艺术大师

Anyways, after the curator Didier Ottinger showed us around the exhibition last Friday, I spent a little more time roaming around the space, which was filled with selected works by famous artists of the modern period—Picasso, Matisse, Braque, Picabia, Ernst, Klee, Miro...and many many more—from the Pompidou Center collection.

总之，上个星期五，策展人Didier Ottinger导览完后，我又花了一小段时间走逛展场。看著那个充满了由庞毕度中心馆藏精选出来的现代大师──毕卡索、马谛斯、勃拉克、毕卡比亚、恩斯特、克利、米罗，以及其他许多许多──作品的空间，我突然觉得自己沐浴在「艺术」之中（一时想不到其他的形容。

Repin 、 Yablonskaya and many other world famous masters in painting were fostered there.

培育了列宾、雅勃隆斯卡娅等享誉全球的绘画大师，尤其是在20世纪，乌克兰绘画都以其题材和风格的广博及其艺术手法的丰富而闻名，从古典形象到全新的形式上的标新立异，在最初的几十年里，表现得尤为鲜明。

The consequence, wrote Lee, was to bypass the purpose of martial arts and create "flowery forms" and "artificial techniques" that become "ritualistically practiced."

他说：&风格是固定的，而人是发展的。&这种态度使象李如此专注的人不成为其艺术领域的革命性大师几乎是不可能的。

The official emblem, designed by Josep Maria Trias from Barcelona, depicted a dynamic human figure in a stance that suggested someone jumping an obstacle (which consisted of the five Olympic rings) and the simple, gestual lines reduced the characterisation of the figure to the head (in the blue of the Mediterranean), the arms (the yellow of the sun and wide open in sign of hospitality) and the legs.

随意涂抹的一点、一钩、一横飘逸洒脱，当人们厌倦了复杂的结构、工整的设计后，终于在这个打破所有造型概念的会徽中找到了清新的水源，它平静地清洗我们脑中的一切陈规俗套。不需要任何语言，不需要任何解释，在本届奥运会&艺术与文化&的主题下，大师的思想光芒照亮五环。

Once such skills or talents have been developed, one can freely express as he pleases and still come up with virtuosic or exquisite masterpieces, as the level of perfection and transcendence some Jazz masters and great painters have achieved in their later years.

具备这样的才能之后，便可以如意施展、随心所欲。而这样自由发挥的结果，竟往往造就出精湛的艺术。就像有些爵士乐大师和伟大的画家在晚年达到的那种炉火纯青的境界。

In term one, Art Foundations students studied the abstract expressionist art movement, focusing on the works of Jackson Pollock and his action painting (splattering, dripping, and pouring).

在第一学期，美术班的学生们学习了抽象表现主义艺术运动，并主要研究了行动画派大师杰克逊·波洛克和他的行动绘画。

For my own part, I confess I am not only very much disposed to lay down the absolute necessity of imitation in the first stages of the art, but am of opinion that the study of other masters, which I here call imitation, may be extended throughout our whole life without any danger of the inconveniences with which it is charged, of enfeebling the mind, or preventing us from giving that original air which every work undoubtedly ought always to have.

对我本人来说，我特别反对的是，在艺术开始的几个阶段，那种完全照搬抄袭式的模仿。而我这里所说的模仿，是向大师们学习的模仿，是在我们一生中都能受用、百利而无一害的模仿。这种模仿，不会影响我们的情感，不会减弱我们的思想，也毫无疑问地不会改变原始事物本身的风格。

It's near 30 years from August 1979 to now, Ma Hongbin embarked upon painting and calligraphy when he indited the Qi-yan poems ( Name of Ancient poetry metrics ) for the Chinese painting by Chinese painting master Mr.

马鸿斌对书画艺术的热爱，是从1979年8月读国画大师吴作人先生和黄胄先生作的国画作品而作七言诗算起至今将近30年。1981年起，在读大学一年级起，开始临历代名家书法字帖及练习现代硬笔书法，创作名人铅笔素描并在大学师生书画展览获奖。

The sword handle infixed into the ground is covered by Chinese tradition classical art images, including the calligraphy, the landscape painting, and the portrait and so on.

中国拍卖市场的火爆状况是空前的，国画大师的作品暴涨，突破亿元的成交额打造了种种亚洲拍卖的现代神话记录，雄辩地证明艺术与金钱的关系与西方比较在中国是倒过来的，结果与目的的起点是文化。

It is to avoid this plain confession of truth, as it should seem, that this imitation of masters–indeed, almost all imitation which implies a more regular and progressive method of attaining the ends of painting–has ever been particularly inveighed against with great keenness, both by ancient and modern writers.

人们似乎不愿意简单地承认，曾遭到古今评论家们异常强烈和十分尖锐抨击的，大师们模仿作品的事实。的确，几乎所有的模仿都更为经常地包含着现代艺术前沿的新方法。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。