绘画

It is the most characteristic and emblematical art form of expression.Austria famouse artist Gustav Klimt is the symbolism master of painting in 20th Century and the representative of Art Nouveau in Europe.His paintings possess the general symbolism painting's philosophic character and have rich oriental decorative meaning.

奥地利著名画家古斯塔夫·克里姆特是20世纪象征主义的绘画大师，是欧洲新艺术运动的代表，他的绘画作品既具有一般象征主义绘画内容上的哲理性，又具有丰富的东方装饰意味，他的这种独特表现形势，获得了与其他画家截然不同的表现效果。

He is one representative of the Youth Brutal Painting Genre. His paintings take an important position in realism paintings in the late 1990s in China.

青春残酷绘画的代表人物，其绘画在中国90年代末期的写实主义绘画中具有重要的位置。

He is a representative of the Youth Brutal Painting Genre. His paintings take an important position among realist paintings of the late 1990s in China.

青春残酷绘画的代表人物，其绘画在中国90年代末期的写实主义绘画中具有重要的位置。

During the 1950s Pollock continued to produce figurative or quasi-figurative black and white works and delicately modulated paintings in rich impasto as well as the paintings in the new all-over style.

1950年，波拉克继续生产了修饰丰富的或类似修饰丰富的白的或黑的工作，优美的微妙的已调整的绘画，用丰富的厚涂颜料绘画法和所有新风格绘画。

The general law of concrete image drawing composition is revealed from the three systems of shape language, color language and picture structure language.

从具象绘画自身的本质特征切入将具象绘画语言分解为形体、结构、光影、空间、色调、调性、情绪气氛、厚薄干湿等基本语汇，以造型语言、色彩语言、画面结构语言3个系统为框架，揭示具象绘画构成的一般规律。

This paper tries to introduce the Alte Pinakothek, Neue Pinakothek and Pinakothek der Moderne in Munich in several aspects including urban design, architectural design and cultural event.

本文从城市设计、博物馆设计以及文化活动等方面简要介绍了德国慕尼黑的3座博物馆——古绘画馆、新绘画馆与现代绘画馆所组成的"博物馆综合体"，强调了其对于城市文化、审美教育的积极作用。

In China, there is room for the traditional brush drawing. There is room for monochrome and polychrome. There is room for everything, as there is in New York.

在中国，传统的笔墨绘画有很大空间，也有单色绘画和多色绘画的空间，也有一切事情的空间，就像纽约一样。

InChina, there is room for the traditional brush drawing. There is room for monochrome and polychrome. There is room for everything, as there is inNew York.

在中国，传统的笔墨绘画有很大空间，也有单色绘画和多色绘画的空间，也有一切事情的空间，就像纽约一样。

The second part is the key of this paper. The author focuses on making an induction of expressive skills, cognitive process and beauty appreciation changes on color language in western painting in different periods, from primitive society to the ancient Greece, from Middle Ages to Renaissance, from the 17~ and 19~ century to the 20~ century. At the same time, the author makes a comparison between the typical works of typical artists and analyses the typical color language and its expressive approach. In addition, the author brushes the evolution relationship contained in color, such as symbolism, decoration, mitation, abstract and expressiveness of language, with the purpose of displaying the main features of color language in different periods and discovering the evolution relationship , its necessity and sequence.

其次，本文重点归纳总结了西方美术史各阶段，包括原始社会、古希腊到中世纪、文艺复兴、十七至十九世纪直至二十世纪绘画色彩语言的表现技巧和认知过程及审美嬗变，在此基础上纵向比较了以上各阶段典型画家的典型作品中的色彩语言和表现方法，并对西方绘画中具有象征性、装饰性、模仿性、抽象性和表现性的色彩语言及其演进关系也进行了纵向逻辑梳理，从而归纳出各个时期绘画色彩语言的基本特点及其历史演进的必然性和秩序性。

It does not make a lot of sense to emphasize Schnabel's talent too much. In appreciating and expressing the mystery of painting, his works become very successful, both in terms of uniqueness and originality. It is commonly recognized that his work has a significant influence, especially in the international field of painting.

过多地强调施纳贝尔的天才能力并无多大的意义，他对绘画艺术奥秘的领悟与表达，使得他的绘画作品在形式的独特性与充分性上获得了巨大成功，并对国际绘画领域的发展产生了重要的影响。

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。