绘画作品

Their first acquisition for the National Gallery was Velázquez's Rokeby Venus in 1906, followed by Holbein's Portrait of Christina of Denmark in 1909. However, despite the crisis in aristocratic fortunes, the following decade was one of several great bequests from private collectors. In 1909 the industrialist Dr Ludwig Mond gave 42 Italian renaissance paintings, including the Mond Crucifixion by Raphael, to the Gallery.

然而，尽管贵族出现危机，此后十年却从私人收藏家那获得了丰硕的遗赠。1909年，实业家路德维希·蒙德博士向国家美术馆赠送了42件文艺复兴时期的绘画作品，其中包括拉斐尔的作品《被钉在十字架的基督》。

Lane died on board the RMS Lusitania in 1915, and an early version of his will left 39 paintings, including Renoir's Umbrellas, to the National Gallery unless a suitable building could be built in Dublin; later he amended it with a codicil that the works should only go to Ireland, but this was never witnessed.

莱恩于1915年逝世于卢西塔尼亚号游轮上，他的早期遗嘱中说除非都柏林建有合适的建筑，否则他将捐赠包含雷诺瓦的《雨伞》在内的39副绘画作品给英国国家美术馆；之后，他修改了遗嘱，附录中说这些作品只能送往爱尔兰，然而这事从来没有得到证实。

Following the pedigree of Huang Gong-wang-Dong Qi-changWang Yuan-qi, wefind the developing track of landscape painting of this period, through the taxis and comparing of their works, and hold the opinion that the coming up of "dragon venation" in Chinese ancient theory of painting is the sum-up of composition during the period of Wangyuanqi. The word prefer to the whole effect and imposing manner in paintings, weakening the relationship with geomantic. From it, we can find the efforts of ancient people searching for the best methodicalness.

本文遵循从黄公望到董其昌再到王原祁的谱系脉络，在对三者作品的排序、比对中，寻找这一时期山水画发展的轨迹，并认为中国古代画论中"龙脉"说的提出，是王原祁时代对布局章法的总结，此词在这一时期与风水的关联淡化了、减弱了，更多的指向绘画作品中的气势及整体效果，从中我们可以看到古人寻找最佳章法的努力。

The paintings in the Padua scenes are softer and more modelled than his earlier works.

这些帕多瓦景的绘画作品相比他早期的作品要更加柔和有型。

Comparing with artists before, the 60s painting artists enjoy more free development room in painting environment, thus their paintings pour out more feelings and concerns into real life. what they express morely tends to their daily life and their real-life status, while, this not only embodies the artists' sensitivity to the real life, but also reflects the artists' press for spiritual home of modern people.

60年代油画艺术家的创作环境比起之前的艺术家有了较大的自由的发展空间，所以他们的绘画作品比起之前的艺术作品更多的倾注对现实生活的感受和关注，他们所表现的更多倾向他们的日常生活和他们现实生活状态，这既体现了艺术家对现实生活的敏锐性，也反映了艺术家对现代人的精神家园提出追问。

The painting "The Fields of Pre-Existence" can be understood as a modernist color-field painting except for its landscape elements.

作品《前世的疆域》除了它的景物元素，可以被理解成现代主义色域绘画作品。

Looks over Chen the Hong colorful silk ribbon drawing work development course,"the line"holds the special status in its work.

纵观陈洪绶绘画作品的发展历程，"线"在其作品中占有特殊的地位。

Through the analysis of Willem de Kooning's works, identifying the source creation within them. The discussions...

通过对威廉·德·库宁绘画作品的分析来找到他艺术创作之源，论述他的绘画不仅仅是一种精神上的主观表现，而是在创作过程中对某种原形的视觉探索。

This thesis starts with a detailed analysis of Magritte's paintings and then further studies his painting style from the perspec...

本文首先对马格里特的一些绘画作品进行深入分析，从内在精神特征和外在视觉表现两方面对他的绘画风格进行详细研究。

This thesis starts with a detailed analysis of Magritte's paintings and then further studies his painting style from the perspectives of internal spirit features and external visual expression.

本文首先对马格里特的一些绘画作品进行深入分析，从内在精神特征和外在视觉表现两方面对他的绘画风格进行详细研究。

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。