查询词典 painters

Like the French poet Apollinaire, he was a "poet among the painters."

像法国诗人阿波里奈尔一样，他是"画家中的诗人"。

Guillaume Apollinaire characterized her painting in The Cubist Painters;"Like the dance, it is an infinitely gracious and rhythmical art of enumeration."

纪尧姆·阿波利奈尔在《立体主义画家》一书中概括了她的绘画特征："就象舞蹈一样，这是一种不胜列举的极其优雅的和富于节奏感的艺术。"

Having arrived in Paris in 1911, the De Chirico brothers (Giorgio and Alberto, who would later adopt the name Savinio) quickly fell in with the company of painters and poets who gathered around Guillaume Apollinaire and his publication Paris Evenings.

1911年，迪基里科兄弟（亚尔拔图迪基里科选用了「沙维连奴」为名字）到达巴黎后，随即加入当地画家与诗人的行列，并与吉龙阿波利奈尔及他的杂志《巴黎之夜》之友好为伴。

As to his painting contribution, accomplishment and influence, I have made three conclusions according to my research results and various allegations from others. 1. He actively promoted art of the aquarelle; raised the position of aquarelle in the painting circle.2. He insisted on taking local subject as the core of painting, therefore, he has left the precious historical records of the native scenery .3. He actively endeavored to hold painting exhibitions, encouraged the international cultural interchange and expanded the vision of the painters and the public at southern Taiwan.

有关其贡献、成就及影响，笔者就各家所论及个人研究所得提出三项论点：一为积极推展水彩画艺术，提高水彩画於画坛的地位；二为坚持以乡土题材为其创作主轴，不仅引领出一股乡土写实风，更为逐渐消逝的乡土景物留下珍贵的历史纪录；三为积极推展画会活动，促进国际文化交流，扩展南台湾画家及一般民众的视野。

The second part is the key point, it promulgate deeply that emphasizing one's"feeling"is character of sketch paining, from introducing and anglicizing the generation of several sketch painters'(Paulo·Cezanne, Alber holds·Jia Kemei the peduncle, Lu Xi'an·Floyd, a Avey gram·Arica) work, viewpoint, scheme, promulgates deeply that is the character of sketch painting by emphasizing one's"feeling".

第二部分是本文的重点，从介绍分析现当代几位写生画家(保罗·塞尚、艾伯托·贾科梅蒂、鲁西安·弗洛伊德、阿维克多·阿里卡)作品、观点、图式入手，深层揭示个人"感觉"的强调是现下写生绘画的特点。

Like modern art psychologist Rudolf Arnheim said:"Impressionist painters demands made by all, that is a true record of those in a specific time and specific location of perceived color of the smallest units."

犹如现代艺术心理学家鲁道夫·阿恩海姆所说："印象主义派要求画家们所做的一切，就是真实地记录下那些于特定时刻和特定地点知觉到的最小色彩单位。"

Hence we might speak, among men, of a true Bible complex: Babel was supposed to serve to communicate with God, and yet Bible is a dream which touches much greater depths than that of the theological project; and just as this great ascensional dream, released from its utilitarian prop, is finally what remains in the countless Bibles represented by the painters, as if the function of art were to reveal the profound uselessness of objects, just so the Tower, almost immediately disengaged from the scientific considerations which had authorized its birth (it matters very little here that the Tower should be in fact useful), has arisen from a great human dream in which movable and infinite meanings are mingled: it has reconquered the basic uselessness which makes it live in men's imagination.

因此我们会在人群中诉说一个真正的圣经情结：圣经是连接上帝的纽带，然而"圣经"也是一个可以触及灵魂深处的梦想，绝不仅仅是神学上的宗教工作项目而已。正是这个古老而神圣的梦想，正是这个摆脱了所谓技术支撑的梦想，最终产生了无数的描绘圣经的经典作品，似乎艺术的功用就是去揭示一些深奥但却无用的事物。就像这艾菲尔铁塔，几乎立刻就脱离了那些能使她得以存在的科学性考虑（就是铁塔必须具备实用性这一事实），她就从人类无限变幻的梦想中呱呱坠地：艾菲尔铁塔体现了一种信念，这种没有任何实用性的信念就是要让艾菲尔铁塔永远矗立在人类的想像空间中。

Hence we might speak, among men, of a true Bible complex: Babel was supposed to serve to communicate with God, and yet Bible is a dream which touches much greater depths than that of the theological project; and just as this great ascensional dream, released from its utilitarian prop, is finally what remains in the countless Bibles represented by the painters, as if the function of art were to reveal the profound uselessness of objects, just so the Tower, almost immediately disengaged from the scientific considerations which had authorized its birth (it matters very little here that the Tower should be in fact useful), has arisen from a great human dream in which movable and infinite meanings are mingled: it has reconquered the basic uselessness which makes it live in men』s imagination.

但实用确是有意义的。因此我们会在人群中诉说1个真正的圣经情结：圣经是连接上帝的纽带。然而「圣经」也是1个可以触及灵魂深处的理想，绝不仅仅是神学上的宗教工作项目而已。正是这个古老而神圣的理想，正是这个摆脱了所谓技巧支撑的理想，最终产生了无数的刻画圣经的经典作品，似乎艺术的功用就是去揭示1些深奥但却无用的事物。就像这艾菲尔铁塔，几乎立刻就脱离了那些能使她得以存在的科学性考虑（就是铁塔必须具备实用性这1事实）。她就从人类无穷变幻的理想中呱呱坠地：艾菲尔铁塔体现了1种信心，这种没有任何实用性的信心就是要让艾菲尔铁塔永远耸立在人类的想像空间中。

This lead to the outgrowth of the Abstract Expressionist movement in art , came up out of the colliding of influences between Ashcan artwork and the modernists from Europe like the Cubists and abstract painters , and appeared in the years after World War II .

这导致以突起的抽象表现主义运动的艺术，想出出碰撞的影响之间ashcan作品及现代派从欧洲一样 cubists 和抽象画家，并出现了在未来几年内，第二次世界大战后。

Beccaria was even of opinion that all men might be poets and orator s, and Reynolds that they might be painters and sculptors

拜克雷亚甚至认为所有人都可能成为诗人和演说家，雷诺兹则认为所有的人都可能成为画家和雕塑家。

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。