野兽派的

Finally, for painting to become that "art of balance, purity and serenity, with no troubling or disquieting subjects, so that for any mental worker, for example the businessman just as much as the artistic man of letters, it can be a soothing influence on the brain, rather the way a good armchair gives him relaxation from physical tiredness"(as he observed in 1908), Matisse pursued his original intuition through the great currents of art history over half a century: divisionism, fauvism and abstraction - without ever getting lost.

最后，成为该画的平衡，纯洁和宁静"艺术，没有麻烦或令人不安的科目，所以对于任何脑力劳动者，例如商人一样的英文字母艺术的人很多，它可以是一个安慰的影响对大脑，而不是一个很好的方式椅子给他身体的疲劳，放松"（正如他在1908年发现），马蒂斯的艺术追求，通过历史的伟大潮流他原来的直觉半个多世纪：divisionism，野兽派和抽象-而没有迷路。

Chapter 3 "Evolution and Formation of Geometric Paintings" states the past of "Orphism." To make a vertical connection by historical viewpoint, we should pass on the transmission of culture. In this thesis impressionism, fauvism, expressionism, abstract art, etc. are employed to make comparisons and verification.

第三章「几何绘画的时代演变和形成」说明「奥菲主义」的过去，用历史的眼光做纵的连贯，让文化的传承能接续在一起，如以印象派、野兽派、表现主义、抽象主义等作为此论文的比对及验证。

M 08 tall and weighing nearly 110 kilograms of Wilcox, who was the alliance of blood inside a popular time, with the Sonics playing in Seattle, the violence of the strong rebound dunk and let him become the Union of Fauvism one of insider.

身高2米08，体重接近110公斤的威尔考克斯，曾是联盟中当红一时的热血内线，随超音速在西雅图征战时，暴力的扣篮和强悍的篮板球让他成为联盟中的野兽派内线代表之一。

His works before 1920 (the date of his first trip to Pars) reflect the influence of different trends, like the pure and brilliant colors used in Fauvism, shapes taken from cubism, influences from folkloric Catalan art and Roman frescos from the churches.

他1920年以前的作品反应了不同潮流的影响，像是野兽派之中的纯净且明亮的颜色，立体派中的形状，加特兰民俗艺术以及罗马教堂中的壁画。

Ann Sumner由奥利弗费尔克拉夫,安女士萨姆纳 Hudson Hills Press, 02/2009, 176 pages, English哈得孙山出版社,02/2009,176页,英语 Show synopsis 展览简介 In the early part of the twentieth century, two extraordinarily forward-thinking Welsh women, Gwendoline and Margaret Davies, amassed a collection of work by the most important names in the Realist, Naturalist, Impressionist, Post-Impressionist, and Fauvist movements at a time when modern art, especially French art, was largely ignored in Britain.

在20世纪初，两个非常有远见的威尔士妇女，格温多兰和玛格丽特戴维斯，积累了在现实主义，自然主义，印象派，后印象派，野兽派画家和运动的最重要的名字在时间的作品集当现代艺术，尤其是法国的艺术，在很大程度上忽略了英国。

But our patron, warned by this disaster, resolved to take more careof himself for the future; and having lying by him the longboat ofour English ship that he had taken, he resolved he would not go a-fishing any more without a compass and some provision; so heordered the carpenter of his ship, who also was an English slave,to build a little state-room, or cabin, in the middle of the long-boat, like that of a barge, with a place to stand behind it tosteer, and haul home the main-sheet; the room before for a hand ortwo to stand and work the sails.

但是，我已被摩尔人吓破了胆，生怕再落到他们的手里；同时风势又顺，于是也不靠岸，也不下锚，一口气竟走了五天。这时风势渐渐转为南风，我估计即使他们派船来追我。这时也该罢休了。于是我就大胆驶向海岸，在一条小河的河口下了锚。我不知道这儿是什么地方，在什么纬度，什么国家，什么民族，什么河流。四周看不到一个人，我也不希望看到任何人。我现在所需要的只是淡水。我们在傍晚驶进了小河口，决定一等天黑就游到岸上去，摸一下岸上的情况。但一到天黑，我们就听到各种野兽狂吠咆哮，怒吼呼啸，不知道那是些什么野兽，真是可怕极了！这可把那可怜的孩子吓得魂飞魄散，哀求我等天亮后再上岸。我说，"好吧，佐立，我不去就是了。不过，说不定白天会碰见人。他们对我们也许像狮子一样凶呢！"佐立笑着说，"那我们就开枪把他们打跑！"佐立在我们奴隶中能用英语交谈，虽然发音不太地道。

AN EXHIBITION at the Musée Maillol in Paris about the brutal and brutalising effects of the First World War, as recorded by a handful of German Expressionist artists, has been drawing crowds of French visitors, many of whose grandfathers and great-grandfathers fought on the other side of the same conflict.

