LEON BONNAT NASIL BİR RESSAMDI | 1.Bölüm #sanattarihi

Physical death does not interrupt our eternal life. Lazarus! Come out! He was born in Bayon, France. His father was a writer. And he spent most of his childhood in his father's library in Madrid. There he saw the engravings of the old masters. Look, he didn't see the oil paints, he saw the engravings. And he started copying them. Like every great artist, Leon Bono was learning by copying. Later, when he was 14 years old, he started to study with Raimundo Madrazo, a famous Spanish painter and Velázquez's favorite. Of course, these things didn't happen easily at first. When he went to Madrazo, he was 14 years old. He went to Madrazo, knocked on his door and went inside. He introduced himself to Madrazo. He said, my name is Bono, I live here, etc. I forgot to tell you how these things happened. They moved from Bayon to Madrid. His father, his mother, Bono's family moved there. Later, Madrazo said, okay, do you want to be a painter? He said, I don't know if I can do it, but I draw. The person we are talking about is a 14-year-old boy. Of course, the 14-year-old boy at that time looked like a 19-year-old boy today. He was young, not very small, not as tall as a leg. Anyway, Madrazo was a bit embarrassing. Bono was younger at that time. He went to a famous painter in Madrid. He was very famous in Madrid. Madrazo said, okay, come to the studio tomorrow. Let's see how you can draw. Anyway, Leon Bono went to Madrazo. He started painting there. Black pen, of course. In those years, Madrazo didn't have the mood to say, son, I'll give you oil paint. He didn't have the mood to say, son, I'll give you oil paint. It's not because the paint is expensive. Madrazo is a rich painter. He tried it. Madrazo said, you draw well. Your drawings are good. Your background is good, but it needs to be improved. You haven't reached the last stage. Anyway, no one should expect the 14-year-old boy to reach the last stage. Even Van Dyck. Okay, Van Dyck was better. He was drawing, but Van Dyck was 14-16 years old. He couldn't draw like he was 30 years old. The man is already dying at the age of 40. Is he 39 years old? He's dying at the age of 40. Van Dyck. He didn't live long either. But when he came out of his hands as a child, he drew very well. Think of it like this. Van Dyck's drawings are today's painters. Of course, it's a hassle. Today's painters say, I'm done. He did it in one stage. It's more tremendous than the Alaprima paintings. He's doing it when he's 16. Anyway, let's not go too far. He's going to Madrazo. Madrazo starts to like it. He says, you keep going. Draw landscapes. He says, don't limit yourself to portraits. The weird thing is, Madrazo is a portrait painter. Portraits were easy in those years. You can't say anything to your students. You go and draw the landscape. But he supports it. He says, draw the landscape. Anyway. Then he takes training with Madrazo. Madrazo comes one day. He shakes his shoulder. He says, look, you're going to be a great painter in the future. You're going to draw your own way. You're doing good things. Keep going. Of course, Bona was ashamed of that time. He's 14, 15, 16 years old. He's secretly painting at home. Then he goes to Madrazo. He says to Madrazo, look, I drew these. Would you like to take a look? He wants advice. Madrazo goes and says, look. He says, draw these beautifully. But improve these in the sky. He says, these are missing. That's how they work. Then it's time to go. Of course, there are problems. Life problems. As I said, Bona's father is a librarian. The man is not a rich man. He grows up in a poor family. Let's say modest. Then they have to return to France again. Not to Bayonne this time. They have to return to Paris. His father has a job. So there will be more book sales there. Bona and her family have to leave. Of course, Bona is sad at that time. Here. He found a new teacher. He's getting full education. He's going to improve. This time he's breaking up. Of course, he gets what he gets from Madrazo. Madrazo is from the Spanish tradition. Velasquez. Giuseppe de Ribera. Italian artists, etc. He's a familiar man. He's already using his loose brush strokes. Everywhere. Then they're going to France. To Paris this time. Not to Bayonne. Bayonne is already a small town. Paris is a big city. They're going to Paris. Is he 18 years old at that time? 17, 18, 19. An artist who lost himself in León Conya. You'll see it on the screen right now. There's a great picture. He made it in time. A painting called The Massacre of the Innocents. When you look at this painting, the distances are not very detailed. He didn't make the distances in detail. It's already smart. Why? You can't see it with your eyes. How are you going to draw things that are one or two kilometers away? It's not possible in a detailed way. When we look at women and children, we see super colors. In León Conya. León Conya knows this job. He's already an academic painter. He spent his life in academies. When it comes to being a rector, he's such a teacher. But León Conya is an open teacher. How