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At SZ Art Center, Martin Wehmer presents "Annexe/Infix," a collection of conceptual abstract paintings from the German-speaking world.

在圣之艺术中心，马丁的"插入／附件"，收集了德国的概念抽象画。

The high tide of neoclassicism in painting is exemplified in early paintings by Jacques-Louis David and Jean Auguste Dominique Ingres ' entire career.

新古典主义的绘画高潮以雅克路易大卫的早期绘画和让奥古斯特多米尼克安格尔的整个职业生涯为代表。

I have experienced many dangers and disasters, so I am vulnerable to sentiments. So I can't make impassioned what I want to express just as it is impossible for certain injudicious and blundering youngsters nowadays to behave in a profound manner. They mind nothing: they don't mind ascendance or authority and even shame or ignorance. There is nothing they will mind. So their paintings are lack of the deep expression of feelings.

我是从重重的危难中过来的人，特别容易伤感，因此我所表现的东西，无法慷慨昂扬，正如现在的某些青年人浅薄浮躁，你无法让他深刻一样，他们对什么都不在乎，权势、权威他们不在乎，羞耻愚昧他们也不在乎，没有什么是他们在乎的。

I hope I could do it rich, with a repeated overlaps as done in overnight condensed ink used in Chinese water ink paintings to produce an effect of visional tension.

我希望把它做得丰富，像水墨的"宿墨法"把它们叠加在里面，会产生一些视觉上的张力。

In his paintings, there is no weakness of general watercolour found, but only has oriental verve similar to the effect ink painting tinged by multi-layer light filtering of watering colours, and the characters in the painting—dog, cat, tiger and insects etc.

在他的画中，找不到一般水彩画的单薄感，只有水性颜料的多层次透光性所晕染出类似水墨效果的东风神韵，以及画中的主角们----狗、猫、虎、昆虫等在熟悉的生活风景中与人心灵交会。

Hirst's idiom, verbal and visual, is one of insouciant contradiction: the spot paintings, he insists, have 'nothing to do with Richter or Poons or Bridget Riley or Albers or even Op.

赫斯特惯用的口头和视觉语言是一种漫不经心的矛盾：他坚持说，点画与里希特、彭斯、布里奇特·赖利或阿尔伯斯无关，甚至也和Op无关。

In this 100 years, the Chinese oil paintings choice toward the culturethat the oneself rely on is iterative, interleave of, the process is complications but turnsand twists .

这种文化上的选择深刻反映了中国油画几代人的探索和对中国油画发展的依托、方向、道路以及前途的寻求。

Outside the South dream Intermediate School of Art where Yogyakata Bani Amora studying painting, in 1980at Sanggar Pajeng studying paintings from Dullan .

1961在外南梦的Intermediate School of Art Yogyakata 师从Bani Amora 学习绘画，1980年在Sanggar Pajeng 拜Dullan 为师。

Does it show her strongly attaching to the collective culture and reject to the paintings of private subjectivity and freewheeling intuitionism.

这是不是表明她对集体文化习惯形式的强烈依恋，对私人主观性和随心所欲的直觉主义的绘画的拒绝呢。

The invisibility of Ophelia in critical texts seems to be in inverse relation to her visibility in paintings.

虽然《哈姆雷特》中的奥菲利娅一直没有得到评论界的足够重视，但女性批评的发展为解读奥菲利娅提供了全新的视角。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。