画家的风格

Titian was a Venetian painter and was the most prolific of the great Venetian painters of the western world, a supreme colorist and the father of the modern mode of painting.

提香是威尼斯画家，他在威尼斯画派中也是最多产的，同时他还是最出色的色彩运用家，他是西方现代绘画风格之父。

Italian painter trained in the Byzantine style and considered the first master of the Florentine school.

1302？受训于拜占庭风格的意大利画家，被认为是佛罗伦萨学院的首任校长

Chapter Two, Background and writing style of Xi Mu-Rong, introduces Xi Mu-Rong's biography, discusses the theme, literal connotation and tableau in Xi's poem from Xi's three identities: female Mongolian, literatus and painter.

第二章〈席慕蓉背景与写作风格〉，论述席慕蓉生平简介，并以女性与蒙古后裔、文人、画家三种身份，来研究诗作中的主题取向、中国文学内涵与画面感，且就其诗中独特的音乐性作探讨。

He insisted on combining symbols with Dadaism and Surealism. In addition, he painted with all kinds of skills like scraping,cutting and pasting, and dividing. His unique painting language makes him a international master.

他坚持象征符号加上达达主义／超现实主义风格，此外他还采用刮画﹑拼贴﹑切割等手法作画，其独特的绘画语言使他成为了国际知名的画家。

Using this framework, different painterly algorithm can be implemented in this system.

使用这个框架，呈现不同画家风格的描绘可以在同一个系统中被实现。

In this thesis, a perceptually-based NPR framework for painterly rendering is presented.

在这本论文中，我们提出了一种以感知为基础用於呈现画家风格描绘演算法的非写实描绘架构。

This painting exemplifies the artist's early style.

这幅画是该画家早期艺术风格的典型。

Qi Baishi ,one of China's greatest painters, followed the traditional Chinese style of painting.

齐白石，中国最伟大的画家之一，沿用了中国传统的绘画风格。

Among the painters who broke away from the traditional style of painting were the impressionists who lived and worked in Paris.

那些脱离传统绘画风格的印象派画家们在巴黎生活工作。

In 1602, Italian artist Caravaggio produced a painting called The Taking of Christ. This work, an early example of the Baroque style, is compelling.

在1602年，义大利画家卡拉瓦乔曾画了一幅「捉拿基督」，这幅画是巴洛克风格的早期作品，相当引人注目。

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。