is he an open teacher? He doesn't dictate anything to people. You're going to do this. You're going to be an academic painter. But he says, don't be afraid of the background. It's a tactical tactic. For example, I'm giving an example. If I were to do my own self-portrait, if I couldn't make it look like me, if the colors were very plain, for example, the pinks on my face are very, how can I say, the chroma is high. What do we call it? It's called pink in Turkish. If the colors were very pale, what would a man say? My brother, this is not your self-portrait. I would say, for example, I don't know. Why? I drew myself. My beard, my nose, my eyebrows, my eyes. It's not a similarity. It's not just the colors. For example, think like this. You can see it on the screen right now. A line of my eye. For example, look at this interval. It's like another eye fits in here. For example, if this nose is here, you can lower it a little bit. There's no problem with that. You can idealize it a little bit. Or if your nose is small, you want to extend it. But if you go and draw this nose here and make a nose like this, you won't draw your eyes round when you make a portrait. That's one of the biggest mistakes. You're going to draw a line. So think like this. Now let's assume you're drawing from a photo. That's what everyone usually does. Or a mirror. You're going to examine your eyes well. You'll notice that your eyes aren't actually round. It looks like that from a distance. Human eye. But when you look closely, it consists of lines. If you follow those lines, your eyes will look like this. If you adjust your eyes well, you'll get a resemblance and you'll get a good portrait. But for example, look at your forehead. A line comes from here. If you draw this line like this, you'll lose the resemblance. Then you'll say, I don't like it. I'm going to be a surrealist painter. Anyway, let's not get away from that. Bona studied with Leon Konya. Leon Konya had very good students. I can't remember his name. He had more than 100 students in his French studio. Anyway, Leon Konya learned from him. Then he continued. This time, when we come to 1855, he made his own portrait. There was something I didn't like about that portrait. I mean, the portrait was very good, but the colors were very good, the pictures were very good, the shape of the eyes, the composition of the picture was very good. Nowadays, there is a problem with such people. For example, when I make a portrait, especially when I make a portrait, let's say the composition is like this. The head should be like this. If it's like this, if you put so many heads, you'll get something bad. People say, then we'll see your big nose. What do you want? Let it be a little background. Let it be a background. In 1855, Leon Konya added mountains to the back of his portrait, but they are not clearly visible. He painted himself big again, but on the other hand, he painted very well. Look, for example, the ring on the ring finger on his right hand is very good. He used dark colors. He made highlights with some whites. I say highlight. Then, in 1855, he was 22 years old. We can't say that he was a perfect painter at the age of 22. He is still developing. He wasn't like Van Dyck. At the age of 22, there was no such thing as I went and painted Charles I. Anyway, even if Leon Bonn painted a few religious works, in the history of painting, especially in French art, in academic painting, these are very great painters. Not many people in the world know Leon Bonn's paintings. Why? People are not interested in other people. I'm giving an example. Henry Matisse. The man we call Henry Matisse is a contemporary of Leon Bonn. He was born in 1825 in Kansas. He is not Leon Bonn. His name is Philippe Bouguereau. Bouguereau is a French academician. He teaches painting. He hasn't been a rector yet. Anyway, Matisse comes. He says, I want to learn how to paint. Bouguereau says, come. Anyway, they learn how to paint. There are new figures. Everyone is sitting and painting. Bouguereau will check every student's painting. Matisse comes and looks. Matisse says, what did you do? You drew things like a garbage man. Garbage man doesn't draw, but he draws crooked things. He says, I draw like this. He says, work more. I don't expect you to be a good painter, but draw the form properly. If my head comes like this, try to make it look like this. He says, don't do crooked things like this. Bouguereau gives advice. He doesn't insult him. Anyway, Matisse comes to the classes again. He looks, he can't do it well. Maybe he doesn't have the talent. There is nothing to force. I'm trying to be a pilot now. If I can't fly the plane, I can't fly. I can't do it. There is nothing to force. But there are some people who have the talent when they are angry. For example, when they are sad, they show their talent. These are real. Search the psychology pages for foreign articles. When a man is sad, he shows his talent. He makes wonderful paintings. I know people who can't paint when they are happy. Anyway, it doesn't work again. Bouguereau says, you can't do