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Self-Portraits
Vincent van Gogh painted over 30 self-portraits between
the years 1886 and 1889.
His collection of self-portraits places him among the most prolific self-portraitists of all time.
Van Gogh used portrait painting as a method of introspection, a method to make money and a method of developing his skills as an artist.
When Van Gogh first began painting
he used peasants as models. After this stage, he worked more on experimenting with his use of color in painting landscapes and flowers, primarily because he could not afford to pay models.
He explains this in a letter to his sister Wilhelmina van Gogh in 1887,
“Of my own work I think that the picture of peasants eating potatoes
I did in Nuenen is après tout the best I've done. But since then I've had no chance of getting models, though on the other hand I did have the chance to study the colour question. And if I should find models again for my figures later, then I would hope to be able to show that I am after something other than little green landscapes or flowers.”
As Van Gogh struggled to make a living as an artist
he became reliant on his brother Theo and the charity of
others such as Julien "Père" Tanguy, who ran the paint store that Van Gogh frequented in Paris.
With their generosity of money and supplies, Van Gogh continued working as an artist and thought of portrait painting as a practical application of his talent.
In a letter to his brother Theo in July of 1888 Van Gogh wrote,
“Besides, I think I have spoken the truth, but if I should succeed in replacing in goods the money spent, I should only be doing my duty. And then, something practical I can do is portrait painting.”
Van Gogh did not have money to pay models to pose for portraits
nor did he have many people commissioning him to do portraits, so Van Gogh painted his own portrait.
Van Gogh did not see portrait painting as mere he also believed that portrait painting would help him develop his skills as an artist.
In a letter to his brother Theo dated September 16, 1888, Van Gogh writes about a self-portrait he painted and dedicated to his friend and fellow artist Paul Gauguin,
“The third picture this week is a portrait of myself, almost colourless, in ashen tones against a background of pale veronese green.
Van Gogh’s Self-Portrait with Bandaged Ear is one of his more interesting and popular self-portraits.
Painted in January of 1889 just weeks after a portion of Van Gogh’ the portrait shows him from a slight angle in a room of the Yellow House wearing a green overcoat and a fur-lined winter cap.
His right ear is bandaged in the portrait though in reality the wound the discrepancy is due to his painting while looking at a mirror image.
I purposely bought a mirror good enough to enable me to work from my image in default of a model, because if I can manage to paint the colouring of my own head, which is not to be done without some difficulty, I shall likewise be able to paint the heads of other good souls, men and women.”
Van Gogh Self Portraits
In addition to Gauguin, Van Gogh also exchanged self-portraits with artist ?mile Bernard.
After receiving a letter from Bernard and Gauguin with their self-portraits enclosed, Van Gogh responded to Bernard encouraging portrait painting believing that portraits would always be in demand writing the following to Bernard,
“I strongly urge you to study portrait painting, do as many portraits as you can and don't flag. We must win the public over later on by m in my opinion it is the thing of the future.”
Vincent van Gogh. Letter to Wilhelmina van Gogh. Written Summer/fall 1887 in Paris. Translated by Robert Harrison, edited by Robert Harrison, published in The Letters of Vincent van Gogh, 1886 - 1890, Publisher: Scolar Press, 1977, number W01.
Vincent van Gogh. Letter to Theo van Gogh. Written c. 25 July 1888 in Arles. Translated by Mrs. Johanna van Gogh-Bonger, edited by Robert Harrison, published in The Complete Letters of Vincent van Gogh, Publisher: Bulfinch, 1991, number 514.
Vincent van Gogh. Letter to Theo van Gogh. Written c. 16 September 1888 in Arles. Translated by Mrs. Johanna van Gogh-Bonger, edited by Robert Harrison, published in The Complete Letters of Vincent van Gogh, Publisher: Bulfinch, 1991, number 537.
Vincent van Gogh. Letter to Emile Bernard. Written 7 October 1888 in Arles. Translated by Mrs. Johanna van Gogh-Bonger, edited by Robert Harrison, published in The Complete Letters of Vincent van Gogh, Publisher: Bulfinch, 1991, number B19.
Enclosed Field with a Sower in the Rain
Quay with Men Unloading Sand Barges
Field with Factory
View of Saintes-Maries with Cemetery
Starry Night
Cafe Terrace
Starry Night Over The Rhone
Almond Blossoms
Sunflowers
"There is no blue without yellow and without orange."
