Devil’s Music

When Geon Kim opened the doors to the 19th-century painting gallery, he was greeted by numerous masterpieces emanating a myriad of colors, exhibited endlessly throughout the space.

Geon strolled leisurely, pausing longer before the paintings that caught his eye. Abigail accompanied him, explaining each painting that seemed to pique Geon's interest.

"This artwork is called 'Boating.' It's by Manet. To capture the nuances of light on the body, the figures are painted generously. Isn't the depiction of the sea in the background quite unique? Manet drew inspiration from Japanese prints for this piece."

As Abigail began her explanations, she spoke with a knowing air. Geon, listening attentively, examined several paintings while Abigail guided him. Eventually, Geon stopped in front of Van Gogh's self-portrait.

"A self-portrait, isn't it? But wait, the one I know has a bandaged ear, while this one wears a hat?"

Abigail nodded, pointing at the painting. "Yes, that's the most famous one you're referring to. Van Gogh, in his poverty, couldn't afford models to paint, so he bought a good mirror and created around 20 self-portraits. This one is named 'Self-Portrait with a Straw Hat.'"

Geon nodded and examined the adjacent painting. "What about this one? It seems like a landscape typical of Van Gogh, but it's entirely new to me."

Stepping closer, Abigail explained, "Yes, this painting was done in 1889. It's called 'Wheat Field with Cypresses,' one of the paintings created during his one-year stay at the Saint-Rémy mental asylum."

Geon, astonished, inquired, "A mental asylum? Oh, I think I've heard of it. To paint such pieces even in a mental asylum, he must have been remarkable. The peculiar clouds and the golden-lit wheat field harmonize beautifully with the autumn sky. The cypress tree on the right looks like an obelisk from Egypt. Haha."

Abigail, encouraged by Geon's interest in art, enthusiastically explained. However, beneath his questions, Geon concealed complex thoughts.

"The colors in these paintings clash. The emotions won't connect well for viewers with this arrangement; it might hinder their focus."

Listening intently for a while, Geon seized a moment when Abigail paused and asked, "How many paintings from the 19th century are displayed in this gallery?"

Proudly, Abigail replied, "This place is called the '19th Century European Painting Gallery,' showcasing over 3,000 works by Monet, Seurat, Van Gogh, Gauguin, Manet, and many other renowned artists."

Geon whistled, feigning surprise, then quickly turned to the opposite wall. Slightly taken aback by Geon's deviation from the tour, Abigail followed him to the other side.

The painting Geon approached was labeled 'Garden at Sainte-Adresse / Claude Monet.' Examining it seriously, Geon turned to Abigail and asked, "Miss Abigail, what's this painting?"

Seating herself again beside the painting, Abigail raised her hand to explain. "It's Monet's painting, considered a quintessential piece disregarding perspective by the Impressionist painter."

Geon, arms crossed, shook his head. "No, why is there a fake painting hanging in the Metropolitan Museum of Art?"

Wide-eyed, Abigail inquired, "What? What do you mean by fake?"

"Forgery, indeed."

At the unexpected assertion, Abigail and Geon turned to a dignified voice behind them. Standing there was Daniel Weiss. Surprised by the CEO's presence, Abigail exclaimed.

"Sir, what brings you here? And a forgery?"

Daniel Weiss addressed Abigail, "There's damage at the top left of the painting, so it was sent to restoration. In the interim, a fake was displayed. Weren't you aware? Senior curators knew."

Flustered, Abigail retrieved a paper from her bag, an A4 sheet indicating today's memo about the movement of the 'Garden at Sainte-Adresse / Claude Monet' to the restoration room. Seeing this, she looked at Geon with astonishment.

Standing next to Geon, Daniel Weiss extended his hand. "You're the Kim Geon sent by Professor Sharon Isbin? Pleasure to meet you, I'm Daniel Weiss."

Geon shook Daniel Weiss's hand courteously. "Nice to meet you, Mr. Weiss. I'm from Juilliard, Kim Geon."

Daniel Weiss smiled. "You have an eye for art. Even our curators might have struggled to notice this well-crafted forgery."

