第六百五十六章 涟漪
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同的职业。</br>真要让古斯塔夫拿起画笔，他顶多也就是个画小猪佩奇的水准……也许连这都没有。</br>达芬奇画鸡蛋还练了三年呢，画小猪佩奇的技术难度至少比画鸡蛋要高。</br>不过。</br>话又说回来。</br>这些感觉也不是真的就不能伪造。</br>判断一幅画的历史年代最好的，没准也是唯一的“黄金法则”，就是在同期的历史文献上找到相应的绘画记录。</br>它是唯一不可质疑，无法推翻的铁证。</br>除了历史文献以外，如果伴随着巨大的利益，古斯塔夫上述的一切判断画面年代的特征都是可以后天还原的，只是成本多寡的问题而已。</br>判断一幅精品《油画》的真伪和年代，本来就是很难的事情，里面的水也很深。</br>不然的话。</br>豪哥庞大的洗钱生意就没法玩了。</br>大英博物馆那幅卖了五亿美元的《救世主》，也不会产生那么大的学界争议了，围绕着那幅画到底是不是达芬奇真迹的这个议题的，可不仅仅只有一两篇论文而已。</br>各种纪录片，学术讨论会一大堆一大堆。</br>大英博物馆还自己出版了好几本相关题材的通俗读物，试图用来向公众证明这幅画的“血统纯正性”。</br>就这，该撕B，照样得撕。</br>所以。</br>古斯塔夫看着封面的照片，就算他的感觉是对的，他也只敢信上三成而已。</br>思前想后。</br>博士索性也就不回自己的办公室里。</br>他又猛的瞅了《亚洲艺术》的封面几眼，就这么靠在身后的书架上，打开杂志翻了起来。</br>都不用古斯塔夫特意的在目录上费劲的去找。</br>翻开正文的第一页，就是顾为经和酒井胜子的论文——</br>“《TheFemaleArtistsCarolForgottenbyTime:TheColorEntanglementandVisualDimensionofDarkToneImpressionistWorks》。”</br>论文的题名和引言上的大体内容，《油画》杂志的新闻版块上都已经写过了概述。</br>古斯塔夫的视线主要停留在了论文的作者名上。</br>“顾为经和酒井胜子？多摩美术大学……”</br>酒井一成送佛送到西。</br>在最后论文发表的时候，他甚至把论文通迅作者的位置都给孩子们让了出来，变成了由顾为经和酒井胜子共同通迅。</br>他只在通讯单位上保留了自己办公室的署名。</br>古斯塔夫这样远离聚光灯钻在图书馆里的老学者，明显就没有人家策展人唐克斯的敏锐洞察力。</br>唐克斯扫一眼“酒井”这个姓氏，就能凭感觉一路拔下去，把酒井一成的大屁股从地底下拔出来。</br>他只是觉得这两个人挺陌生的。</br>艺术学者圈子就那么大，印象派是画界显学，可专门研究印象派的学者其实就那么多，就算没有在学术会议上见过，多多少少也都听说过彼此的名字。</br>古斯塔夫却想了半天，也没想出这两个人是谁。</br>“行业新人么？日本倒确实是印象派研究的大国。”</br>博士也没在意一目十行的往下读去。</br>“……早期的印象派作品里，画家多数会强调水面反照的光影效果和急促的短线条用笔。在这幅画中，这一特点被画家卡洛尔开创性的使用在了描绘天空的雨云之上……”</br>“……在老照片的对比中，我们能看到这座旧式的英国国教教堂的两侧都立有塑像和浮雕，这一特点在油画画稿中，也有着相应的体现。但在这张拍摄于1902年的照片里，我们能看到右侧的浮雕已经被战火……”</br>“……以下是摘录的部分传教士日迹的原文，1876年12月19日，距离圣诞节只剩下了一周时间……她有着让人印象深刻的金红色头发……”</br>……</br>艺术类的论文读起来不像是理科论文那样复杂，会充斥着各种各样图表以及数据运算。</br>类似古斯塔夫这样的学者，他们受过专业的学术训练，论文字里行间中像是“颜色纠缠”、“视觉维度”、“单向度奇景”这类英文八股的内部行话黑话，不会对其造成任何理解困扰。</br>他们读
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