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Self-Portrait (or Self-Portrait at Twenty-Eight Years Old Wearing a Coat with Fur Collar) is a painting on
artist . Painted early in 1500, just before his 29th birthday, it is the last of his three painted self-portraits. It is considered the most personal, iconic and complex of his self-portraits, and the one that has become fixed in the popular imagination.
The self-portrait is most remarkable because of its resemblance to many earlier representations of Christ. Art historians note the similarities with the conventions of religious painting, including its symmetry, dark tones and the manner in which the artist directly confronts the viewer and raises his hands to the middle of his chest as if in the act of blessing.
In its directness and apparent confrontation with the viewer, the self-portrait is unlike any that came before. It is half-length, frontal an its lack of a conventional background seemingly presents Dürer without regard to time or place. The placement of the inscriptions in the dark fields on either side of Dürer are presented as if floating in space, emphasizing that the portrait has a highly symbolic meaning. Its sombre mood is achieved through the use of brown tones set against the plain black background. The lightness of touch and tone seen in his earlier two self-portraits has been replaced by a far more introverted and complex representation. In this work, Dürer's style seems to have developed into what art historian Marcel Brion described as "a classicism like that of . The face has the inflexibility and impersonal dignity of a mask, hiding the restless turmoil of anguish and passion within."
Self-portrait with a pillow, drawing of 1491-92. This study for the
self-portrait was executed on the reverse of that canvas. Note the similarity in the position of the artist's fingers, although in this drawing he shows his left rather than right hand.
Geometric analysis of the composition demonstrates its relatively rigid symmetry, with several highlights aligned very close to a vertical axis down the middle of the painting. However, the work is not co his head is slightly right of centre, his hair not quite in the middle——the strands of hair fall differently on either side while his eyes look slightly to the left.
In 1500 a frontal pose was exceptional fo in Italy the conventional fashion for profile portraits was coming to an end, but being replaced with the three-quarters view which had been the accepted pose in Northern Europe since about 1420, and which Dürer used in his earlier self-portraits. Fully frontal poses remained unusual, although
painted several of
and his queens, perhaps under instruction to use the pose. Late medieval and Early Renaissance art had developed the more difficult three-quarters view, and artists were proud of the to viewers in 1500 and after, a frontal pose was associated with images from medieval religious art, and above all images of Christ.
The self-portrait is of a markedly more mature Dürer than both the 1493 Strasbourg self-portrait and the 1498 self-portrait which he produced after his first visit to I in both of these earlier paintings he had highlighted his fashionable hairstyle and clothing and played on his youthful good looks. Dürer turned 28 around 1500, the time of this work. In the medieval view of the stages of life, 28 marked the transition from youth to maturity. The portrait therefore commemorates a turning point in the artist's life and in the millennium: the year 1500, displayed in the centre of the upper left background field, is here celebrated as epochal. Moreover, the placing of the year 1500 above his signature initials, A.D., gives them an added meaning as an abbreviation of . The painting may have been created as part of a celebration of the
by the circle of the
scholar , which included Dürer.
Blessing Christ by , a typical devotional portrait of the late 15th century
Dürer chooses to present himself monumentally, in a style that unmistakably recalls —the implications of which have been debated among art critics. A conservative interpretation suggests that he is responding to the tradition of the . A more controversial view reads the painting is a proclamation of the artist's supreme role as creator. This latter view is supported by the painting's Latin inscription, composed by Celtes’ personal secretary, "I, Albrecht Dürer of Nuremberg portrayed myself in appropriate [or everlasting] colours aged twenty-eight years". A further interpretation holds that the work is an acknowledgement that his artistic talents are God-given. Art historian
wrote that "to seeing the frontal likeness and inward curved left hand as echoes of, respectively, the "A" and nestled "D" of the
featured at the right ... nothing we see in a Dürer is not Dürer's, monogram or not."
Christ as Man of Sorrows, undated, likely , Staatliche Kunsthalle, . This work is often compared to the 1500 self-portrait for its similar facial features and the direct way the subject stares out at the viewer.
Late Northern
often portrayed Christ in a symmetrical pose looking directly out of the canvas, especially when shown as . Typically he was shown with a short beard, moustache and brown parted hair. Dürer has rendered himself in this manner, and gives himself brown hair, despite his other self-portraits showing his hair as reddish-blond. The painting so closely follows the conventions of late medieval religious art that it was used as the basis for depictions of Christ in a woodcut by
of c. 1520. This was perhaps intended to be passed off as a print by Dürer from the start, and in later printings bears a very large Dürer monogram, though this appears to have been added to the block s it was accepted by most experts as a Dürer until the 19th century. In the next century, the face was used for Christ again, in a Christ and the Woman Taken in Adultery of 1637 by Johann Georg Vischer.
