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Yang Kai's painting is not an abstract expressionism, but closer to a symbolic expressionism.

杨锴的绘画不是一种抽象表现主义,更接近一种象征的表现主义。

Behind the romantic eroticism of The Dream Records of Witness and Why Does Sunset Make Us So Beautiful, we still can see the violence and the hidden bloodiness. In the works from 2004 to 2005, in the lazy, depressed, irritable and uneasy emotions, the treatment of figures and time-space got new significance. However, the metaphor of neo-expressionism became the monologue-like means of his psychological pouring out, using today's popular colors and images and striving to make them getting rid of the "plane" narrative logic.

有关目击者的梦境》、《夕阳为什么让我们如此美丽》,出现在画面浪漫的情色背后我们仍可以看到暴力和隐藏的血腥。2004年至2005年的作品中,在慵懒、低迷、烦躁和不安的情绪中,人物和时空的处理有了新的意味,虽然新表现主义的隐喻感成为他内心独白式的心理倾诉手法--利用当今的流行色彩和图像,又极力使它们摆脱"平面化"的叙述逻辑。

Dannebrog, The Danish Flag, In Front of Admiral Hotel, Copenhagen, Denmark

尽管高更和梵高的名字双双成为现代表现主义的先锋,成为极端个性化的艺术家的典型,但要设想他们的个人特点有多在不同则是很难的。

VI Reviewing the status quo for abstract art creation assiduously, we can find out that there are two tendencies which differ from each other, one is the transformation of the expressionism painting into the individual diagrammatical symbol; the other is one which embodies the features of the post-modernism through rational cultural design.

如果刻意梳理一下多向杂陈的抽象艺术创作状态,大致可以看出有两种互不相同的倾向:一种是以表现主义的绘画性转变为图式化的个人符号;另一种则是以理性化的文化意义的设计,体现出一种后现代注意的特征。

Here, the expressionist spirit, which had deep influence on Liu, was converted or transformed. The mysteriousness of expressionism or abstract expressionism is replaced by positive eulogizing.

在这里,曾经深深影响过刘永刚的表现主义精神得到了转化与改造,表现主义或者抽象表现主义所具有的神秘感被代之以更加充满阳光感的正面颂扬。

Adelie Penguin Rookery on Paulet Island, Hundreds of Thousands of Penguins Nest on This Rookery

尽管高更和梵高的名字双双成为现代表现主义的先锋,成为极端个性化的艺术家的典型,但要设想他们的个人特点有多在不同则是很难的。

From a perspective of examining the relationship between expressionistic techniques and main themes of the play, the thesis focuses on expressionistic techniques, namely, the use of mask, monologue, stage settings and directions by which Eugene ONeill displays the multi-themes concerning self-searching, maternal love and brotherhood.

本文通过分析表现主义特征,表现主义手法和剧作主题的关系,本论文重点重在分析尤金·奥尼尔的表现主义手法,及如何在剧作中运用面具,独白,舞台布景及舞台指示语言表现人物的人格分裂,寻求真我,渴望母爱和兄弟之情之主题。

From a perspective of examining the relationship between expressionistic techniques and main themes of the play, the thesis focuses on expressionistic techniques, namely, the use of mask, monologue, stage settings and directions by which Eugene O'Neill displays the multi-themes concerning self-searching, maternal love and brotherhood.

本文通过分析表现主义特征,表现主义手法和剧作主题的关系,本论文重点重在分析尤金·奥尼尔的表现主义手法,及如何在剧作中运用面具,独白,舞台布景及舞台指示语言表现人物的人格分裂,寻求真我,渴望母爱和兄弟之情之主题。

To briefly conclude Huang Gang's artistic innovation, there are threefold: a. succinct inner meaning of post-minimalism. b. the momentum of abstract expressionism, speed, and sentimental limning. c. the mystery and buildup of Tibetan cultural signs.

黄钢的绘画艺术语言创新性,概括而言有三种相互辩证、相互融合的意向,其一是后极简主义的简约和内敛;其二是抽象表现主义的气韵、线条运动速度、情感化的涂绘和灵动多变;其三是西藏雪域历史文化符号的神秘与厚重。

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。

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