfire from Rue de Capisine to every corner of Paris.

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In the director's office of the Comédie-Française, Émile Perrin sat before a copy of Gilles Blas, the headline of the arts section strikingly prominent:
[A masterpiece appears at the Impressionist exhibition! Paul Gauguin's "Thunderstorm" stuns Paris!]

Beyond the limitations of illustration: A single painting encapsulates the soul of drama.

The article is full of praise, lauding how Gauguin's paintings, with their unique artistic language, captured and elevated the essence of Lionel's new play "Thunderstorm".

It claims to demonstrate "an artistic power that is more real than reality itself".

Emil Perrin put down his newspaper and remained silent for a long time.

He finally looked up and saw Lionel sitting opposite him, leisurely flipping through a magazine.

Emil Perrin's lips moved, filled with frustration and helplessness: "This is not fair..." He shrugged, like a child who had lost his beloved toy: "Lional, this really is not fair."

Lionel closed the magazine and smiled slightly: "There is no absolute fairness in art, Emil."

Monsieur Doré's work fulfilled its purpose, attracting considerable attention; while Gauguin's work, on the other hand, aroused curiosity in everyone.

Parisian audiences are the most discerning in all of Europe; they know their stuff and are willing to give the highest praise to art that moves them!

Émile Perrin knew that Lionel was right; both men had good taste in art and their aesthetic sense was on point, so there was nothing to argue about.

Gustave Doré's painting is still a "propaganda poster," but the technique is so superb that it can be considered a work of art.

Paul Gauguin painted a masterpiece that represents the cutting edge of Parisian art!

He sighed and counted out 100 francs from his wallet, handing it to Lionel with a pained expression.

Lionel took the banknotes with a grin: "Alright, Emil, you're secretly thrilled, aren't you?"

Emil Perrin could no longer contain himself and burst into laughter along with Lionel.

The fact that a painting could generate such a huge response and have a positive impact on the box office of "Thunderstorm" is far more than just 100 francs.

Lionel flicked the banknotes in his hand: "Today I'm treating you to 'Silver Tower,' and let's invite the entire cast of 'Thunderstorm'!"

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The sensation caused by Paul Gauguin's "Thunderstorm" at the Impressionist exhibition did not subside with the closing of the exhibition.

The passionate eulogy in Gil Blas newspaper caught the attention of many collectors and art patrons who had previously scoffed at Impressionism.

Not to mention the long-term patrons of Impressionism.

Georges Charpentier was a key supporter of Impressionist painters, and Renoir was his family's "official painter."

He personally approached Paul Gauguin and offered a price that was astronomical for an Impressionist painter: 1,500 francs.

George Charpentier, puffing on his cigar, said, “Paul, this is a fair deal. It’s enough to keep you busy creating for half a year without worrying about making a living.”

Paul Gauguin's heart skipped a beat. 1,500 francs!
Among the Impressionists today, only Monet and Renoir can fetch that price.

This was even more than the total price of all his previous paintings combined, making him almost agree without hesitation.

But his instincts as a securities trader made him shake his head: "Mr. Charpentier, I need to think about it..."

The news spread quickly.

The first to react was Mrs. Eleonore de Rothschild.

Her interest in Lionel's "Thunderstorm" extended to this painting, which she felt could "interpret the soul of the play."

More importantly, she could not tolerate a work closely associated with Lionel being so easily acquired by a “mere publisher.”

She sent her butler directly to Charpentier and Gauguin, casually raising the price to 2 francs.

The butler said calmly, “Mrs. Rothschild believes that the value of this painting should not be underestimated.”

George Charpentier backed down.

He certainly appreciates art, but he values ​​the cost-effectiveness of business even more, and it would be foolish to compete with the Rothschild family in terms of wealth.

However, this small bidding war has already attracted the keen-nosed sharks of the art world.

(End of this chapter)