Dürer presents himself in similar poses and expressions in both his 1498 Christ as Man of Sorrows and 1503 charcoal drawing . Both are believed to be self-portraits, although they are not named as such. However, artist historians believe that they bear remarkable similarities to his know self-portraits - including prominent eyes, a narrow mouth with a full upper lip, and the shape of both the nose and indent between lip and nose, that Dürer intend to represent himself in these works.
Inscription from the right mid ground
The portrait was likely donated or sold by Dürer to the Nuremberg city council. It was probably on continuous public display in Nuremberg from just before Dürer's death in 1528 until 1805, when it was sold to the Bavarian royal collection. It is now in the
in , Germany. Nuremberg had had a copy made a few years earlier, which replaced the original on display in the City Hall.
Dürer was highly conscious of his self-image, and painted two earlier self-portraits: one in 1493 now in the , and another in 1498, now in the . He also inserted self-portraits in other paintings, and made self-portrait drawings, although, he did not portray himself in any of his prints. At least twelve self-portrait images survive, as well as the lost
Dürer sent to
Self-portrait at 13, 1484.
drawing, Vienna
Shiner, 41
Bailey, 68
Brion, 170
Bailey, 38
Campbell, 81-86
Koerner, 65
Koerner, 39
Hutchison, 3
In an essay in Bartrum, p.27
Bailey, 40
Hence the title Self-Portrait in a Wig sometimes given to the work.
Bartrum, 82-83;
Bartrum, 78
Bartrum, 41, 78
Strauss, 220-223; what may have been intended as one at the end of his life was made as a woodcut by another artist, Erhard Sch?n. Strauss speculates that Dürer made the drawing and his widow passed it to Sch?n to cut.
Bartrum, 77
Wikimedia Commons has media related to .
Bailey, Martin. Dürer. London: Phaidon Press, 1995.
Brion, Marcel. Dürer. London: Thames and Hudson, 1960.
Bartrum, Giulia. Albrecht Dürer and his Legacy. London: British Museum Press, 2002,
Campbell, Lorne, Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries. Yale, 1990.
Hutchison, Jane Campbell. Albrecht Dürer A Guide to Research. New York: Garland, 2000.
. The moment of self-portraiture in German Renaissance art. University of Chicago Press, 1996.
Schmidt, Sebastian. >>dan s? machten dy vürtrefflichen künstner reich<<. Zur ursprünglichen Bestimmung von Albrecht Dürers Selbstbildnis im Pelzrock, in Anzeiger des Germanischen Nationalmuseums, . ISSN
Shiner, Larry. The Invention of Art: A Cultural History. Chicago: Chicago University Press, 2003.
Smith, Robert. Dürer as Christ?, in The Sixteenth Century Journal, Volume 6, No. 2, October
Strauss, Walter L. The Complete Engravings, Etchings and Drypoints of Albrecht Dürer. Dover Books, New York, 1972
von Fricks, Julian. "Albrecht Dürer the Elder with a Rosary". In: Van Eych to Durer. Borchert, Till-Holger (ed). London: Thames & Hudson, 2011.
: Hidden categories:泰剧谜图/神秘的画像/The Mysterious Portrait分集剧情介绍第1-17全集大结局
泰剧谜图/神秘的画像/The Mysterious Portrait分集剧情介绍第1-17全集大结局
泰剧名：《谜图》
又　名：神秘的画像，Paap Ataan，The Mysterious Portrait
外文名：&#3616;&#3634;&#3614;&#3629;&#3634;&#3606;&#3619;&#3619;&#3614;&#3603;&#3660;
集　数：17集
类　型：剧情，爱情，悬疑，恐怖
导　演：Noom Atthaporn Teemakorn
演　员：纳瓦&君拉纳拉，拼&塔安，Charebelle Lanlalin，雅雅英，培查雅&朝瓦莉
泰国电视剧《谜图/神秘的画像》剧情梗概：大结局
　　女主娘欠男主家的债，所以把家族相传的屋子抵给男主。因为传言屋子有鬼，所以一直没人住，仅有一个疯老伯负责打理。男女主先后来到屋子，被大厅挂的画像吸引，晚上起初做梦。前世，男主住在这并与这的千金相爱，男主与千金却因为岗位调遣被迫分开，男主承诺一定会回来娶千金。但是男主遇见了女主，娶了女主。男主带女主回了屋子，千金悲愤万分更恨女主，她只能给男主做二妻，千金起初用不同的方式迫害女主夺回男主的心。最后将怀有身孕的女主推下楼梯，一尸两命，也永恒失去了男主。这一世，千金的鬼魂寄于画中继续迫害女主.......
