画家的风格

The second chapter "literature discussion", discussion of affiliation watercolor painting unique esthetic sense and value and the light shade description, analysis water color landscape painting connotation and performance pattern, and by China and the West landscape painting famous expert's work, analysis discussion localization esthetic sense special characteristic, Again separately from the date according to the time and the early days of the restoration Taiwan water color artist work's style, the theme, the artistic vocabulary and so on with the scenery drawing related subject, explores the ponder direction which the author creates, and analyzes romanticism water colorist Tyner, understood that its creation style and the skill, take advantage of this define clearly the author the image which must transmit in the drawing, and because of artistic creation's practice, the idea and the skill fusion, the time can display the self-style the work.

第贰章「文献探讨」，藉水彩画独特的美感与价值与光影描写之探讨，分析水彩风景画的内涵与表现型式，并以中西风景画名家的作品，分析探讨本土化的美感特质，再分别从日据时期及光复初期台湾水彩艺术家作品的风格、题材、艺术语汇等与风景绘画相关的议题，探索笔者创作的思考方向，并分析浪漫主义水彩画家泰纳，了解其创作风格与技巧，藉此厘清笔者在绘画中所要传达的意象，并藉由艺术创作的实践，将理念与技巧融合，期能表现出自我风格的作品。

Luminism : Painting style that emphasize s a particular clarity of light.

光亮主义：强调色彩光亮度的绘画风格。19世纪后期一批美国画家的作品特点，这些画家受到哈得逊河画派的影响。

Luminism : Painting style that emphasizes a particular clarity of light.

光亮主义：强调色彩光亮度的绘画风格。19世纪后期一批美国画家的作品特点，这些画家受到哈得逊河画派的影响。

We can't go to pursue design and style specifically, for it takes shape in long-term painting, and is the painter's natural revealment of experience, personality, accomplishment.

不能刻意去追求样式和风格，风格是在长期的写生过程中形成的，是画家的经历、性格、修养的自然流露。

But I think the theme and style resemble a Song Dynasty painting.

但我认为主题和风格与一位宋代画家的相似。

After Gu, another artist Zong Bing asserted in his Preface to Landscape Painting that from theory of vividness, the portraits should be presented with the spirit of unrestraint, namely, freeing the artists from mainly imitating the natural objects, and this had a great impact on the following landscape painting style.

将绘画从只求模仿自然物象形似的标准中解放出来。南朝山水画家宗炳又将人物画的"传神"理论在他的画论《画山水序》中发展为山水"畅神"，不仅传画中所画景物之神，而且要传画家面对景物时感情激动之神。对中国山水画的风格形成和发展产生很大影响。

In the late 1800's, United States painter Thomas Eakins develop a broad, powerful Realist style that became almost expressionistic in his later years.

参考译文：在 19 世纪，美国画家 Thomas Eakins 创造出一种宽阔的，强有力的现实主义的风格，该风格基本成为他晚些年代作品的表现手法。

The fact that no other painter adopted Vermeer's style suggests that there was no workshop and no apprentices.

没有别的画家秉承弗米尔的风格这一事实表明，他没有开过教画班，也没有学生。

In the late 1800's, United States painter Thomas Eakins develop a broad, powerful Realist style that

参考译文：在19 世纪，美国画家Thomas Eakins 创造出一种宽阔的，强有力的现实主义的风格，该风格

Giorgione blazed the trail.a top student of bellini,he later forged his own style,inspired by the current vogue for pastoral love poetry based on recently discovered ancient texts,then the bestsellers of Venice's flourishing printing industry.he excelled at what was known among the educated elite as the model a competition between painting and poetry in which painters sought to prove that they could rival poets in conveying beauty by appealing to the eyes,as well as to the mind.this was revolutionary because it implied that painting originated in the imagination of the artist,rather than being a simple recording of the great and the good ,history and religion.it proved painters were creators and not just craftsmen .

Giorgione是这条路上的披荆斩棘者。作为Bellini最好的学生，他随后发展出了自已的风格。他的灵感来自于其时风行的田园诗，从最近发现的古代文本来看，这得益于那个时代威尼斯欣欣向荣的出版业出版的畅销书。他的卓越之处在于一项闻名于知识精英中的对比：就是诗歌与绘画的竞争，画家们致力于证明他们可以在表现美感上与诗人媲美，既可以悦目亦能赏心。这是革命性的，因为它暗示了绘画产生于艺术家的想象而不只是对美好事物、历史、宗教的简单记录。它证明了画家是创造者而非工匠。

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。