绘画作品

In Impressionist paintings, the light and color is the basic elements of painting.

3在印象派绘画作品中，光和色是基本的绘画语言要素。

They've selected their subjects carefully and framed their views of them precisely, in order to give their pictures the look of "art." Later in the 19th century,"pictorialist" photographers used soft focus, toothy paper, sepia tones, multiple negatives and even scratching back into the image as ways of getting photographs to look more like paintings.

他们会仔细地挑选各种主题，在作品中准确地表达自己的观点，让作品看起来更富有艺术内涵。19世纪末期，画意摄影师利用柔焦，齿边相纸，红褐色调，多底合成，甚至划花底片等方式让照片看起来更像绘画作品。

My father, who took the living of Paleham about the year 1797, became possessed of a good many of old Mr Pontifex's drawings, which were always of local subjects, and so unaffectedly painstaking that they might have passed for the work of some good early master.

我的父亲大约在1797年开始在Paleham 生活，他收集了许多老Pontifex 的绘画作品。那些作品的主题总是关于当地的，因此很自然地不会成为什么早期大师的作品。

The second reason is Luc Tuymans an excellent artist of present time is not well known in our country.

我想通过对图伊曼斯的绘画作品的解读研究，让更多的人能更好地了解他的绘画。

Through the implication of painting works analyses the variation at humanity expression by generational painters from the western Renaissance to 19 century,so that,affirms that the painting works at the stage have unignored value in human painting history.

从绘画作品蕴藏的内涵，剖析西方文艺复兴至 19世纪历代画家的人性表达的变化，从而肯定这段时期的绘画在人类绘画史上具有不可忽视的价值

The citizen can directly buy the painting works they need from the markets. Paintings are not only as the appendage of the royal and high officals to whiling away the time, they more tend to show everyday life of the common people.

市民可以直接从市场上购得自己所需要的绘画作品，绘画已不仅仅是宫廷和达观贵族的附庸消遣品，它更趋近于表现普通百姓的日常生活。

The citizen can dire ctly buy the painting works they need from the markets. Paintings are not only as the appendage of the royal and high officals to whiling away the time, they more tend to show everyday life of the common people.

市民可以直接从市场上购得自己所需要的绘画作品，绘画已不仅仅是宫廷和达观贵族的附庸消遣品，它更趋近于表现普通百姓的日常生活。

Through discourse re-writing, graphic paintings forms the thinking into this artistic context. By the study on two paintings with similar style, this paper aims to examine the space constructed from the paintings. The goal is to know how the appreciators digest and re-form the image when paintings are deemed as the language of space re-presentation. Furthermore, the investigation on how characters in paintings and artists per se make their influences, and how they connect with each other by the paintings will be made at the same time.

摘要 平面绘画作品藉由论述的再书写纪录，建立这场艺术文脉的思考，笔者藉由两组画面组成类同之艺术作品为研究对象，旨在探讨画面中所形构成出来的空间，当作品的画面作为空间再现的语言时，是如何透过观众观赏后的消解与重组影像，而画面里人的角色以及艺术家本身的角色如何介入影响，又如何的在画面中被连结成关系。

The task was to photograph works by his father, Lyonel Feininger, who had painted the famous "Halle series" in the aforementioned Moritzburg.

尽管费宁格以刻画纽约作品之犀利而闻名，这名摄影师的拍摄生涯却真正起步于德国Halle——在完成魏玛鲍豪斯建筑流派以及手工木艺研习后，费宁格在1931年的Halle得到了首次正式完成摄影作品的机会：帮助他的父亲里昂耐尔·费宁格拍摄绘画作品（里昂耐尔·费宁格是当时德国的著名画家，著名作品包括&Halle&系列等）。

For an artist as Gibran who have a dual status, to break the obstruct between literature language and painting language and study the relation between his literary works and his painting may be a new way to approach Gibrans spirit and to explain his literary and art work.

对于纪伯伦这样有着双重身份的艺术家来说，打破文学话语与绘画话语的隔膜，对他的文学与绘画的关系加以探讨，可能是我们接近纪伯伦的心灵世界，解读他文学和绘画作品的一个新颖的角度。

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。