泰国电视剧《谜图/神秘的画像》分集剧情介绍：
谜图/神秘的画像/The Mysterious Portrait分集介绍：第1集剧情[1]&[2]&[3]&[4]&[5]&[6]&&下一页　　恐怖的大宅院里，墙上的照片上的人物透漏着诡异，尤其是这个身穿华服，眼神忧郁的女人!屋里的灯光也在摇摇晃晃。隐约中听到有人在吵架，之后发生了冲突，一名女仆从楼梯上掉下摔死。多年后，古老的大宅外来了三个人，开门的女子Anong是这座宅子的后人，带来两位男子是要带他们参观宅子，方便本人出售。观察一圈后，Chettha明确不买这样废弃的宅子。走后，墙上这个华丽女子的照片后却发出怪声，叫着&爵爷，请回来吧!&Anong前去找Chettha理论，告知他这个宅院是1907年建的，经历了105年的洗礼，质量可以保证。最终被侮辱说她只不过是为了替本人的妈妈还债，Anong转过来回到本人卖祖宅的话他可以快点拿到属于本人的钱。被惹怒的Anong偷开走Chettha的车，吓得Chettha和Nut赶紧去追。在给车上留了一公升的油钱和纸条后，Anong下车回到了家中。回到家中的Anong被娘询问卖屋子的事，最终生气的Anong说Chettha根本不想要本人家的屋子。有一些疑惑的Anong娘约Chettha先生见面询问看屋的事情，Chettha表示本人不想要这个屋子也不会催她们赶紧还债的。
　　夜晚，一位老人提着油灯到古宅里巡逻，听到这位墙上女子的呼唤，老人被这个女子痛骂离开，这位女子告知老人本人要去寻找爵爷，之后察觉墙上画里的女子已然消失不见。已然到了Chettha家门外的女鬼，在庭院里张望着寻找她的爵爷。在家中玩着游戏的Chettha，困急上楼休息，被站在外面的这位画中女鬼见到，女子泪流满面低声说着本人已然知错了，希望爵爷赶紧回家，9度网剧情。后来女子伤心地又回到了古宅里的照片中。Anong早上起来筹备去上班，被娘叫住吃早餐并被告知娘又向Chettha借钱，Anong不满娘的行为，娘却不以为意，觉得不用被催着还债是多么好的一件事，况且被逼急的话本人还可以靠卖女儿还债。岗位中的Anong约Chettha在本人岗位的饭店见面，并告知他希望不要再借钱给本人的娘，Chettha表示她娘是长辈，她本人不计较就会借给她。被气的说不出话的Anong走到了饭店后面伤心流泪。
　　一面气着Anong的Chettha，一面又给Anong的贷款人打电话帮忙照顾，本人也不知道本人在干嘛。在Chettha的宅院里，一名男子在草地上找东西，最终被突然出现的画中女鬼吓到。相同Chettha也察觉了不对劲拿了枪去查看，最终找到的是刚才这名男子&&家里的帮佣。两人在家中讨论是否有鬼的问题，最终被突然出现的女鬼声音给吓住了。晚上在次去找爵爷的女鬼失望回到了古宅，并将怒气都发到了老仆人的身上。早上出门筹备上班的Anong看到了来到家中的高利贷债主，前来借给娘钱并附带高额的利息。Anong表示如果娘签约就与她断绝关联。Chettha无心中听到有人要Anong的娘高额利息，就让本人的跟班Nut前去买Anong家的老屋子来帮助她们，最终却被拒绝。无奈之下，Chettha找了一个中间人来买古宅。Chettha的女友Ket回来了，被Chettha带去古宅参观，在屋子里观察墙上的照片时无心惹怒画中女鬼，最终被画中的女鬼发怒整治。这时，Anong带着买屋子的人前来参观察觉了Chettha。后来，Anong前来古宅与祖先道歉，最终Chettha突然出现被怀疑，Anong才察觉买本人屋子的绝非别人正是Chettha，想要退款不卖屋子的Anong被告知已然不可能。Chettha想惹怒Anong ，就说本人买屋子后就要将这里拆了，筹备重建，最终被屋子里面的鬼听到刮风来表示本人的不满。Anong表示如果Chettha在这个古宅里呆一晚就知道宅子里有没有鬼。上一页&&[1]&[2]&[3]&[4]&[5]&[6]&&下一页谜图/神秘的画像/The Mysterious Portrait分集介绍：第2集剧情
