绘画的

You can change pattern width by remote control during painting by controlling center air and horn air independently, resulting in reducing overspray.

您可以通过远程控制模式，在绘画的宽度控制中心空气和独立喇叭空气，减少喷涂造成。

Lin's paintings, such as his landscape paintings Colorful autumn and Scenery, flower and bird painting Cherry and Bird, and The Owl depict many topics.

林风眠绘画的题材内容很广泛，有风景画，如《秋艳》、《风景》等，花鸟画《樱花小鸟》、《夜枭》等

William Bouguereau is unquestionably one of history's greatest artistic geniuses.

阿道夫·威廉·布格罗是法国19世纪上半叶法国学院派绘画的最重要人物。

In another word, the status does not exist that a painter should learn from nature "purely" without any "prejudice" and paint realistically by facing an object to paint out what he or she has perceived. To obtain such capability, painting learners or students shall use their eyes (teachers ask students in the painting class "where are your eyes and your perceptions") to observe objects and things at the beginning of study and then paint the models faithfully by means of "facade-subdivision"(or "preferring to square not round" as described by Xu Beihong, or decomposing the object into many petty facades as described in the line drawing textbook by P.P. Chistjakov so as to turn around the object bit by bit).

也就是说，不存在这样一种状态，画家为了画出自己的感觉，他们应该"纯洁"地不带"偏见"地去向自然学习，去面对物体直截了当地写生，而为了获得这种能力，在学习绘画的初始阶段，就必须训练学生们用自己的眼睛(在绘画课室里，老师总是质问学生，你的眼睛在哪里，你的感觉在哪里)去观察对象，然后用一种"分面"的方法(也就是徐悲鸿所说的"宁方勿圆"，或者按照据说是契斯恰科夫的素描教程的要求把对象分解成许多小面，以便使物体能够一点一点地转过去的方法)把眼前的模特如实地画下来。

Some work directly connects to traditional Chinese art. The relationship between the portrayer of the object and the objected being portrayed is fundamentally altered. Therefore, multiple visual layers emerge. By creating a self-content painting world, this type of work reinterprets the literati paintings in the Ming and Qing Dynasties. While addressing ontological issues for painting, the work implies the elegant literati taste the artist is born with. Some works emphasize the interaction between space and traditional art materials, mechanically carrying out a repetition of a traditional scene.

参加"诗意现实：对江南的再解读"展览的近三十位艺术家的作品，我以为，也许大体可以把它们分为下面几种类型：有的直接与中国的艺术精神相续，在媒介和再现对象之间进行图像"转译"，并形成多重的视觉套层，从而建立起一个自足的绘画世界，来实现对明清文人画的重新审看和临写，在对绘画的本体问题进行实验的同时，传达自己与身俱来的优雅的文人意趣。

Inculcated with the principals of ironic-metaphoric language Alexandros Vasmoulakis in his present work uses oppositions to elucidate, ambiguities to emphasize, crystal clear signs to puzzle; like an artistic roamer he defies the borderlines between painting and drawing, street art and installation, unfolding bravely the first steps of each piece in its final form, prompted by an instinctive disgust of secretiveness and using the blank space as a way to open up the painting.

在他现在的工作中具有讽刺意味的，隐喻的语言亚历山德罗Vasmoulakis校长灌输反对使用澄清，强调含糊，清晰的标志难题；像他无视艺术漫游用户之间的绘画和绘图，街头艺术和安装的界线，勇敢地展开每一个在其最后的形式由一个秘密的本能厌恶提示，一块的第一步，以此作为一种开放的绘画的空白。

The first known drawings by Gauguin dated 1871, when he was in his late twenties. In the broker's agency Gauguin met and befriended Claude-Emile Schuffenecker (1851-1934), a shy clerk, who shared Gauguin's interest in painting, they both started to study painting at the Colarossi Academy, worked together en plein-air and in the Louvre and met Parisian artists.

人们知道关於高更的第一幅画作应该是在1871年完成的，应该是在他二十几岁的晚期，当高更在经营经纪人业务时，高更认识了一个羞怯的办事员Claude-Emile Schuffenecker(1851-1934)，并且跟他当起了朋友，他会和高更一起分享绘画的兴趣和爱好，他们更一起进Colarossi学院一起研究美术绘画，一起研究外光派的画法一起去拜访一些巴黎的画家。

Painting carries out a static expression through describing objects and things in perceptual space. A kind of definite perceptual space gives up its dynamic state and converts a static state, starting to use a scene chosen by a painter in painstaking to do painting activity. That makes the eternal movement world in static, in the static state it lets people unfold infinite thinking space to understand and comprehend the worldly kaleidoscope.

绘画就是通过感性空间中所描绘的物体和事物来进行静止的表述，一种确定的感性空间，放弃了它的运动状态而转入静止，开始用一个画家苦心孤诣地做出了选择的场面来进行着绘画的活动，以至使本来永恒地运动着的世界静止了，这种静止的状态中，让人们去展开无限的思维空间，去理解和感悟这人间百态。

The first part presents a comprehensive scene of the art environment in which Soutine was involved, the influences he received and his opinions on the problems he confronted. This is achieved by analyzing the relationships between his paintings and those of his contemporary as well as between his paintings and the classical art works in museums. The second part will, through his landscape, still life and portrait paintings, explore the forming of Soutine\'s characteristically expressive art language and the development of his art style, which integrated the modernism paintings with classical art elements. The third part will discuss the culture background of his art, the psychology of his creation and his techniques in order to point out" the intuitively expressionist nature "of his art. This part will also analyze the achievement of Soutine\'s art and its contribution to art history through critics\' opinions of him and his influences on other artists.

第一部分分析了苏丁绘画与同时代的艺术家的创作及博物馆中的经典作品的关系，尽力全面地描述苏丁在当时所面对的艺术环境，对其所受到的影响及面对的问题有所认识；第二部分分别从风景、静物、人物三个方面，从苏丁艺术自身的形成、发展来论述他在现代艺术的框架下，借助古典艺术以形成其独特的表现性语言的过程；第三部分从苏丁绘画的文化、心理以及艺术技巧等多个方面进行分析，指明其&富于直觉的表现主义&的特质，并通过批评家的评论与他对后来艺术家的影响来认识苏丁艺术的成就及在美术史上的作用。

Giorgione blazed the trail.a top student of bellini,he later forged his own style,inspired by the current vogue for pastoral love poetry based on recently discovered ancient texts,then the bestsellers of Venice's flourishing printing industry.he excelled at what was known among the educated elite as the model a competition between painting and poetry in which painters sought to prove that they could rival poets in conveying beauty by appealing to the eyes,as well as to the mind.this was revolutionary because it implied that painting originated in the imagination of the artist,rather than being a simple recording of the great and the good ,history and religion.it proved painters were creators and not just craftsmen .

Giorgione是这条路上的披荆斩棘者。作为Bellini最好的学生，他随后发展出了自已的风格。他的灵感来自于其时风行的田园诗，从最近发现的古代文本来看，这得益于那个时代威尼斯欣欣向荣的出版业出版的畅销书。他的卓越之处在于一项闻名于知识精英中的对比：就是诗歌与绘画的竞争，画家们致力于证明他们可以在表现美感上与诗人媲美，既可以悦目亦能赏心。这是革命性的，因为它暗示了绘画产生于艺术家的想象而不只是对美好事物、历史、宗教的简单记录。它证明了画家是创造者而非工匠。

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。