Third Person’s POV
Mrs. Voss nced at Wanda and Sabrina, her brow furrowing in confusion. “What does this have <b>to </b>do with Miss Davidson? Craig’s visited the Frostfang Pack, announced a showcase of his paintings <b>from </b>the Bloodscar Border. Everyone’s scrambling to attend–even Lycan Erasmus was there when I left.”
“What? Craig’s at the Frostfang Pack? Hosting an art exhibition?”
Several art–savvydies stood up, cager to rush over.
Madison and Wanda’s faces fell.
Madison had always pretended to be a lover of art. She once nearly acquired one of Mr. Neil’s paintings, but she dramatically tore it up in public, leading to widespread ridicule.
This embarrassing incident left her with a deep–seated resentment toward Craig.
Her pretense of artistic love was just that–a pretense. She neither understood nor truly appreciated art.
Sabrina retreated to a corner, abashed and silent, simmering with envy, “Why did Adide have such a prestigious friend?”
Madison and Wanda were left speechless. Their earlier jeers at Adide now rang hollow.
Even Lycan Erasmus and President Cyrus had graced the Frostfang Pack’s event–what a spectacle they’d missed by gossiping here!
They were hiding here and mocking Adide, which was really petty.
Luna Skye’s expression shifted from embarrassment to forced smiles to palpable anxiety.
Especially since she’d just echoed Madison and Wanda’s derogatory remarks, many guests now felt like hypocrites.
Prisci, too, was in a sour mood. She’d been annoyed by the gossip and now by being upstaged.
Her nned outfit changes for the event no longer tempted her.
Thedies could hardly sit still, itching to witness the Frostfang Pack’s gathering.
With their mates there, crashing the party seemed harmless enough.
Then Mrs. Voss gasped, pping her forehead.
“My memory! Almost forgot Adide’s errand. She asked me to bring a painting to the New Priestess Prisci for appraisal.”
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“This oil painting,” she exined, “is one of Mr. Neil’s masterpieces, crafted with multi–<byer </b><b>zing</b><b>. </b>The snowy peaks are built with thick titanium white, textured with palette–knife strokes. The sunlight piercing through clouds is painted with transparent golden yellow, creating an amber glow on the canvas<b>.</b><b>” </b>
<b>11:10 </b><b>Mon</b><b>, </b>7 <b>Jul </b>
* <b>Free </b>Com
Signaling an omega, she mock–scolded, “You should’ve reminded me! What if Adide mes <b>me</b><b>? </b>
The crowd gathered as the painting passed from Susan to Prisci.
She handed the oil painting to Omega Susic, who then passed it on to Prisci.
Holding it, Prisci preened. The snow–capped mountains, painted with bold strokes andyered pigments, shimmered under warm light.
The painting disyedyered textures–carthy rocks painted with thick coats of burnt umber and ivory ck, their rugged strokes outlining the steep mountain ridges.
Above the snowline, zinc white mixed with cobalt blue created a heavy–snow effect through short, vertical lines.
A sunlight beam in the upper–right corner, painted with gold powder and varnish, shimmered like liquid light under the gaze.
“Behold Mr. Neil’s palette–knife technique,” urged a voice.
Prisci puffed out her chin, as proud as a peacock in full disy.
As the oil painting was spread out on the carved disy rack, everyone held their breath.
On the canvas, snow–capped mountains, upying two–thirds of the frame diagonally, <b>were </b>painted in Prussian blue and titanium white. Theyered pigments, at least five millimeters thick<b>, </b>seemed to replicate the rough texture of ice crystals.
The rock crevices, zed with burnt umber and ivory ck, contrasted starkly with the snow–capped areas painted in zinc white and cobalt blue. The sunlight piercing through clouds, rendered with cadmium yellow in radiating strokes and edged with gold, mesmerized viewers.
“Look at the impasto snow!”
Rowena pointed to the reflective pigment. “Mr. Neil mixed quartz sand into the paint–no wonder the snow looks icy.”
“And the sunlight treatment-” someone peered through a magnifying ss.
“It’s the ssic ‘optical gray‘ technique: a transparent ochre base, ultra–thin cadmium yellow ze, and gold powder on top. No wonder the light seems <i>to </i>shine through the canvas<b>.</b><b>” </b>
Amidst the murmurs of admiration for the oil painting techniques, Prisci’s fingers traced the gilded frame.
The painting disyed a magical visual effect under exhibition lighting–Mr. Neil’s signature “light- shadow trap” technique, whereyered transparent and opaque pigments created dynamic light–shadow shifts on a static canvas,
“Adide has such an eye,” someone finally whispered. “This–level oil painting can’t be found in Prisci’s collection.”
<b>2/2 </b>