Van Gogh Reborn!

Chapter 110

The movie crew was taken aback. 

It was well known that Henry Marceau was one of the world's best collectors, but no one thought there would be works that are considered a national treasure of a country, or works that the entire human race would consider a treasure. 

In particular, the price of the works such as [The Garden of Earthly Delights], [Small Copper and Madonna], and [Shepherdess with her flock] could not be calculated. 

French mystery writer Maurice LeBlancs imagination of the most ideally decorated private gallery by the world's best thief was incomparable to Henry Marceau's exhibition room. 

"Millet is the best. You know what? At that time, drawing a farmer was unimaginable. He saw God in the daily lives of the most despicable people of that time." 

Ko Hun began to praise Jean-Francois Millet. 

Henry Marceau responded by shaking his head with his arms folded. 

"Of course, he was ignored by the people at that time. But he never gave up his belief until the end." 

For Vincent van Gogh, Jean-Francois Millet was not simply a senior or a master of the previous generation, Millet was a milestone for Vincent van Gogh, a devout Christian who witnessed the miserable lives of London workers. 

Millet saw God in the life of a worker who no one cared about. 

Millets work illuminated the dark life of Vincent van Gogh, who in turn wanted to be an illumination for someone. 

Van Goghs first work, [Potato Eaters], was his tribute to Millet's spirit in his own way. 

"Not only that," 

Henry Marceau took over Ko Hun's words. 

"It's meaningful that he didn't give up on portraying the farmer's life until the end." 

Henry Marceau respected Jean-Francois Millet. 

Millet suffered from the hardships most of his life because no one bought a picture depicting a farmer's life. 

He had to make a living, so he was left with no choice but to paint nude paintings that were in demand to cover the cost of materials. 

"If he had painted the paintings that the nobles wanted at that time, at least he wouldn't have had to paint nude pictures." 

But Jean-Franois Millet couldn't give up the countryside he wanted to paint. 

He gradually drifted away from the mainstream, and people treated Millet as a vulgar painter 

Millet did not give up. 

"This work is proof that Millet protected his [self] from all kinds of stigma and suffering. A man who clearly knows who he is and loves himself more than anyone else." 

Henry Marceau deeply admired the man who protected his [Self] and gave up living a comfortable life. 

"And it was because of Theodore Russo that he was able to continue his work." 

"That's right," 

Ko Hun nodded. 

Ko Hun, excited by the story of Jean-Francois Millet, unraveled the anecdote of Millet and Rousseau by mixing gestures and footsteps.

"Isn't that the story of Millet, who moved to Barbizon, and sold [Grafting farmer]?

"Yes." 

Millet, who moved to Barbizon near Paris, was an unknown person who had to worry about living expenses, let alone material costs. 

No one was willing to buy the genre paintings of the nameless artist, and Millet became so thin because of poverty. 

And then, one day. 

His friend Theodore Rousseau handed him 300 francs. 

"Actually, when I said about you to a gallery, they showed interest, and they asked me to pick out the best picture and bring it to them. Take out a good piece." 

My drawing? Who the hell wanted my paintings? 

Is that important now? Can't you see this money? 

Millet turned over and took [Grafting farmer] with great delight.

Although it wasn't a lot of money, Millet, who wasnt even able to fill his stomach, was able to ease his worries about living for a while. 

It gave hope that more of his paintings could be sold in the future. 

After a few years, Millet, who began to be recognized little by little, took the time to visit his friend Theodore Rousseau's house. 

There, he was shocked to see [Grafting farmer] in the living room of his friend. 

"It's all thanks to Theodore Russo that Millet was so successful that he later won the Legion of Honor," said Henry Marceau, breathing heavily. 

Ko Hun opened his mouth after staring at Henry Marceau. 

I used this man. 

Knowing that he was famous, I tried to capitalize on the reputation of this rich and immature man. 

I could recognize at a glance that he fell in love with [Sunflower], and I said a huge number when he wanted to buy my painting. 

I tried to grab attention to my paintings using his name. 

I planned to use the fact of me asking a huge amount for my painting as a small topic of conversation, and I was going to make my name known gradually. 

I knew there would be backlash for my actions. 

I knew people might say that I'm a child whos thirsty for money or a rookie who doesn't know his place. 

But I decided to put up with it because I knew how difficult it was to live as a painter who cant sell his pictures.

Indifference is scarier than negative words. 

Even if I was teased for being cowardly, I was determined to do anything to survive and continue painting. 

Like Jean-Franois Millet. 

I was willing to walk on the path of the Artist, even if it was a thorny path. 

But, Henry Marceau gave me a stable environment faster than expected by really buying [Sunflower] for 2 million euros. 

Although I was disappointed and fed up with him many times, I really did build my reputation with his help, from [Sunflower] to [Frost Wheat Field]. 

People were interested in Ko Hun whose work was collected by Henry Marceau with a huge sum of money and finally, they recognized me. 

No matter how good I draw, it's no use if I cant make people look at it. 

It is thanks to this man that I became such a hot topic even at the Whitney Biennale. 