it. Then he gets angry. He says, I'll start your painting class. He says, we don't have to draw this. Matisse and he goes. He becomes himself. He becomes Matisse. As my teacher used to say. I used to say to my teacher, Matisse took painting lessons next to Bouguereau. I wish he had drawn angels. I wish he had drawn beautiful women. But he's gone. He drew green-faced, blue-faced women. He became a friend of Picasso. He used to say, this is another way. Okay, it can't be Matisse. As a result, he became Leon Bono. Did he draw a triangle and become Leon Bono? Leon Bono became Leon Bono by making academic paintings. Although he is forgotten today, he still lives. Everyone sees his paintings in museums. It's not just about Turkey. If you go out on the street in Turkey, you say, who is Bouguereau? People think Bouguereau is a biscuit brand. It's funny, but Leon Bono is like that too. People say, what is Leon Bono? Is he Parkin or something? Such absurd, ironic things. Anyway, in 1857, Leon Bono painted the resurrection of Lazarus. There is Jesus there. He stretches his hands like this. He resurrects Lazarus. This is a scene mentioned in the Bible. It is also written in the Bible of Matthew. It is also written in the Bible of John. It's like this. One of the last miracles of Jesus. After that, he goes to Jerusalem. King Herod. There is a tyrant there. He goes to meet him. The last miracle before that. Because it's not a miracle machine. Let me bring you something. There's something funny. We'll talk about it again. Although it's about Lazarus's painting. After the resurrection of Lazarus, people say that this is going to Herod's ear. The resurrection of Lazarus. Herod says, if this man is a savior, why does he only resurrect Lazarus? He says, let all your dead be resurrected. He says something like this. As you can see, all the dead are starting to be resurrected. In a shrouded way. It's like he's bending from the shroud. It's a ridiculous thing. Anyway, Herod doesn't understand the essence of the matter. He's already a pagan. This is one of the few religious works. Leon Bonham. After that, there is the painting of Euboea. Again, the painting of Euboea is magnificent. Of course, it's a shame that the muscle part and so on. Because it's a shame. Shadow, darkness, Tenebrist. He doesn't apply the movement there. The reason for this is that one of the great people of the prophets named in the Bible is Euboea. So let's not show the genital area on one side. Otherwise, for example, the baptist's feet are visible. Caravaggio didn't think so. He said, I will draw the baptist's feet. Let the genital area be visible. In his childhood. Leon Bonham doesn't want this. Paintings in pain. Again, a perfect picture. If you ask today, just leave Turkey. Go to France and say, if you make me such a picture, no one can make it easy for you. He knows the use of color very well. Leon Bonham. How are the colors? He knows the form once. I've been drawing since I was 14 years old. People who think they are painters today started at the age of 30-50. Just for money. Let me sell paintings in museums. Let me make a horse like that. People with such thoughts. Anyway. Bonham lived in Rome between 1858 and 1860. He is going to Rome. He is one of the three capitals of Roman art. One of them is Paris. The second is Madrid. The third is Rome. Bonham is going here. He becomes friends with Edgar Degas and Gustave More. You see those days. What kind of people are they? They don't even have the same painting style. Bonham makes classical paintings. He will later move on to Orientalism. He will be influenced by Orientalism. He will be influenced by the headscarves of the East, the portraits of women with turban, etc. The man you call Degas, has drawn a ballerina all his life. He has done other things. Gustave More is already a completely different world. These men can sit and talk at a table. You can't talk today. There is no classical painter left in Turkey. Maybe 1-2-3 people are going from the classical way. At least they are painting. Then in 1863, at the entrance of the San Sebastian Hospital, a young woman, who wishes to be loved, has done a beautiful figure study. Leon Bonham. Here you see three figures at the back. The one in the middle is Mother Mary. I don't know if the one on the right is Saint Matthew, but it could be Saint Paul. I don't know the one on the left. He puts her on his head. I don't know if you can see it well in the picture. There are small children, girls, beggars, a rich woman. In this painting, the fresco you see at the back, actually, who was Leon Bonham? I say who was he? He was taken from Diogo Velázquez. Diogo Velázquez has such a picture. If you go to my videos, you will see what kind of painter Velázquez was. On the left side, Velázquez made that picture. In the same way, you can see it in the picture of Leon Bonham. Because great painters pay tribute to great painters. Leon Bonham, in 1865, made a painting called Italian Woman. But it is written as Italian Woman, or in French sources. Frankly, it is not written in French sources. I don't want