At this, Abigail blushed. Sensing Geon's intention to comfort her, Daniel Weiss chuckled, addressing Geon, "Indeed. Without prior knowledge, I wouldn't have known either. Miss Abigail, don't fret."

Unable to speak, Abigail simply lowered her head. Daniel Weiss glanced at Geon, waiting for him to continue speaking, as Geon had paused mid-sentence.

"What's the matter? Please, tell me if something's wrong. I've spoken with Professor Leontine Price. I'd like Mr. Kim to try the approach you're suggesting."

Geon hesitated for a moment before speaking.

"Well... I don't think the issue with the 19th-century European painting gallery lies in the music."

Daniel Weiss raised an eyebrow in curiosity.

"What? Not the music? So, are you suggesting there's another problem?"

Geon continued hesitantly.

"Yes... It's... um..."

Daniel Weiss urged him on with an intrigued look.

"It's okay. Please go on, Mr. Kim."

Geon glanced at the paintings before speaking.

"Though it might seem presumptuous, it's hard for me to say this, but the problem in this corner isn't the 'music,' it's the 'arrangement.'"

Daniel Weiss looked at the paintings Geon was observing and asked.

"The arrangement? Are you referring to how the paintings are positioned?"

Geon nodded.

"Yes, the arrangement. Changing that could provide the solution."

After a moment of contemplation, Daniel Weiss looked directly at Geon and said.

"The 19th-century European painting gallery is indeed a collection of paintings by renowned artists from that era, but there's significance in their classification and arrangement. For instance, grouping floral paintings or those depicting light. The 19th century holds substantial art-historical significance, influencing the development of painting."

"Multiple curators meticulously decided on the arrangement based on scholarly sources, Mr. Kim. Saying the arrangement is incorrect is an affront to the pride of the Metropolitan Museum curators."

Geon, flustered, gestured in dismay.

"Oh, that wasn't my intention, Mr. Weiss. I just feel that the emotions portrayed in the paintings are so jumbled that it might distract the viewers."

With a raised eyebrow, Daniel Weiss inquired.

"Emotions? Emotions depicted in the paintings?"

Geon calmly explained while pointing at one of the paintings.

"This painting is here simply because it's a 'ballerina.' All the surrounding paintings also revolve around the theme of a ballerina."

Daniel Weiss nodded in agreement.

"Exactly. It's Edgar Degas' 'Ballerinas on Stage.' Degas was particularly known for painting ballerinas. But why is that a problem?"

Geon cautiously continued.

"Please don't dismiss this as presumptuous. Let me elaborate. What emotion do you feel from this 'Ballerinas on Stage'? How does the ballerina on stage look? Perhaps Degas wanted to express the 'joy' of a rookie ballerina's first performance."

Daniel Weiss, listening intently to Geon's words, studied the painting for a while before nodding in agreement. Geon moved to another painting.

"But this painting, titled 'Ballerinas in Pink Costumes among the Stage Sets,' is about 'tension.' It depicts ballerinas waiting nervously before stepping onto the stage."

Again, after a considerable time observing the painting, Daniel Weiss nodded. Geon stepped back, gesturing towards the entire wall of paintings.

"From left to right, speaking of the emotions conveyed by the artists, the first is 'joy,' then 'tension,' followed by 'sadness,' and right here is 'jealousy.' This arrangement, without considering the emotional line, disrupts focus."

Stepping back to view the wall, Daniel Weiss, who had been observing the paintings with a serious expression, finally turned to Geon.

"Would you like to change the arrangement yourself?"

Geon, surprised, responded.

"What? Mr. Weiss, with so many experts around, how could I possibly..."

Daniel Weiss approached and said softly.

"I am Daniel Weiss. I lead the New York Metropolitan Museum. There's only one reason I'm here: because I have an 'eye for people.'"

Extending his hand to Geon, he continued.

"This situation echoes with a resounding voice in my head, insisting that you should be in charge of this. Please, Mr. Kim."

Flustered, Geon hesitated before eventually taking Daniel Weiss's hand.

>

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