查询词典 Mondrian

Where Mondrian used it to comment on the allure and danger of our techno-rationalized lives, Rothko saw abstraction as a way into the depths of our unrepresentable interiority.

蒙德里安以抽象评点技术理性生活的诱惑与威胁；罗斯科将抽象视为通往不可表象的内心世界深处的方式。

This approach was first followed in the visual arts by modernist painters like Kandinsky, Klee, and Mondrian.

这种方法在视觉艺术的代表像康丁斯基、克利和蒙得里安。

And as for such modernists as Miró, Mondrian, and Klee, it would be another four or five years before I would catch on12 to what they and their colleagues were up to.

我把绘画和我年轻时的其他东西一起放进了一个箱子里，要不是几天前我决定把它们搬出来重新鉴赏一番，它们还会一直待在那里。

I am working on some private residences as well as the new Mondrian hotels in Miami South Beach and Las Vegas.

现在我在美国迈阿密和拉斯维加斯设计一系列的私人住宅项目，同时也在设计一系列蒙德里安风格的酒店。

This must have been the most extensive Mondrian exhibition to date.

这一定是蒙德里安迄今为止最广泛的展览。

There are 4 Mondrian works and 6 photographs of exhibitions of Mondrian.

蒙德里安的作品有4和6的照片展览蒙德里安。

It bares many of the hallmarks that Mondrian used later on.

它展露出众多Mondrian后期作品的印记。

But the idea also had its roots in Mondrian's mapping of a tree as a series of dots and lines denoting structure.

但这个想法的根源也在Mondrian以点与线表现树木的结构的实践中得到了表现。

It would appear this work bears the traits of a Mondrian painted at the turn of the century.

不过这部作品怀有Mondrian 世纪初的风格。

A Mondrian framework is proposed for exploring the essence of music. In 1920s, Dutch painter P. Mondrian proposed horizontals and verticals as the basic forms of beauty for painting. In 1960s, scientists D. H. Hubel and T. N. Wiesel discovered the corresponding cellular evidences for supporting Mondrian's proposition.

本文提出用蒙德里安架构来阐释音乐的本质。1920年代里，荷兰画家蒙德里安提议用水平线与垂直线作为绘画的基本形式美。1960年代里，科学家修伯尔与威瑟尔发现支持蒙德里安提议的相对细胞证据。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。