　　不相信屋子里住着鬼的Chettha，与Anong和Nut在古宅里明确睡一晚。Nut看到了墙上照片中的白衣女子害怕得不得了，原来是Anong的奶奶Noi!Chettha看到了画中这个华丽女子原来是Anong的曾祖母Prayong。Anong带着他们两个到楼上的卧室，卧室的灯全是坏的，只能靠油灯照明。Nut在Anong奶奶Noi的屋间里睡觉。夜深人静时，Chettha和Anong都睡的不踏实。夜梦中，两人不约而同的在宅子里转悠，在楼梯口相遇，9度网剧情，察觉了不可思议的一幕。破旧的古宅夜晚恢复了华丽，墙上照片中的女子从墙上走下来，这位曾祖母Prayong走在楼梯下看着Chettha和Anong，然后Prayong邀请着&爵爷&Chettha下来参加她们Singhamontree家族的聚会。接着不可思议的一幕发生了。Chettha和Anong看着他们两个穿着华丽的衣服走下了楼梯，这位&爵爷&还叫着Anong的名字为&Orn&，明明他们本人还在原地站着!
　　这位&爵爷&和Orn走到了宴会厅在&众人&的面前跪下行礼，坐在中间的这位Anong的高祖父恭喜这位&爵爷&获得了司法部长一职，况且询问他旁边的这位与Anong长相一样的名叫Orn的女人是谁。Prayong一直在看着爵爷如何回答。此时Anong在梦中见到了爵爷与Anong在一同，并不自觉的流下泪珠。而在Chettha的梦境中，这位高祖父介绍本人的女儿Prayong给他认识，本人被Prayong的美丽吸引。日亮了，Chettha见到Anong和Nut，表示本人晚上并没有发生什么不寻常的事情，这样的话本人按照当初所说的，对这里进行重建。这时，Anong被气得走了。Nut不解为什么Chettha一直欺负Anong，气的人家都哭着出去了，Chettha则表示本人喜欢这种欺负她的感觉!这时，Chettha听到了墙上Prayong叫本人爵爷的声音，不由走到了画的面前，听到Prayong说如果这里拆掉她们就没有地方住了。老仆人Krap晚上到古宅拜祭，告知墙上的Prayong这里要被拆掉，Prayong与Noi走下照片，Noi兴致勃勃地说这里拆掉的话可以去本人死的地方&&河边待着，而老仆人Krap一句话得罪了Prayong，被其折磨的死去活来，谈及本人死去的妻子Ting，Krap觉得定是Prayong逼她干了违法的事情连她死去的尸体都没见到。
　　Chettha在单位无心间想到昨晚的这个梦境跑神被单位的Noh姐训斥，之后Nut来找本人正好解围。跟Nut聊起昨晚做梦的事情，Nut表示昨晚的梦境十分真实!他梦到本人在与一个女子在河上划船，但没有看清女子的长相，耳边的划水声十分真实。Chettha也同意这个看法，昨晚他一直闻到一股花香，但却忘了这种花的名字是什么。Anong在岗位时也无心间想起昨晚的梦境，也梦到了这个Orn在做泰国甜品，回家后就问本人的娘会不会做泰国甜点，本人要去哪学做甜品，被娘问到与Chettha在古宅住一晚有没有见到什么奇怪的东西，Anong表示Chettha没见到，娘就把多年前本人去古宅见到曾祖母Prayong从画中走下来告知了Anong，并感到Prayong是在等什么人出现，估计是她爱的人。Chettha正与他的女友Ket在餐厅用餐，期间谈及这座古宅的问题，Ket的脑海里想起被人抽打的画面，本人也说不上来，想要Cherrha赶紧把它拆掉，里面有古怪，但Chettha则表示如果拆掉的话很多人就会伤心，Ket生气与他理论其实Chettha是害怕Anong伤心。上一页&&[1]&[2]&[3]&[4]&[5]&[6]&&下一页　　这时Anong到餐厅找Chettha告知他可以马上把屋子拆掉，却被Ket调侃拆屋子的事情不需求她这个旧主人的同意。Anong觉得多此一举就走掉了。Ket怀疑这其中一定有什么因素导致Anong想要赶紧拆屋子。Chettha也表示对此不解。老仆人Krap在次到宅子里，察觉Prayong不在画中。出去找Chettha的Prayong看到了Chettha与Ket在一同，伤心的Prayong哭着害怕Chettha忘掉本人。回到家的Anong与娘说起希望宅子赶紧拆掉，就是害怕会有可怕的事情发生。醉了的Ket希望Chettha留下来陪本人，却被拒绝。愤怒的Prayong出现在窗外，骂着Ket贱奴!
