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art criticism相关的网络例句

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与 art criticism 相关的网络例句 [注:此内容来源于网络,仅供参考]

In its broader context, social realism can be regarded as something of an international phenomenon, including the Wandering of Russian artists in the 19th century, the Mexican mural paintings of the 1930s and the so called Ashcan art of America, spanning from the turn of the 20th century to the 1930s. The difference between social realism and socialist realism is that the former is free from the influence of national ideology and control; it is the result of independent thought and criticism by freethinking intellectuals.

社会现实主义,从广义上讲应被视为一种国际现象,它包括19 世纪俄国"巡回画派"、1930年代墨西哥的壁画以及大体发生在美国世纪之交到30年代的所谓的"垃圾桶画派",它与社会主义现实主义不同的是,前者不受国家意识形态和艺术体制的控制,它是自由知识分子对社会现实的独立思考和批判。

In its broader context, social realism can be regarded as something of an international phenomenon, including the Wandering of Russian artists in the 19thcentury, the Mexican mural paintings of the 1930s and the so called Ashcan art ofAmerica, spanning from the turn of the 20thcentury to the 1930s. The difference between social realism and socialist realism is that the former is free from the influence of national ideology and control; it is the result of independent thought and criticism by freethinking intellectuals.

社会现实主义,从广义上讲应被视为一种国际现象,它包括19 世纪俄国"巡回画派"、1930年代墨西哥的壁画以及大体发生在美国世纪之交到30年代的所谓的"垃圾桶画派",它与社会主义现实主义不同的是,前者不受国家意识形态和艺术体制的控制,它是自由知识分子对社会现实的独立思考和批判。

It's the constructiveness and creativeness residing in the internal criticism of art that guarantee the real truthfulness of art.

本雅明对艺术的具体打量,往往游移在犹太教、基督教以及马克思主义等多个相关视域之间,呈现出多重透视的特点。

However, recently, some scholars brutally treat it as a federalism draff with their unfair criticism and blasphemy, and even named it as "fake art" and "foot-twined art".

然而,近来也有学者对其大加讨伐,将其视为封建主义的糟粕,并称其为"伪艺术",比作"裹脚艺术"。

Works Exhibition of Pang Yongjie, Ma Ke and Zhang ChunUnder the contemporary art context, the criticism against artistic phenomena and correlated modality of art and artists is comparatively general, and it's not as critical as that against society and human nature by human intellectuals, but always becomes slave driven by money and interest as a result of overladen vociferation.

孙磊 在当代艺术语境中,对艺术现象及其相关艺术和艺术家形态的批判是相对泛化的,它并不能形成像人文知识分子对社会、人性等界面的质疑那样对艺术界面进行质疑,往往因为过分的喧嚷成为金钱或利益驱使的奴隶。

It tries to and should mix and fuse poetry and prose, inspirition and criticism, the poetry of art and the poetry of nature; and make poetry lively and sociable, and life and society poetical; poeticize wit and fill and saturate the forms of art with every kind of good, solid matter for instruction, and animate them with the pulsations of humor.

浪漫主义诗歌试图并理应融合诗与散文,融合瞬间灵感与理性批评,融合人工雕琢之作与自然天成之品;应该使诗充满生机令人喜闻乐见,给生活与社会点缀诗意;应该令才智富含诗情,用旨在教益的各类善的、坚实的素材充实各样艺术形式,展现艺术家个性以令这些艺术形式焕发蓬勃生机。

B Although in consumption culture the architecture criticism is a kind of mass taste criticism, and the valuation of architecture also appears to be commerce value, however in this frame architecture can also possess its own profound content and art value, all these lies on the attitude and the practice method of the architecture productor.

b虽然消费文化中的建筑批评多是一种大众趣味的批评,其价值取向也主要表现为商业价值,但在这种框架里的建筑仍然可以具有深刻的内涵,仍然可以实现其艺术价值,这取决于生产主体的态度与实践方式。

And works created to be hypes like "Wu Guanzhong walking into 798","what is Li xianting evading?", etc. being confronted with these, we can hardly find any reflection or criticism of contemporary art, on the contrary, what we experience is the corrupted and self abandoned art.

面对这些行为或作品,我们丝毫未能感受当代艺术对于当代社会、人的精神的反思或批判,我们只能感到利益化的商业机制对于艺术的腐蚀以及艺术自甘堕落的&伪态化&。

Each place offered opportunities for me to engage in discussions regarding art history, art production and criticism.

在这些国家的经历给了我全身投入到美术史,艺术创作和评论中的机会。

In the beginning of the 20th century,"Avant-guard" which managed to blend art and life together, has gradually developed into an art form which connected with the social criticism and practical participation.

20世纪初,试图把艺术和生活融为一体的前卫艺术逐渐发展成为一种关乎社会批判或现实参与性的艺术形式。

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