The Versatile Master Artist

Among the major countries in East Asia, it is indeed quite uncommon to see women’s social status as low as in Japan and South Korea.

In this respect, it’s even worse than Myanmar.

In traditional Japanese culture, the positioning of women’s education remains at becoming a good wife and a qualified mother.

Whether one is a qualified woman is more important than whether one is talented.

Professor Ueno Chizuko from Tokyo University once angrily criticized in the 2016 opening ceremony—society’s discipline towards girls is that women are expected to maintain perfect beauty and youth while perfectly completing household chores and child-rearing tasks, which is the Japanese society.

At its peak, more than half of the Japanese girls, after marriage, regardless of whether her career is successful, will traditionally become qualified housewives,

even divas like Yamaguchi Sayumi are no exception.

Artists and singers are alike,

actually, no matter how well Koizumi Katsuko’s daughter paints, as long as she develops in Japan, in future social relations, she is naturally at a disadvantage.

However, the identity of a scholar is different.

A heavyweight paper is the key for her to break free from the shackles of fate.

Although there are few female scholars at Japan University, their status is very high.

If one can become a female lifelong professor, society would practically treat them as gods.

It’s true that anywhere they go, people would bow to them out of respect.

Especially female scholars with outstanding papers published in the field of art, it’s almost the best path for girls, both noble and honorable.

Even the Reiwa Imperial Family’s eldest princess has chosen to become an art scholar and female PhD at Tokyo Museum today.

When Gu Weijing mentioned his speculation about the painting.

Uncle Sakai immediately knew that his daughter Koizumi Katsuko was met with a great opportunity.

Generally speaking, considering Koizumi Katsuko’s age in publishing papers, people would always question the independence and originality of the article.

Having a father who is a great artist has both advantages and disadvantages.

To put it bluntly, there will certainly be gossip, thinking that the paper wasn’t written by Koizumi Katsuko herself.

However, in this situation, concerns have greatly reduced.

The origins of the painting by two young people are clear, and the content of the article is not complicated.

Not only is there no suspicion of others writing her paper, but it’s rather a delightful anecdote.

At least it’s more convincing than those ”genius” high school students doing chemical experiments in their father’s lab during ”extra time” and publishing papers.

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On the other side of the world.

For a long time, Glietz City has been a private garden for Austrians.

It holds numerous museums and art museums, yet unlike Vienna, which is packed with international tourists, life here is peaceful and serene.

From the city’s highest point, Castle Hill, heading east, passing beyond the Baroque-style tomb of Ferdinand II, between the Gleye Art Gallery and the Opera House with golden statues, is a small building with a blue roof and red brick walls.

This is the headquarters of ”Oil Painting” magazine.

The ancestor of the Elena family bought this building from the Austro-Hungarian Empire Government in the nineteenth century.

In the subsequent two hundred years, regardless of the chaos or peace, the global art waves revolved around it.

The citizens of Glietz City also take pride in ”Oil Painting” magazine and the art-loving Elena family.

It is said that any member of the Elena family can dine for free at any coffee shop in the city, and any door in the city will gladly open for them.

Even the city government’s council hall can be accessed without obstruction by virtue of their surname.

But today,

For the first time in a hundred years—the last female heir of the Elena family was refused entry by the ”Oil Painting” magazine.

”Miss Ilina, I’m sorry, I don’t know what’s happening, but your work pass has been suspended.”

Just now, Anna discovered her office credentials could not open the elevator door.

This VIP elevator is exclusively for the higher-ups of the magazine, requiring a corresponding access card to unlock.

Originally, she thought there was a system malfunction.

The nurse aunt pushed her wheelchair in front of the counter, and the concierge lady tinkered with her work pass on the computer card reader for a while, then said with a puzzled look.

”The record shows that since yesterday afternoon, you have been temporarily removed from the archive.”

”This is so absurd, is it April Fool’s Day today? Miss Ilina’s family founded this magazine. She’s the owner of this magazine. Who has the right to drive the owner out of her home?”

The nurse aunt pushing the wheelchair looked a bit incredulous.

Anna waved her hand.

In principle, she doesn’t actually own the magazine.

In the sixties of the last century, to make the magazine more professional and public, Anna’s great-grandfather transferred seventy percent of the magazine’s shares to the Austrian National Publishing Group and the European Art Association at a price of 1 Austrian Shilling.

By the time Anna took over the family business, she was still the largest private shareholder of the magazine.

But the leader of the magazine is the chairman appointed by the European Art Association, Sir Brown from Denmark.

Her only official position at the magazine—was merely as the senior editor and freelance writer of the visual arts section under ”Oil Painting” magazine.

If the management isn’t pleased with Anna, they certainly can fire an editor.