谜图/神秘的画像/The Mysterious Portrait分集介绍：第3集剧情
　　看到Ket欲留Chettha过夜不成，Prayong怒火中烧，Ket家里的灯泡被整得明暗不定，杯子也被莫名的移动掉到地上，水果刀差点插到Ket身上，洗澡水也变成了血液。惊吓过后的Ket察觉原来什么都没有改动!回到古宅的Prayong愤怒的说当时被爵爷带过来的Ket就对爵爷有意思，而且Ket从未对她有过尊重，对于这样的贱奴本人不会逆来顺受。一日，她看到Ket刚洗过衣服，就让Ting去教训她，最终被Ket反击。Prayong现在看到Ket仍然在纠缠着爵爷，本人倒要看看她能缠到什么时候。被秘书告知已然有三家装修单位投标修复古宅，已然在去古宅参观的路上，Chettha与Nut赶紧前去希望来得及。正好遇到了去找Chettha的Anong，Chettha拉着她一同坐船前往古宅。不明情形的三家单位在古宅里参观，却被Noi和Prayong戏弄吓跑。赶到古宅的Chettha三人看到来投标的三家单位的人被吓得慌乱上船逃走，Anong骂Chettha让人来本人参观反而被吓走，Anong又告知Chettha不想拆屋子，Chettha想要知道理由却不被回应。看到Anong与Chettha卿卿我我，Prayong妒火中烧，刮起了黑风吓走了Anong。想要与爵爷见面被Noi制止。
　　Chettha在其他人都走后，走到Prayong的画像前，告知她等的这个爱她的人一定会出现的，高兴的Prayong流下激动的泪水。Chettha告知Anong，他不会拆掉这样美丽的建筑，Anong说了句谢谢。宅子里住着的鬼魂听到了，高兴地在音乐声中翩翩起舞，9度网剧情，听到宅子里的鬼魂欢快的笑声，Anong和Chettha也不由的笑了。听到外面传来的笑声，Prayong顿时翻脸，想到了Orn在上一世就已然取得了大人的爱，这一世又来纠缠。怒火中的Prayong找到Krap问他当时到底是谁犯的错，老仆人只能回答说全是因为爱，却还是被Prayong伤害。回想起当时大人Prat(Chettha上一世的名字)与本人十分相爱，Prat在她的家中受着族人的照顾，他辛苦学习取得政府岗位的机会，Prayong细心的照顾Prat去就职并在三年后照旧在家中等着他的回来。最终Prat已然结婚并带回来了本人的妻子Orn。继续追问着Krap到底是谁犯的错，被Noi出现制止，Prayong将怒火发到Noi身上，被Noi回到Orn和Ket并没有什么错，只是Prayong记恨世上的所有人。慈爱的Noi劝姑姑Prayong回头是岸。
　　睡梦中的Chettha感到有人在他的枕边呼唤着&大人，快回来吧!&，一下子惊醒了过来。原来是太想念他的Prayong傍晚跑到床上呼唤他。Chettha与整修单位签订了合同，筹备开工整修老宅。Prayong看着整修队对她的家乱动，再也忍不住的她伤害其中离她最近的人。事后，Chettha跑到Prayong画像前告知她，如果再有这样的事情发生，他就再也不会出现在这个宅子里。取得Chettha许诺的Prayong，高兴地回想起年青时，本人的美貌在当时是人们谈论的话题，她的一举一动都被人们注视着。当时的Prat十分的喜爱本人，侄女Noi也说在屋子修复后，大人Prat很快就会回到她的身边的。在家中与娘Pin讨论曾祖母Prayong的Anong，被娘告知有一个人对Prayong理解，于是俩人前去寻找Soi奶奶。看到Soi奶奶对本人吃没吃早餐都不清楚，Anong不禁怀疑她是否记得关于曾祖母Prayong的事情。上一页&&[1]&[2]&[3]&[4]&[5]&[6]&&下一页　　Soi奶奶告知Anong，Prayong十分狠毒，况且杀害了她的女儿&&Prayong的亲孙女Sawat!　　感受到娘一日不见如隔三秋的Sawat，从墙上下来痛哭流泪，Noi前去安慰。不耐烦听到哭声的Prayong对她们俩下毒手，被突然进去的工人感受到，害怕的工人要跑出去，被刚进来的Chettha阻止。工人们纷纷表示不愿意在这里岗位，Chettha起初与工人们谈条件，要怎样才能继续岗位。这时，Prayong想要与Chettha更近点，从画中下来在他的身边坐下，被一名工人恰至真至纯到。于是Prayong跑到这名工人这，按向他的头部，工人被吓得倒地不醒。众人忙把工人Note送去救治。
