dognovel Chapter 167 The Cornerstone of Art
Chapter 167 The Cornerstone of Art
Tuesday, June 22, 1989.
Paris, Louvre Museum.
As is customary, Tuesdays are the palace's day of rest and it is not open to the public. The usual throngs of guides waving colorful flags and the cacophony of languages that fill Napoleon Place are all gone.
The glass pyramid designed by I.M. Pei stands silently. In the morning sunlight, it reflects a cool, geometric light, like a giant diamond, abruptly set among the ancient French buildings.
Nine o'clock sharp.
There was no long queue.
The heavy bulletproof glass door on the side slid open silently at this moment, specifically for a group of guests from the East.
The students from St. Hua College went inside.
Leather shoes stomped on the old parquet floor of the Denon House.
"Da, da, da."
The crisp sound of footsteps echoed in the empty corridor, amplified infinitely by the towering dome.
The person in charge of receiving us was Dr. Jean-Pierre Bernard. He wore a well-tailored dark gray suit, gold-rimmed glasses, and his hair was meticulously combed. As a senior researcher at the museum, he usually only received state guests.
"Distinguished guests, welcome to the Louvre."
Bernard spoke in fluent Japanese, a professional and polite smile on his face. He gave a slight bow, his manners impeccable.
"To ensure a better visitor experience, the Ministry of Culture has specially arranged today's session. Please follow me; we are now in the Grande Galerie."
Although he may have harbored reservations deep down about this practice of exchanging money for privileges, Bernard concealed them well. The Louvre's roof is now in dire need of repair, and the donation checks from the Japanese foundation were key to initiating the restoration project.
When dealing with wealthy patrons, French gentlemen know how to remain humble.
The students dispersed in twos and threes.
They paused before Raphael's Madonna, their gazes more focused on the peeling gold leaf from the frame than on the Virgin's eyes.
"This place is so big."
"I heard that the Minister of Culture specially signed the document so that we could be allowed in."
The girls' whispers drifted gently down the corridor.
Bernard stopped in front of a huge oil painting—"The Wedding in Ghana".
"This is Veronese's masterpiece. Note the arrangement of the 130 figures in the painting, and the Venetian school's use of color..."
Ayako Yoshino stood in front of the painting, holding the Sotheby's auction catalog in her hand. She wasn't looking at the painting itself, but rather staring at the explanatory plaque next to it.
"Hmm... if this painting were insured, the premium would be an astonishing figure."
Ayako turned to look at Reiko beside her.
"My father once said that top-tier artworks are excellent tax avoidance tools. Buying them in the name of a foundation and hanging them in a private museum can reduce estate tax by more than half. These things appreciate in value every year, with a return rate far exceeding that of US Treasury bonds."
Bernard's eyebrow twitched very slightly.
He maintained his smile and did not interrupt, but simply clasped his hands in front of him and waited patiently.
"Yes," Reiko Aesokawa nodded, examining the masterpiece as if she were inspecting a project. "However, such a large painting would be too expensive to transport. A smaller one would be better, as it would be easier to put in a safe."
She pointed to the small painting on the opposite wall, which was tightly protected by bulletproof glass.
Mona Lisa.
Normally, this place would be packed with people. But now, there was no one in front of the mysterious woman.
"Is this the Mona Lisa?"
A girl walked over, her face almost pressed against the bulletproof glass.
"It looks very small. It's not even as big as my TV."
"Quick, take a picture of me. Make sure I'm in it too."
The flash went off.
"Click."
The bright light was particularly glaring in the somewhat dimly lit exhibition hall.
Bernard took a half step forward, his tone still gentle, but with an undeniable insistence.
"Ladies, please try to avoid using flash photography. Strong light can damage the paint."
"Feel sorry."
Reiko gave a casual reply, not paying much attention. She stood next to the Mona Lisa, striking a dignified pose.
"I've heard that the French government is being particularly polite to us now."
Reiko adjusted her posture and spoke to the classmate next to her.
"The construction of the new Arc de Triomphe still requires loans from Japanese banks. This private event was arranged to show our sincerity. In Japan these days, you're treated like royalty wherever you go."
Her words were filled with the confidence of a "creditor".
Bernard's fingers tightened slightly as he gripped the tour guide stick.
But he said nothing. He simply stood quietly to the side, like a dutiful butler, watching the group of young girls discuss loans and exchange rates in the temple of art.
After a moment, he gestured politely.
"Please come this way. The Red Hall is ahead, where you'll find Delacroix's masterpieces."
The group arrived in front of "Liberty Leading the People".
The huge image shows the Statue of Liberty raising the tricolor flag and advancing over corpses, creating a powerful visual impact.
"This painting depicts G-ming in July 1830."
Bernard stood before the painting, his voice becoming more impassioned. He was trying to guide these young visitors into the world of art with his professional explanations. Or rather, he was trying to establish a certain authority through academic barriers.
"Look at this romantic composition. It breaks the balance of classicism, using a dynamic triangular structure to express passion. The use of color is full of emotional tension, especially that touch of red that symbolizes freedom..."
He described the light and shadow, composition, brushstrokes, and the historical background of that turbulent era.
The students did not show the blank expressions he had expected.
After all, they are the elite of Shenghua, and art appreciation is a required course for them.
"It is indeed a classic triangular composition."
A girl wearing glasses pushed up her glasses and softly echoed.
