The lies of Western classical oil painting have some strange phenomena in some sixteenth-century oil paintings. In Dutch paintings, the costumes of the figures are rarely wrinkled, like a bulging leather object wrapped around the body.

The Lie of Western Classical Oil Painting

There are some strange phenomena in some sixteenth-century oil paintings. In Dutch paintings, the costumes of the figures are rarely wrinkled, like a bulging leather object wrapped around the body. Italian oil paintings, on the other hand, feature large folds of cotton fabric, and even appear repeatedly in the paintings of the Three Masters of the Renaissance.

In the West, in 1760, the Jenny spinning machine was invented, and cotton was widely popularized as a clothing material. At the same time, the dirty and backward Manchu Qing did not export silk on a large scale, after the Kangxi Sea ban policy caused a sharp decline in China's textile exports.

The Paintings of Europe, France, and Italy in this period wore cotton clothing when representing figures. This is very suspicious.

During the Renaissance, oil paint was also precious, and so were canvases, but European oil painting seemed to be unaffected by these influences, and the canvas repeatedly exceeded one meter wide. A meter-wide cloth means a wider loom. At that time, however, the width of the loom was less than a foot. Some people may say that it is possible to stitch the cloth into a wide width, but if you turn over these famous paintings, you will find that these cloths are not spliced.

These logics ultimately point to one result: most of the famous paintings of the Western Renaissance are suspected of being forgeries.

A technology that is ahead of its time will not appear in the real world. However, Western oil painting seems to have repeatedly created miracles, and finally shows that the so-called Western leadership not only has cheating and lies, but also a sense of national inferiority.