Chapter 655 301: Partners

No, that's not right.

Professor Boggs is confident that his technique is not inferior to any painter, living or dead, who ever wielded a painting knife.

Where exactly did it go wrong?

His gaze is fixed on the painting before him.

Compared to Lady Anya, he received much more information.

In Professor Boggs' mind, he can clearly reconstruct the color changes of each paint stroke on the screen.

He can even imagine the gentle feel when the painting knife pushes the paint onto the canvas, the paint seeping into the deep plant fibers.

Every stroke, every push, effortlessly expressive, just right.

This sensation doesn't scare Professor Boggs; it only excites him.

No matter how beautiful Detective Cat's works are, no matter how advanced the technique.

Boggs can do it too.

Not to mention, when viewed through a magnifying glass, his own collection of paintings also reaches a similar level of flawlessness.

Color, composition?

Detective Cat's paintings have warmer tones, leaning more towards expressing the dynamism of the picture.

The creamy white cat under light has a slightly reddish-orange hue.

The color handling at the core of the picture exudes more warmth.

While the color purity at the edges is relatively low, all sunlit objects have noticeable highlights.

These treatments make the painting appear quite real.

His "Amy," however, chooses a more black-and-white painting technique, with cold and warm tones clashing and merging on the canvas.

In this aspect, Detective Cat and Boggs indeed adopted completely opposite handling habits.

However, Professor Boggs does not feel that he is lacking in any aspect compared to Detective Cat.

One is slightly realistic.

One is slightly expressive.

Just two different approaches to painting, with no distinction in superiority or inferiority.

His twelve paintings form a philosophical whole that contrasts with each other, speaking artistically.

Professor Boggs even feels he is ahead by more than just a step!

"What exactly... did Detective Cat add as an elixir to the work?"

Boggs is puzzled.

These lines, techniques, colors—none are inferior to the other, yet painting them results in a feeling of missing something, which is simply awful.

His head shook like a rattle.

The cat atop his head felt unstable, so it pulled its paws away from the professor's skinny fingers and jumped down from the elder's gray-haired head.

The room was dimly lit, very dark.

Professor Boggs' full attention was drawn to the TV screen before him.

So he didn't notice.

In the darkness, the kitten that jumped from his head did not shrink into the corner like it did when Tony left it.

It rolled on the floor, cautiously stepped forward a few steps, found a gap beside a pair of leather shoes under the TV, and sat on its tail.

The kitten lifted its round little head, eyes squinting into slits, curiously examining the picture on the screen.

It was both confused and serious, occasionally licking its pink nose, as if it were a viewer enchanted before a beauty portrait in a gallery.

Jean Arnou felt the warm, soft sensation through his socks at his ankle.

The illustrator lowered his head.

He stared silently at the cat by his feet for a few seconds.

He stealthily stepped aside slightly, leaving a front-row spot for the kitten to view the painting.

Then Jean Arnou pursed his lips, raised his head again, looked around, searching for his target in the room.

At that moment, Dr. Jin Anqing was also looking at Jean Arnou.

Their eyes met in the air, and a moment later, both read the rapidly beating hearts in each other's chests.

"Amy."—The instant the painting on the screen lit up.

Both the doctor and the illustrator heard the soft call from Tony's childhood friend's voice.

An artwork with enough attraction makes people fall in love with it with just a glance.

Whether they like it or not, the heartbeat and pulse will tell you the answer.

Lady Anya's painting "Love of Pets," which she had worked on for days in the room, no matter how her assistant flattered it, Tony reacted like a block of wood.

Boggs' painting, however, piqued Tony's considerable curiosity.

This is the difference in emotional perception of paintings by the audience.

While the paintings are similar.

Tony sees Boggs' painting and calls out "cat"; in front of Detective Cat's work, there's no need for Dr. Jin Anqing's verbal guidance, and he calls out "Amy."

Although the familiarity and unfamiliarity cannot be ruled out.

Master Jean Arnou still sees this as progress that clearly distinguishes high and low.

As a fairytale master, he may recognize the extraordinary aspect of this work even more profoundly than Professor Boggs.

Professor Boggs earned his fame by being able to depict the unique texture of pine needles on snow-laden paths in snowy night forests with delicate painting knife strokes.

To this day, this lifelong professor at Brooklyn Art Academy remains most proficient in landscape painting.

Jean Arnou, however, is intimately familiar with all types of animal imagery that appear in fairytale paintings.

The illustrator makes a living from this.

Cats, hounds, river rats, swans, frogs, grizzly bears... countless cartoon animal images filled Jean Arnou's paintings that he has drawn and seen.

Master Jean Arnou recognized the core essence of the anonymous illustrator's work almost instantly.