to make it up. This is probably an Italian girl. You will see it in the picture. She has tiny arms. She has tiny legs. This is probably not a woman. It's a little girl. Look at the background. It's a dream stone. We can see the picture. Because Tuvalin left the white parts white. Normally, you don't do that. When you make a picture, you fill all sides. Maybe if you make round portraits, round pictures, the edges of the Tuvalin can be white. It can be cut. With the help of a knife or a cutter, you put that round portrait in a round frame. There are pictures like that in Paris. Round portraits. For example, there is a round portrait of Ivan Kramsko. Anyway, Bona started to travel Europe in those years. She saw this woman in 1865 and painted. She attracted attention. In 1869, she was awarded the Honour medal in the Paris Salon. It is also worth remembering Leon Bona, like other great artists, Jacques-Louis Davidoff, Alexandre Cabanel, like other great artists, couldn't win the Prix de Rome. He was the only runner-up. On the contrary, Bouguereau, Bouguereau is also a great artist. Bouguereau, for example, won the Prix de Rome. He was unsuccessful in his first attempt. He won in his second attempt. But winning a competition is not the same as winning an artist. I don't know what you think about this. Because Van Gogh never won an award. He is painting. He is not a servant of God. You are painting, but fix these areas. Because people are a little bit clumsy. They don't know how to fix their paintings. No one advises him. He paints his shoes in the cold weather. He blows his hand, warms his hand. He paints in the cold weather. I have a brother in my house. He paints in the cold weather. We make excuses here. Sometimes I also make excuses. Or maybe most people make excuses like me. I did it today. I don't feel good. I did it today. Delay. If you delay too much, maybe you don't like to paint. But if you have such problems, because when you say painter, you call the man who paints every day a painter. There are some painters. Silvestro Lega. He is the best. He is a student of Antonio Ciceri. Who is Antonio Ciceri? He is a Swiss painter. He is very famous in Italy. He has religious paintings. He has beautiful portraits. He was born in 1821-1823. Now, Silvestro Lega didn't paint for 4 years. Why did he go into depression? His wife died, his mother and father died. Why didn't he paint for 4 years? His wife died, he can't paint after a week. If you are a good person, you can't paint if you have a conscience. How will you do it? You just lost someone. What will you paint and sell? Silvestro Lega is one of them. Except him, Van Gogh. No one helps this man. God's servant doesn't help. He says to Gauguin, let's paint together in Holland. He goes to Monet, he does it, I'm saying this now, it's a fictitious example. Monet painted with John Singer Sargent. Monet's side is rich. They were in France. They have huge houses. I'm not saying this to insult him, but in his rich time, Monet, John Singer Sargent, he is an American painter, they paint together. Van Gogh also paints for poverty. Gauguin says to him, why are you painting so fast? He says it's a little calm. He says you will never do it slowly. This is Van Gogh's tactic. It's a bad tactic everywhere. Allah Prima. I won't recommend it. While painting Allah Prima, for example, you drew me like this. Or you drew your portrait. You drew it like this. You paint this part brown, you paint this part amber. You don't give details to these parts, but you make it obvious that it's a mouth. You paint a line here, a line here, a line here. You paint this part with midtones. What is midtone? It's the color of coffee, yellow ochre, vermilion. It's written on the internet. Of course, it changes according to each painter. You have to change a lot. Some painters work with cold palettes, some with hot palettes. I work with hot palettes. I don't know how to work with cold colors. I need to learn that. I don't know how to get results with cold colors. But let me put it this way. a blue, a portrait with cold blues and greens. Of course, I took a photo of it. I also work with cold palettes. It's a waste. I go to places that are green and say, these places look green. I can't go and paint it red. I can't paint it pink. Anyway, it's a cold palette. It's a hot palette. God knows. Then you paint this place with midtone. Then you draw the eyes. It's a wet technique on wet. Because you draw the eyes and so on. At the end, you add your darkest and lightest colors at the end. What's the harm of this? It's wet. The first layer you apply. Let's say this place is wet. It will look weird if you apply another paint on this wet. You have to control this very well. Not everyone can control this well. Not everyone has experience. For example, I can't paint. I mostly work with monochrome grisaille. Because monochrome grisaille has been used in the life of many painters. It's a layer-by-layer picture. But first, you make the picture like a sculpture. Monochrome grisaille is not necessarily done in portraits. So, when we do what we call