谜图/神秘的画像/The Mysterious Portrait分集介绍：第4集剧情
　　Prayong把一名工人弄晕后，透彻惹怒了Chettha!Chettha不得已给每个工人们加薪百分之十五，警告Prayong如果继续这样下去，他就会在这里待最后一晚，之后就将这里封存起来!伤心的Prayong流下了泪水，但当她听到Chettha与Ket讲电话时，嫉妒心就在次占据脑海。Nut想要找装修师傅改设计图纸，却被拒绝。Noh姐帮忙巧妙地改动装修师傅意见。一直找不到Chettha的Ket打电话给Nut，被回到他也没有见到Chettha!Nut试图与Chettha的帮佣Leum联络查找Chettha的下落，得知Chettha今晚会在老宅子里过夜，恰巧被路过的Anong听到!夜晚，在庭院里散步的Chettha在次闻到了这股花香，恍惚间听到有人告知他这种花是Prayong(米兰花)!Prayong跑到心爱的爵爷&&Chettha身边诉说着多年前他俩的爱恋，情到浓时却被Anong突然闯进来打断。Prayong明确对这个突然出现的乡下丫头点颜色看看，刮起了黑风，倒了的树杈差点砸在Anong身上。
　　一直在呼喊着Chettha的Anong躲过了倒地的树，摔倒在地。这时才被这边沉浸于幻境的Chettha察觉抱起，不甘于见到他俩抱在一同的Prayong，回到了宅子里面。Noi把当年的事情与姑姑Prayong说，当年Orn姐并没有什么错。回想起当年，Noi的爷爷让Prayong跟随Prat到这边一同生活，一直骄傲的Prayong不愿到这么远的乡下生活。Noi说是Prayong亲手把爵爷Prat送到了Orn的手中。愤怒的Prayong高声哭到绝非本人的错，全是Orn的错!庭院里的Anong听到了哭声，问Chettha为何会在宅子里过夜，原来是Chettha想要见Anong的曾祖母Prayong一面。被指责是本人的错误的Prayong，愤怒的告知Noi本人会想方设法让Chettha在想见本人的时候就可以见到，就算损失法力也无所谓。Anong和Chettha回到宅子里，遇到刚要出去的Krap　　。Krap见到爵爷这张脸，想起了多年前爵爷救本人和妻子Ting的场面，一时愣住了，忙走了出去。看到Anong&故意&摔倒，Chettha去牵她的手，Prayong生气的从画中走下来，鬼魂的她只能在虚空中抱着Chettha，侄女Noi劝她不要做无谓的努力。
　　只要现在慢慢的等着爵爷，他就一定会回来的。终于听进劝导的Prayong回到了画中。看着Chettha与Anong在打情骂俏，Prayong还是忍不住的骂Anong矫情。看到偷偷在外面躲着的Ket，Prayong高兴地说好戏就要重演。看着Anong与Chettha之间的距离越来越近，Ket跳了出来挡在中间阻止他俩在一同。Anong不想再在这里呆着，想要回家被Chettha阻止，说他们三个今日都要在这里过夜，谁也不能走，9度网剧情，他想看看到底会发生什么。Ket看到屋间里阴森森的照片，便要求Chettha装修屋间后把墙上的照片都给扔掉。Prayong生气的骂Ket贱人，当年还是本人派人教训她懂得什么是规矩。当时本人找人拿鞭打她直到昏厥。Ket与Anong住在一个屋间里，Ket感到有人拿鞭抽她，身上一阵阵的疼。Prayong走到Chettha的梦境，想要与他共度良宵，最终被Ket的敲门声打断，最终本人的灵力受损只能与爵爷分开。回到家的Anong被告知Soi奶奶晚上见到了Sawat，Anong想要深入理解关于Sawat的事情，却只能等到屋子装修完后，Soi奶奶到这里想起来才能被告知。Chettha去Anong的岗位甜点屋佯装买甜点，其实是想见见Anong。回到家中的Anong与娘说明本人不喜欢Chettha看本人的眼神。Chettha回到单位起初设计对于老宅子的修复，整修队也在快速的修复屋子，并准许一个月内修复完成。看到修复好的宅子，Prayong和Noi、Sawat都露出了会心的微笑。上一页&&[1]&[2]&[3]&[4]&[5]&[6]&&下一页谜图/神秘的画像/The Mysterious Portrait分集介绍：第5集剧情
