Artists often can't imagine out of thin air and need realistic references. Characters in writers' works have prototypes, while characters in painters' works have models. Many great painters in European history will paint themselves into their works, so that they can be handed down to future generations together with their great works. This is the painter's self-interest, a special way of signing a contract, which makes him integrate with his works and never separate. For example, Raphael, one of the three masters of the Renaissance, painted three-quarters of his face in the lower right of his masterpiece "Athens College". Raphael in the painting looks straight out of the painting and seems to be looking at the audience and telling everyone, "I painted this."

Raphael painted himself among a group of classical masters, a little narcissistic, but he didn't admire himself. He also painted two other Renaissance masters. He asked Leonardo da Vinci to play Plato in position C, and Michelangelo to play Heraclitus, a philosopher who thinks with his chin. These two positions are more conspicuous than Raphael himself, which is a respect for the two old-timers.

However, some people think that Raphael painted Michelangelo as Heraclitus thinking alone to show his poor popularity, and no one wants to talk to him. This is a saying, but Leonardo da Vinci and Michelangelo did draw people they hated in their own paintings.

The Last Supper is leonardo da vinci's most famous mural, which he painted for the monastery of Santa Maria Greche in Milan. People who look at this painting will surely find out who Judas the traitor is. His image as the most famous traitor in the West comes from the abbot of this monastery. It turns out that one of the important problems is how to draw Judas, because Leonardo da Vinci often stopped to think in the process of painting. The abbot doesn't understand why. He believes that Leonardo da Vinci deliberately delayed the progress of the project and urged him to finish it quickly. Leonardo da Vinci immediately found the answer and painted Judas' face like an abbot. This reminds later editors not to rush the manuscript too much.

Another master, Michelangelo, had a worse temper, which made him even more unhappy. At the lower right of his mural masterpiece The Last Judgment, there is an unfortunate man whose little penis was bitten by a snake. The prototype of this unfortunate man is a master of ceremonies of the Pope. He always disliked Michelangelo's paintings and often criticized him. So Michelangelo made him stand directly above the entrance of the church, and everyone who entered the door could see his miserable appearance and get enough malicious revenge.

The Renaissance Three Masters are also mortal, and they also have joys and sorrows, and they will also rejoice because of hatred. They paint annoying people in their paintings and arrange negative and unlucky roles for them, similar to our psychology of spoofing P pictures today. The spoofed person must be uncomfortable, but there is nothing you can do. You can't prove it's you. Even you, it's just role-playing. I care too much about being petty.

Some painters don't mind themselves, and even arrange bad roles for themselves, such as baroque master Caravaggio. Compared with Raphael's narcissism, he is a reverse masochist. In David with Goliath's Head, the giant head mentioned by David is actually Caravaggio's own head. He interpreted that sentence perfectly, and I was so crazy that I even hit myself.

Artists are different from ordinary people. Ordinary people suffer indignities. At most, I scold you in my heart or draw a circle to curse you. But an artist can really paint you into his works. Not only can he have a good time, but if the work becomes a masterpiece, countless people will come to see your jokes.

So, in a word, don't offend artists easily.