still life, natural mode, for example, the apple plate, apples, gray, close to black, not completely black, gray, close to black, white, the tones of white, with the tones of gray, especially with the tones of gray, then you mix it with your oil. If you want, you can mix it with Terebentine. Anyway, you mix it with oil and apply it. Every time you apply it, you make grisaille. Because that's the order. For example, let's say I applied it here. Red color. I already made this place dark with grays. It will look dark brown. Because it's gray. I painted these places too. It's a color close to white, right? When I apply the skin color here, it will fit perfectly. This is what we call monochrome grisaille. This is a very advantageous thing. But no one teaches this today. In the modern art studio I went to, my teacher was still teaching. God bless you. It was a little more like something. I don't want to talk bad about it. There's even a short video. Mehdi Ahurayi. He's doing the Ataturk portrait. He was like the man of every era. For example, a girl would come. She would say, teacher, I can paint like Fermi. You can do Müngel. It would be better if you couldn't. I went and said, teacher, I can do it like John Singer Sargent. You can do Müngel. Okay, but you can't do everything. Can you be any painter? He already said that. No one can be anyone. You can't be Velazquez. Velazquez can't be you either. So what he's saying is very true. The man is dead. How did you die instead of the man? His name is different anyway. I'm telling you. Make a picture like Caravaggio. Make a beautiful picture with his technique. Religious picture. The signature you put there already determines your personality. The signature we're going to put there is Ebiza Ahmet. People will say that his name is Mehmet. He's such a painter. It's the same with Velazquez. No one can be Velazquez. Velazquez's employees couldn't be Velazquez anyway. The point is to be ourselves and learn from great painters. I always say that I'm a great painter. Go and learn something from Emile Zola. I say Emile Zola, sorry. Don't learn anything from Henri Matisse. Picasso doesn't teach you much. Henri Matisse doesn't teach you anything. But classic painters teach you something. He says, how do you paint a beard? I don't know if you can see it on the screen. Do you notice it? These parts are open. I don't know. Let's move on to Burnt Umber. Burnt Umber is a classic color. We use Burnt Umber more for sketches. Burnt Sienna, right? You apply Burnt Sienna here while doing portraits. These parts are dark. These parts are a little lighter. You darken the dark areas with Burnt Sienna while doing portraits. He applies Burnt Sienna directly to the beard. He says, I drew a picture. He says, add some texture to the picture. There is nothing. Or he draws ears. I mentioned ears in a series. These parts look pink because of the screen. Because of the video camera. What do you do with these parts? You mix Alizarin Red and Ultramarine and you get these purples and pinks. But the man goes and paints green. He paints green on the man's ear. The ear is not a color to get green. The part of the ear is warmer. There are blood vessels here. How did you paint it green? Did you paint it under a green light? Everyone makes it up. This part of the woman is green. This part is blue. Can such a woman be real? No. No matter how much people like it, Matisse's pictures are not real. They do not have a real human form. Those noses are not real. They are flat. For example, the nose is 3D. If you draw like this, but if you stretch this nose, if you can't catch the angle of this eye and this eye, you will lose the reality. It is not impossible to catch the reality. He did not get talent from God. Neither Velázquez, nor Fermi, nor Rembrandt. There have been a lot of failures in Rembrandt's life. There have been times when he couldn't make it up. My teacher tells me. He paints one day, he has a problem. He can't make it up. He says, I gave you a portrait order, brother. Who did you draw? Rembrandt is embarrassed, embarrassed. Then he goes and does his best. It could be. Great artists have also experienced failure. John Singer Sargent has dug his toilet 10 times. How many people dig their toilet today? Zero. Why? Someone is painting, even if it's bad, he says, let it be, this is work, let it be bad. Let it be, let it be work. Show some respect for work. Respect for the man's work. Anyway, he went far from the subject. Then in 1869-1870, he sees a woman like an Egyptian village. I want an impression. This time he is affected by Orientalism. Because he travels to Egypt after Italy. Here, in 1870, he paints a woman named Kurban. He painted it in the years of the French-Prussian War. Again, when we look here, we don't understand what this woman is a victim of, but look at that gold earring. I won't say pearl. How are the earth colors? Very good. He used the reds very well again. He used the whites very well. The background is very good. When you look to the left of the painting, you see dark colors. When you look to the right, it's