画家的风格

Against a backdrop of Wildean quotes and music by the Verve, Domenico and Stefano showed rococo Ruritanian military jackets with distressed jeans, shirts, and pants printed with equally rococo swagging, a biker jacket in astrakhan, and combinations of moiré and jacquard that hinted at an aristocratic opium dream. Floral-printed velvets, flocked brocade, and a tee printed with Jacques-Louis David's Leonidas at Thermopylae amplified the entirely aesthetic nature of the collection. Frankly, as the last show of Milan's men's calendar for Fall 2009, it was refreshing to see something that was reckless enough to go Out There.

援引了王尔德作品的背景，在the Verve的摇滚音乐的伴奏下，Domenico和Stefano带来了一系列充满浪漫皇室色彩的洛可可风格军装夹克，搭配同样装饰华丽的牛仔裤、衬衣和裤装；动辄整件铺满羊羔毛的机车夹克，以及大量云纹和提花织机组合图案的应用，十足的贵族气派；而那些印花天鹅绒，软毛金线织锦缎，以及印有法国古典浪漫主义画家Jacques-Louis David著名画作《雷奥尼达在温泉关》的T恤，则提升了整个系列的艺术气质。

Since through the study of original works, a general concepts will be hold in one's own heart together with the direction for which the discipline researches.

其实你可以说，如果一般人想研究一副画作的技术方面的东西，比如颜料的质地啊，混的是什么油啊，某些风格的画家怎么样通过颜料制造立体感啊，就没办法通过复制品研究了，因为电脑上的画是二维的，怎么研究咧。。。

This unusual nonage experience made many painters'personality peculiar, and finally resulted in the forming of art style –cynicism,shrewishness and Jocosity.

这种早期不平常的生活经历使很多画家个性变的异样，从而导致了以后"玩世"、"泼皮"、"调侃"的艺术风格的形成。

Brussels, is not only a world-famous ancient Waterloo battlefield; as well as numerous international bodies of the resident; the northern port city of Antwerp, it is necessary to enter the painter Andean hometown, Many of the world's current art museum to display his masterpiece; Bruges "Europe's most beautiful scenic city, known as" its elegance of the building and covered the city canals, each of which attracted more than 200 million from European and tourists from all over the world; the southern mountain city of Namur has many unique castle.

首都布鲁塞尔不仅有闻名于世的滑铁卢古战场；同时也是众多国际机构的驻地；北部港口城市安特卫普是著名画家鲁本斯的故乡，目前世界上许多美术馆都陈列着他的杰作；布鲁日有"欧洲最美丽的风景城市"之称，其精巧的建筑和布满全市的运河，每年吸引着200多万来自欧洲和世界各地的游客；南部的山城那慕尔有许多别具风格的城堡。

Together with his wife, a painter named Marjorie Acker, Phillips arranged and expanded the family collection. He began to publicly exhibit these works in 1921 in their Georgian Revival home, which had been built with Pittsburgh steel wealth.

菲利普和画家妻子马乔里·艾克一起规划并扩展了他们的家庭收藏。1912年，在他们随着匹兹堡的钢铁财富建造起来的乔治亚复兴建筑风格的家中，他开始公开展示这些画作。

The Blue Mosquito series could be regarded as one re presentative of the second generation, arisen after 1990s, of Si Chuan School of oil painting.

蓝蚊子系列》其实可以说体现了上世纪90年代之後跃上画坛的四川画派第二代油画家的总体特徵，以郭伟等人为代表的这一代画家与上一代注重情感或艺术风格表现性艺术家不同，他们也很少在历史中寻求血缘的谱系，他们的着眼点就是生活，当下的生活。

Fabricated by Yellow Owl Workshop, a cottage paper-goods company and studio run by artist Christine Schmidt in San Francisco, the LCD Card features digital-style debossed fronts to customize your message in the two rows of eight grooved squares with a regular marker, while the raised sections directs the users to move the marker in a precise manner.

这款由民间纸工艺品公司Yellow Owl Workshop和画家Christine Schmidt 携其工作室共同开发的液晶贺卡表面采用数字化风格，将你想表达的信息嵌入两排八块凹形带规则图案的方块中，同时突起部分的图案可以做调整。

Zao's work in the 80's concludes his forty-year long expedition on art with a mature style towards perfection.

赵无极80年代以来的作品，展现了画家经历40年的艺术探索后的圆熟风格，这一阶段的作品，我们看到的是一种藉由抽象所展现的圆融自在，纯熟和谐，极致完美。

This thesis studies the American Impressionist, Mary Cassatt (1844-1926), and the motifs of her mother-and-child works, especially focus on the images of motherhood , and the relationship between mother and her child.

中文摘要本论文研究美国印象派画家玛丽˙卡莎特(Mary Cassatt， 1844-1926)的母亲与孩子系列作品的形式与风格，研究重心在其作品所表现的母职形象，及其所意涵的母亲与孩子之间的关系。

Italian painter who completed Masaccio's frescoes in the Brancacci Chapel, Florence.

1469？意大利文艺复兴时期的画家，他的作品包括圣母加冕显示了鲜明的立体风格

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。