The 7th Victim - Alan Jacobson [122]
“What is it?” Vail asked.
“There’s something more going on here.” He switched to reading glasses and looked down at the file. “I just haven’t been able to put my finger on it.”
After a long moment of watching Rudnick stare at the page and shake his head in frustration, Vail asked, “What about the blood murals?”
Rudnick’s face brightened. “Ah, okay, that’s a bit easier to explain. Let’s talk for a moment in generalities. There was a question about Impressionism.” He got a nod from Vail and continued. “Well, Impressionism is an artistic movement that was born in France and lasted from the 1860s to about 1886. It consisted of a group of artists who shared a set of related approaches and techniques—”
“I was an art history major, Wayne. I know all about its origins.”
“For your very intimidating colleague, then, since odds are good that both of you weren’t art history majors.”
“That’s correct,” Robby said.
Rudnick winked at Vail, glanced down at his notes, then continued. “Impressionism was considered an extreme departure from the previous major art movement of the Renaissance. These painters rejected the concept of perspective, idealized figures, and chiaroscuro—the use of dark and light in a stylistic manner—”
Vail held up a hand. “I wonder if Dead Eyes is using Impressionism as a symbol, consciously or unconsciously. His rejection of something in society, his way of making a statement.”
Rudnick nodded. “That’s certainly a possibility. I’d thought of that, but haven’t had time to run it through the old gears,” he said, pointing to his brain. He turned back to Robby. “The Impressionist painter’s focus was on capturing the effect of light on the colors of a landscape. Up close, their paintings look like splashes of color. They don’t look like much of a picture until you view them from a bit of a distance.” He looked at Vail. “I’m only getting this stuff secondhand, so if you have anything to offer, cut in.”
“Nothing to offer. But I think you—and your expert—are missing the point. I said the offender’s blood murals reminded me of an Impressionism era painting. Mostly because of the strokes, the way the blood was laid out. It wasn’t merely blood spattered on a wall, like a disorganized offender would leave it. It was . . . applied in a very specific pattern. Like a painting, as if the offender looked at these murals as an art form in and of itself.”
Rudnick was nodding animatedly. “Yes, yes, that’s my point. But again, you’re jumping the gun. You on speed today, Karen, or what? Too much coffee?”
“You take forever to get to the point sometimes, Wayne.”
“Fine. Here’s the point: I checked with an expert on offender and inmate artwork. She analyzes their doodlings as well as the more elaborate sketches, including pictures drawn pre-arrest and during incarceration. It took her a while to come up with something. She took it to an art historian, who saw what you were talking about, the possible influence of Impressionist painters, but since it was ‘painted’ with fingertips and not a brush, she couldn’t analyze brush strokes, which seems to be a key indicator when trying to evaluate artistic trends. There was a suggestion of Impressionist influence, but she wasn’t willing to commit to anything more than that. It didn’t really follow the conventions of Impressionism, particularly the technique of light and color. There’s no light source and no color because there are no pigments. It’s just blood. She said it’s like trying to paint an entire rainbow with only blue or red on your palette.
“So it fell back on the desk of the offender artwork expert, whose best guess was that there was a method to the brush strokes. Very organized and planned, with an inherent order. There was a repetition in the strokes, but she was unsure it meant anything other than to make it distinguishable and unique. She couldn’t discern any hidden meaning to the murals but was sure it was the work of the same ‘artist.’” He flipped a page of the report