I was able to hang four paintings, and my paintings gained more attention thanks to my grandpa, Aunt Mirae, Uncle Bang, and Kim Jiwoo. 

More than that. 

I wouldn't have been able to get this position this quickly without Henry Marceau. 

Looking at Henry Marceau referring to Millet's friend Theodore Rousseau. 

I realized that I hadn't thanked him properly yet. 

Thank you, 

Henry frowned. 

"What?" 

"You bought my painting and hung it up at the Whitney Museum of Art. Are you really the one who bought [Guest]? 

What are you talking about?

Henry Marceau headed to the next room once again avoiding my question. 

Secretary Arsene led the party to the second exhibition room, while Uncle Bang smiled and said. 

The atmosphere between you two is different from before. Did something happen? 

Yes. 

Something happened, but it's hard to put it into words. 

An hour will not be enough to explain why he bought my painting, what he thought of me and how I saw him. 

After answering moderately to uncle Bangs question I moved to the next room. 

As soon as I entered the room I saw the painting of a person I knew very well. 

Two willow trees with a pond in the background stand on an incredibly long canvas. 

It was my first time seeing it, but at a glance, I could say that it was by Claude Monet. 

No wonder it is so big that only one piece occupies one side of this room. 

"How long is this horizontally" 

"It's 12.75m." 

It's 12.75m wide and about 2m high, so it's like a fairy tale in a painting.

The willow shadows that are reflected on the pond, fallen leaves, and beautifully blooming water lilies are cute. 

"I think we should open this place," 

Art Director Nathan Evans said, shaking his head. 

I feel the same way. 

Isn't it a waste to watch such a big work alone? 

Secretary Arsene grinned. 

"We're planning to put it on permanent display at the Henry Marceau Museum, which is scheduled to be completed in 2031. 

Are you building an art museum?" 

"Yes. We will use part of the Vincennes Forest, owned by the Marceau family, as a site." 

"Vincennes Forest? Was it privately owned?" 

Uncle Bang was surprised. 

I'm surprised, but I'm not impressed because I don't have a clue how rich he is now, I was just looking around at the works. 

After looking around for a while we came to the last room. 

It was the largest room among the rooms I have visited, and it seems to be a collection of modern works. 

It seems that the rooms were divided in chronological order and organized by the name of the artists. 

It's Grandpa. 

Huh? 

I found grandpa's name. 

The title of the work was [Honor]. 

Seeing that it was dated 1986, it looks like a work that grandpa painted when he was in his 20s. 

It's my first time seeing grandpa's old painting, and the style of painting is very different from now. 

I can feel the spirit by looking at the thick brush used without hesitation. 

It is an ink painting, but the appearance of a soldier pulling a bow was so intense. 

The twisted and exaggerated composition and powerful strokes are different from the paintings I have seen so far. 

The hands and arrowheads that extend forward are enormous, but in fact, in perspective, they cannot look this big. 

This symbolizes the spirit of the warring people and how terrifying they will look from the other side. 

"I didn't know grandpa painted this kind of painting." 

"Why is this here?" 

People flock in front of the painting and they look amazed. 

"It's my first time seeing a work of Sir. Ko Sooyeol in person." 

"What a rare painting. I've never felt this way before, though I've been quite familiar with oriental painting." 

I'm also studying ink painting, but grandpa's ink painting is definitely different. 

Unlike traditional images that emphasize elegance, and depth, grandpa's ink painting is quite radical. 

We tried in many ways to collect the works of Sir Ko Sooyeol, but still we could collect only four works so far. 

Secretary Arsene explained on behalf of Henry, who was standing far away. 

Four works? 

Grandpa blinked heavily. 

In the past, I heard that grandpa's work became a subject of speculation since most of his works are owned by various collectors and had no history of being released. 

Grandpa said it was to increase the scarcity. 

That means collecting four works is really great. 

We are trying to buy as many works as possible since we are going to set up a separate exhibition room to place Sir. Ko Sooyeols work at the Henry Marceau Museum." 

"you're going to display my painting?"" 

"Yes," 

The astonished Grandpa turned his head and looked at Henry. 

Stop talking nonsense," 

Henry scolded Arsene. 

Grandpa's eyes shook. 

Grandpa who felt selling his work to Henry as a bothersome thing must be conflicted now. 

"Is what Mr. Arsene Musso said true?" 

Grandpa asked Henry.

"I was going to do that, but the supply and demand are not smooth." 

It seems like he can't predict how much of grandpa's work will be on the market now. 

Auctioning grandpas work has been suspended for more than 20 years, and publication of works is very rare as grandpa gets older. 

The reason the damn collectors are not selling is that they want the Artist to die. 

Not all collectors are like that, but some collectors who are interested in money want the Artist to die, which increases the value of the work. 

It's not produced anymore, so it's more scarce. 

Therefore, works by influential artists who are older are often traded at high prices. 

Perhaps that's why it's hard for even a collector as big as Henry to get his hands on grandpa's work. 

"Why don't you sell some?" 

Henry spoke as arrogant as usual. 

But the figure was not what it used to be. 

Grandpa made a long groan and turned his eyes away without giving an answer.

(To be Continued )

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