表现主义

The Abstract Expressionists worked in different styles, yet they shared a more or less similar aesthetic. Linking their works not only to each other but to East Asian art and philosophy is the concept of the union of humanity and nature; a palette consisting mainly of black and white; and a painting method characterized by gestural painting methods such as pouring paints or wielding the brush at arm's length-techniques that deliberately cultivate spontaneity and eliminate human control.

抽象表现主义画家有不同的风何，然而他们在美学见解与作画风格上多少颇为接近：人与大自然的谐调的观念、主要以黑、白两色来作画、并采用大姿态的作画方式，包用泼洒颜料或采用大开大阖的肆纵用笔，这些作画方法都志在泯除人为的控制，以拓展自然流露的生动活泼。

Ekaku, Hakuin (1685-1769) and Nakahara Nantenbo (1839-1925), all represented in this exhibition, would have burst into sarcastic laughter being labelled artists and expressionists.

白隐慧鹤Hakuin (1685-1769)和南天棒Nantenbo (1839-1925)将会在这次展览上得以重现，他们会因为界定艺术家和表现主义而爆发出讽刺地笑声，余音绕梁。

When confronted with the term"minimalist architecture", we are bound almost inevitably to turn to Minimal Art, a contemporary sculpture movement that emerged in North American in the sixties as the reaction to a set of pressures in specific social and cultural media; and especially as a critical response to the artistic climate created by movements of the time such as Abstract Expressionism,Pop Art, and Op Art.

当我们说到&简约主义者的建筑&一词时不能不提到简约艺术，一种六十年代出现在北美的当代雕塑运动，一种在当时特定的社会文化媒体的推动下产生的一种反应，特别是对当时的艺术氛围中产生的各种运动的一种严肃回应，比如抽象表现主义，波普艺术，行为艺术等。

Franz Marc (February 8, 1880 – March 4, 1916)（1880.2.8—1916.3.4） was one of the principal painters and printmakers of the German Expressionist movement.

2月8日，弗朗茨·马克(1880 - 3月4日，1916年)(1880.2.8-1916.3.4)是最主要的一个画家、版画的德国表现主义运动。

Franz Marc弗兰茨·马尔克 Franz Marc (February 8, 1880 – March 4, 1916)（1880.2.8—1916.3.4） was one of the principal painters and printmakers of the German Expressionist movement.

2月8日，弗朗茨·马克(1880 - 3月4日，1916年)(1880.2.8-1916.3.4)是最主要的一个画家、版画的德国表现主义运动。

And I drew non-completely discarded image lessons from abstract expressionism painter De Kooning, but always maintained a certain degree of graphic images as concrete.

并且吸取了抽象表现主义画家德·库宁那样非彻底地丢弃形象，而是始终在一定程度上保持着画面图形的具象性。

As revolutionary as Abstract Expressionist painters in America, such as Robert Motherwell and Wilhem de Kooning, the fluidity and movement of Mr.

美国哈默画廊主席麦克尔·哈默先生认为：&赵先生艺术的前瞻和革命性，可以和美国抽象表现主义画家罗伯特·马瑟韦尔，德库宁相匹敌。&

Eva Cockcroft,'Abstract Expressionism, Weapon of the Cold War' in Artforum vol.12, no.10, June 1974, pp.

伊娃克罗夫特，'抽象表现主义，武器冷战'的艺术论坛第12卷，10号，1974年6月，页。

Certain left-wing scholars, most prominently Eva Cockcroft , argue that the US government and wealthy elite embraced Pollock and abstract expressionism in order to place the United States firmly in the forefront of global art and devalue socialist realism .

某些左翼学者，最突出的伊娃克罗夫特，认为美国政府和富裕精英拥抱波洛克和抽象表现主义，以便将在全球艺术和贬低社会主义现实主义的最前沿，美国坚决。

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。

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。