野兽派风格的的英文翻译(translate 野兽派风格的 to english) - 汉英 - 词典

The works of Yuri Gulitov are inspired by various artistic and architectural styles, including brutalism, constructivism, dynamism, and a quest for freedom from establishment rules.

俄罗斯设计师Yuri Gulitov的作品深受各种艺术与建筑风格的影响，包括野兽派艺术、构成主义、物力论以及在既定规则里对自由的追求。

While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only three years, 1905–1907, and had three exhibitions.

虽然野兽派风格开始为1900年左右，并持续超过1910年，这样的运动只持续了 3年，1905至1907年，并有3个展览。

Fauvism went one step further in using simplified designs in combination with an "orgy of pure colors" as it was characterized by their critics.

而野兽派远不满足这种效果，简单的构图以及批评家口中"放纵的纯色"标志了他们的风格。

His early work was close to Fauvism, but already in 1908, when the artist was active at brittany, his landscapes assumed new features foreshadowing the emerging cubism

他的早期作品风格接近野兽派，但在1908年，当他活跃在布列塔尼画坛时，他的风景画已呈现出新的面貌，预示着正在出现的立体主义。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

Impressed by Matisse at the autumn Salon of 1905, he began to paint in the "Fauve" style.

到了1905年，在巴黎秋季沙龙中，他深受马谛斯所感染而开始其野兽派风格的创作。

Fauvism went one step further in using simplified designs in combination with an "orgy of pure colors" as it was characterized by their critics.

而野兽派远不满足这种效果，简单的构图以及批评家口中&放纵的纯色&标志了他们的风格。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

Marked by the shadow of World War I and the forebodings of the next world war, for modern art this was a period of rapid ascent and growing public acceptance.

蒂斯是野兽派当之无愧的领袖人物。但&野兽派&时期只不过是马蒂斯艺术生涯中的一个短暂时期，马蒂斯的独特风格则主要是他在&野兽派&时期之后渐渐形成的。

They seem to evoke more of a fauve-coloured view of the world than of a "return" to colour which came after the Pre-Cubist period of decomposition of forms under Braque's influence.

这种对色彩的运用，与其说是杜菲立体主义风格前期，在布拉克的解构风格影响下对色彩的回归，不如说更似其野兽派的画风。