在巴黎 Musée Maillol 举办的一个反应一战时期残忍现实和野兽行径的画展一直吸引着众多的法国参观者。这些画作由为数不多的德国表现主义派画家所作。许多参观者的祖父和曾祖父都曾在一战中作为协约国部队的一员参加过战争。

Yet such was the Fright I had taken at the Moors, and the dreadful Apprehensions I had of falling into their Hands, that I would not stop, or go on Shoar, or come to an Anchor; the Wind continuing fair,'till I had sail'd in that manner five Days: And then the Wind shifting to the southward, I concluded also that if any of our Vessels were in Chase of me, they also would now give over; so I ventur'd to make to the Coast, and came to an Anchor in the Mouth of a little River, I knew not what, or where; neither what Latitude, what Country, what Nations, or what River: I neither saw, or desir'd to see any People, the principal thing I wanted was fresh Water: We came into this Creek in the Evening, resolving to swim on shoar as soon as it was dark, and discover the Country; but as soon as it was quite dark, we heard such dreadful Noises of the Barking, Roaring, and Howling of Wild Creatures, of we knew not what Kinds, that the poor Boy was ready to die with Fear, and beg'd of me not to go on shoar till Day; well Xury said I, then I won't, but it may be we may see Men by Day, who will be as bad to us as those Lyons; then me give them the shoot Gun says Xury laughing, make them run wey; such English Xury spoke by conversing among us Slaves; however I was glad to see the Boy so cheerful, and I gave him a Dram (out of our Patroon's Case of Bottles) to chear him up: After all, Xury's Advice was good, and I took it, we dropt our little Anchor and lay still all Night; I say still, for we slept none!

但是，我已被摩尔人吓破了胆，生怕再落到他们的手里；同时风势又顺，于是也不靠岸，也不下锚，一口气竟走了五天。这时风势渐渐转为南风，我估计即使他们派船来追我。这时也该罢休了。于是我就大胆驶向海岸，在一条小河的河口下了锚。我不知道这儿是什么地方，在什么纬度，什么国家，什么民族，什么河流。四周看不到一个人，我也不希望看到任何人。我现在所需要的只是淡水。我们在傍晚驶进了小河口，决定一等天黑就游到岸上去，摸一下岸上的情况。但一到天黑，我们就听到各种野兽狂吠咆哮，怒吼呼啸，不知道那是些什么野兽，真是可怕极了！这可把那可怜的孩子吓得魂飞魄散，哀求我等天亮后再上岸。我说，"好吧，佐立，我不去就是了。不过，说不定白天会碰见人。他们对我们也许像狮子一样凶呢！"佐立笑着说，"那我们就开枪把他们打跑！"佐立在我们奴隶中能用英语交谈，虽然发音不太地道。见到佐立这样高兴，我心里也很快乐。于是我从主人的酒箱里拿出酒瓶，倒了一点酒给他喝，让他壮壮胆子。不管怎么说，佐立的提议是有道理的，我接受了他的意见。于是，我们就下了锚，静静地在船上躺了一整夜。我是说，只是"静静地躺着"，我们事实上整夜都没合过眼。

Finally, for painting to become that "art of balance, purity and serenity, with no troubling or disquieting subjects, so that for any mental worker, for example the businessman just as much as the artistic man of letters, it can be a soothing influence on the brain, rather the way a good armchair gives him relaxation from physical tiredness"(as he observed in 1908), Matisse pursued his original intuition through the great currents of art history over half a century: divisionism, fauvism and abstraction - without ever getting lost.

最后，成为该画的平衡，纯洁和宁静&艺术，没有麻烦或令人不安的科目，所以对于任何脑力劳动者，例如商人一样的英文字母艺术的人很多，它可以是一个安慰的影响对大脑，而不是一个很好的方式椅子给他身体的疲劳，放松&（正如他在1908年发现），马蒂斯的艺术追求，通过历史的伟大潮流他原来的直觉半个多世纪：divisionism，野兽派和抽象-而没有迷路。

But our patron, warned by this disaster, resolved to take more careof himself for the future; and having lying by him the longboat ofour English ship that he had taken, he resolved he would not go a-fishing any more without a compass and some provision; so heordered the carpenter of his ship, who also was an English slave,to build a little state-room, or cabin, in the middle of the long-boat, like that of a barge, with a place to stand behind it tosteer, and haul home the main-sheet; the room before for a hand ortwo to stand and work the sails.

但是，我已被摩尔人吓破了胆，生怕再落到他们的手里；同时风势又顺，于是也不靠岸，也不下锚，一口气竟走了五天。这时风势渐渐转为南风，我估计即使他们派船来追我。这时也该罢休了。于是我就大胆驶向海岸，在一条小河的河口下了锚。我不知道这儿是什么地方，在什么纬度，什么国家，什么民族，什么河流。四周看不到一个人，我也不希望看到任何人。我现在所需要的只是淡水。我们在傍晚驶进了小河口，决定一等天黑就游到岸上去，摸一下岸上的情况。但一到天黑，我们就听到各种野兽狂吠咆哮，怒吼呼啸，不知道那是些什么野兽，真是可怕极了！这可把那可怜的孩子吓得魂飞魄散，哀求我等天亮后再上岸。我说，&好吧，佐立，我不去就是了。不过，说不定白天会碰见人。他们对我们也许像狮子一样凶呢！&佐立笑着说，&那我们就开枪把他们打跑！&佐立在我们奴隶中能用英语交谈，虽然发音不太地道。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。