a little more green. How do you get these greens? I say it in every video. Because I lived in Beşiktaş, I will give an example there. You won't go to the art of trust and buy green paint, oil paint. You won't apply green there. You can do it like this, but you don't have to. You won't be a great painter. A great painter does not use main colors in his paintings. Sorry, I say main colors. So it's like this. Now, red. Of course, he removes the red from the tube paint. He doesn't try to get red. But for example, black. A color that can be obtained in black. If it is a color that can be obtained in black, why would you go and apply black tube paint to your painting? Instead, we get green. You get it with Viridian Green and Alizarin Crimson. Black. A more beautiful black. For example, in blues, I won't say that much. Ultramarine is used in blues. There is nothing to go and get blue. No matter what color you mix, it turns blue. There is no such thing. Main colors are not obtained anyway. You will buy the main colors. What are they? They are blue, red, yellow. You don't have to buy orange. You will paint the background green, right? Don't buy green tube paint. For example, I bought it. Why did I buy it? I bought Viridian. I bought a paint like Sap Green. I still don't use it much. Why? Why is green not a necessary color in oil paint? Because when you mix your blues and various yellows, you will get very beautiful greens. Very beautiful greens. While you can get huge greens on the scale, why would you go and paint yourself with a single green? Why would you paint the forests with a single green? Your picture will look worse this time. That's why I say, if you want, go and paint yourself with a green tube. Paint yourself with a green tube. But my advice is, except for your blues, your yellows, mix a cool color, Ivory Black, Ivory Black in English, mix Ivory Black and paint. Then you will get the greens that Leomban obtained in this picture, the greens in the background. You will get the greens in the background. Anyway, this was a small advice. After that, we can see the style of Leomban in the 1872 painting of Arab Martyrs in the Mountains. He brushes like this. Because Leomban didn't learn this from Konya. He learned these brush applications from Madrazo. Madrazo doesn't brush like this in his paintings. Velazquez does it too. Velazquez paints a picture like this. Unfortunately, I don't paint like this in my pictures. I paint the whole sky blue. It's not like that. You have to boil the sky a little and brush it a little. You have to give it a little mix. The sky is not just plain. There is a mix in the sky and you can create it with your brush strokes. But don't take a big brush like Bob Ross and paint the sky. You will get a different image. It will be an ordinary picture. Anyway, we can see the impasto in the painting of Arab Martyrs in the Mountains. Leomban did it in 1872. Leomban is a great painter. I will tell you more. This is the end of the first part. Because this video will be 36 minutes long. Because I can't show you this in layers. I will cut some parts. Because I turned on the camera. You will watch most of it. You will watch it. Maybe watching 36 minutes will bore you. It doesn't matter. Anyway, Leomban studied painting as an academic and then moved to Orientalism. In another part, I don't know if you are curious, we will look at the life of Leomban after the academic painting. Let's see what will happen There is a portrait of Jerome. He did it when he was old. Left background is green. Right background is grey. I mixed that color. I found a lucky piece. I couldn't find it directly. How did I find it? If you mix Raph Sienna and Ultramarine, you will get a cool grey which is close to blue. This one. You will get this. If you mix Raph Sienna and Ultramarine, this will be the first result. Raph Sienna is brown. It is in the scale of earth colors. But when you mix Ultramarine, you get green from Raph Sienna. This is a great thing. Most painters probably don't know that if you mix Raph Sienna and Ultramarine, you will get green. Look, it is a different green. You can't get the green you get from ready-to-use. If you mix Raph Sienna and Ultramarine, you will get a grey like this. Use this in your paintings. This is dark. If you mix Raph Sienna and Vermilion, you will get this earth color. Use these. Make your own... ...things. Cardboard, picture book, something. Not a thin piece of paper. Work with these and see. See how this color is applied. I didn't know at first, but I learned later. It is a shame not to learn. I told my teacher, why do you have to get black? He said, are you crazy? If you apply black, your painting will look matte. He said, you will get a nice black by mixing green and red. But especially Viridian and Alizarin Crimson. Alizarin Crimson. If you mix Vermilion with Sap Green, you will get brown. You won't get much black. Anyway, we have come to the end of this episode. We have come to the end of the first episode of How Leon Bonn was a Painter. Until we meet in another episode, take care of yourself. Goodbye.