"This sense of dynamism is indeed much stronger than Ingres's neoclassicism."
"Yes," another girl nodded gracefully, pointing to the hat on the goddess's head in the painting, "That's a Phrygian hat, right? A symbol of freedom. We learned about it in art history class."
They responded politely, displaying good manners and a solid knowledge base. But it was more like social etiquette, a superficial, textbook interaction.
Bernard's disdain lessened slightly, but that was all.
In his view, they were just a group of good students who had memorized their lessons. They knew how to appreciate "beauty," but they didn't understand the weight behind "beauty."
"You all have a very solid foundation."
Bernard smiled slightly, preparing to throw out a few more obscure philosophical terms to take control of the situation.
"That was a wonderful lecture, Doctor."
A voice broke the silence.
Saionji Satsuki stepped out from behind the crowd.
She was wearing a beige trench coat, her hands in her pockets. Unlike the others who were busy taking pictures, she calmly glanced over the stirring painting, then stopped at a small, inconspicuous painting next to it.
Vermeer's "The Lacemaker".
Only the size of a book, it hangs next to a grand historical painting, appearing exceptionally quiet.
"However, I prefer this to grand narratives."
Satsuki walked up to the small painting and stopped.
She turned to look at Bernard and spoke in fluent French with the languid accent of Parisian high society:
"For me, the light of Vermeer is more expensive than the liberté of Delacroix."
Bernard was somewhat surprised. The pronunciation of that French phrase was impeccable.
"This painting."
Satsuki extended her gloved fingers and pointed them at the female worker in the painting who was focused on her work.
"Painted in 1669. That was the Dutch Golden Age. The East India Company's fleets brought the world's wealth back to Amsterdam: spices, silk, porcelain... and gold."
Her voice wasn't loud, but it was exceptionally clear in the empty exhibition hall.
"In a society where capital was extremely abundant and the middle class was extremely wealthy, painters no longer focused on God and kings, but instead depicted the needle and thread in the hands of an ordinary female worker."
"Look at this light."
Satsuki's fingers traced the bright highlight on the female worker's forehead in the painting.
"This light represents the composure of capital."
"When wealth accumulates to a certain level, people no longer need grand slogans to prove themselves. Abundance makes people start to pay attention to the small, everyday beauty."
She looked at Bernard, a faint smile playing on her lips.
"Doctor, you just spoke of the sacredness of art."
"But in my view, art and money have never been separate."
"The Renaissance was built on the Medici family's bank interest. The masterpieces of the Dutch Golden Age were built on the profits of the East India Company. As for every single item in the Louvre..."
Satsuki looked around, her gaze sweeping over the glittering gold picture frames.
Behind every single one of these things stands power and wealth.
Bernard looked at the girl in front of him.
His prepared arguments about aesthetics now seemed somewhat weak. The girl didn't deny the value of art; she merely pointed out the cornerstone that underpins it.
And she's right.
"This painting is great because it bears witness to the first victory of capital in human history."
Satsuki looked away and gazed at her classmates.
"Just like us now."
"We stand here because we can afford the ticket to open the doors of art to us."
"This is the 'golden age' of our time."
Although Ayako and Reiko didn't fully understand the French passage, they did understand the last few sentences. The confidence that had been suppressed by the technical jargon instantly returned, and they even became more self-assured.
Bernard's professional fake smile disappeared.
He looked at Satsuki, his eyes now filled with seriousness. He should show due respect to a true expert.
"Your insight is unique, Mademoiselle (Miss)."
Bernard bowed slightly.
"It seems that your understanding of history and capital is more profound than your understanding of pigments."
"Let's continue. Ahead is the Apollo Gallery, which houses the crown jewels of the French royal family."
His attitude became more attentive, and he took the initiative to lead the way.
……
One hour later.
The tour has ended.
The heavy oak door closed slowly behind me. The oil paintings, silent for centuries, were once again locked in darkness.
The midday sun was a bit too bright.
People gathered in Napoleon Square, excitedly discussing how big the crown diamond they had just seen was, or which photo was the best.
Satsuki stood alone at the entrance of the glass pyramid.
The transparent glass refracts sunlight, casting geometric shadows on the ground. A product of modern industry, yet it covers an ancient palace.
"Young Miss".
Fujita, who had been waiting at the door, walked over with a coat in his hand.
"It's a bit windy."
Satsuki took the coat and draped it over her shoulders.
She turned around and took one last look at the enormous glass pyramid.
Through the glass, you can see the underground entrance hall. It's empty, with only a few guards patrolling. On weekdays, it's packed with thousands of tourists eager to see the Mona Lisa. They queue for hours just to catch a glimpse of the woman encased in bulletproof glass.
Today, this place belongs to them alone.
"It's so quiet."
Satsuki said softly.
She reached out and shielded her forehead from the somewhat glaring sunlight.
The shadow was stretched long and cast onto the ancient stone wall.
"As long as the price is high enough."
Her voice faded into the Parisian wind.
History will clear the way for you.
In the distance, a line of black Mercedes-Benz cars had already been arranged, their doors open, waiting for the group of young conquerors to head to their next battlefield—the luxury boutiques on Avenue Montaigne.
That's another form of the Louvre.
The Louvre Museum allows you to take exhibits home simply by swiping your card.
Satsuki turned around and walked towards the convoy.
Behind her, the Louvre still stood silently, like an old man who had seen the rise and fall of power and the flow of money, watching this new group of passersby.