　　看到整修好的屋子，高兴的Prayong叫来Noi和Sawat!Noi无心的说起当年在屋子里玩耍的情景，提到Sawat小时候被Prayong害死的事情。生气的Prayong要挟她俩别再说了。Prayong想像着日后可以与爵爷在一同，高兴起来。Noi好意的提醒她，他们已然不属于一个世上。而且日后也有可能会看到Chettha与Ket或者Anong在一同的画面，被Prayong喝道，除了她本人谁都没有资格取得爵爷的爱!在单位与职员讨论老宅子俱乐部聘用员工的问题，Chettha提出要找一个机智能干的经理来管理，言下之意就是要聘请Anong来岗位。被Nut调侃他注定会失败的。Noh姐问Chettha是绝非喜欢上了这个姑娘，Chettha矢口否认。Chettha与帮佣Leum商量好要去古宅子里住上一个月。夜晚，一日不见如隔三秋Chettha的Prayong在次来到他的床前，看着Chettha的睡颜，泣不成声!　　一日，Anong的娘在家中接到Chettha打来的电话，邀请她去赌博。多日不赌的娘受不了诱导，筹备出门赌博!被女儿撞见，Anong狠心说如果再赌博的话就与她一刀两断，伤心的娘还是选择赌博!看到晚上回家赌的只剩一点钱的娘，Anong气得半死。第二日就去Chettha先生单位找他，秘书Noh姐多嘴说Chettha在俱乐部&&古宅子，况且说出Anong将要做这里的经理。
　　Anong赶到老宅子见到Chettha和Ket，Ket不满Anong经常出现在男友Chettha的面前，就警告Anong管好本人。Anong前来恳求Chettha别再邀请本人的娘去赌博况且本人不愿到老宅子里岗位，Chettha准许如果Anong愿意做这里的经理，他也会帮助她的娘控制毒瘾。整修一新的古宅俱乐部开张了，赌博、娱乐、休闲多元一体化的服务引来不少顾客。Chettha看着Anong在俱乐部做经理游刃有余，便想着晚上下班后与她好好聊聊。熟料，Ket下班后要住在这里缠着他，况且Anong和娘Pin也要离去。Prayong看着Ket一直缠着Chettha，想起当年Prat带着Orn和Ket一同进家门的情景。Ket这时一直是趾高气扬、不懂规矩，相反Orn当时一直是忍气吞声。当时就与Ting想办法整治Ket。晚上在宅子里睡觉的Ket夜梦中，被Prayong警告不能接近爵爷。次日早上，Ket到Prayong的画像前骂到底谁是爵爷，恰好被Anong瞧见。Ket在次惹怒Prayong，晚上又一次被掐脖子要挟。
　　Ket在次建议Chettha把Prayong的这张照片扔掉，最终又被Prayong整治。这次是在她唱歌时，扼住她的喉咙发不出声音。Ket还想整治她，被Noi制止，如果继续的话这里估计又将会关闭。夜晚，Prayong在次使用能力进入Chettha的梦境与他继续前缘，趴在Chettha的身上，回忆起当年他们是多么的相爱，Noi此刻提醒姑姑别使用太多的能量，Prayong觉得此刻的幸福比什么都宝贵!当年爹娘都祝福本人与Prat的爱情，但当时的Prat背叛了本人，本人是多么的爱着他，被当时的他人误认为是小老婆也无所谓。此刻在Chettha的梦境中，完成她多年想要完成的梦想。上一页&&[1]&[2]&[3]&[4]&[5]&[6]&
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