野兽派的

The starting point of the Cubism is to regain the courage of finding the means of purity.

野兽派的出发点在于有勇气重新寻得纯净的手法。

French artist. A leading exponent of fauvism, he is noted for his stormy, aggressive landscapes.

弗拉曼克，莫里斯·德1876－1958法国艺术家，野兽派的主要代表，他以狂放的、具有攻击性的风景画著名

In the western history of art, especially in the modern painting history of 20th, there were many modern painting trends, such as Fauvism, Cubism, Futurism, Dada and Surrealism, etc.

在西方美术史上，尤其是在二十世纪西方现代绘画史上，产生过许许多多的画派，如野兽派、立体派、未来派、达达派以及超现实主义画派等。

Later, building on the work of Cézanne and Gauguin, he and Andre Derain developed Fauvism, a much freer and more expressive style of painting which was in fact the forerunner of Expressionism.

之后，在塞尚和高更的基础上，他和德朗一起研究野兽派。野兽派的画法更为自由，画风更富表现力，事实上它可成为表现主义的先驱。

Spinning is an unrestrained avant-garde work. It has a Fauvist wildness and challenges traditional ideas of painting. The yellow eyeball at the center gives a sharp focus to the visual tension of the painting. A vivid character expressed by heroic strokes illustrate the quickly changing scenery. It seems like a breath of fresh air into a stuffy room.

旋》一作的笔法奔放前卫，带有野兽派的狂放风格，挑战传统保守画风，中央的黄色眼珠，锐利地点出画作视觉张力，鲜明的个性，豪迈的笔法，凸显四周的景物飞快地变换，好像从压抑的空间里，释放不受拘束的自由气息。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

Marked by the shadow of World War I and the forebodings of the next world war, for modern art this was a period of rapid ascent and growing public acceptance.

蒂斯是野兽派当之无愧的领袖人物。但&野兽派&时期只不过是马蒂斯艺术生涯中的一个短暂时期，马蒂斯的独特风格则主要是他在&野兽派&时期之后渐渐形成的。

They seem to evoke more of a fauve-coloured view of the world than of a "return" to colour which came after the Pre-Cubist period of decomposition of forms under Braque's influence.

这种对色彩的运用，与其说是杜菲立体主义风格前期，在布拉克的解构风格影响下对色彩的回归，不如说更似其野兽派的画风。

This image of a young tubercular prostitute belongs to Chabaud's second Parisian period, the time after his apprenticeships and travels: that of the companionship, in the Salons and exhibitions with The Fauves, even though after 1907, the main artists among them, Matisse, Derain and Braque had already gone their separate ways and had begun to explore quite different avenues.

作者在遗留下来的众多信件及诗作中，都常提及这位伊维。作品属于夏布巴黎时代的第二期作品。当时他与野兽派的艺术家为伍，然而在1907年后，艺术家如马谛斯、戴伦、布拉克等都各自发展。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。