謝小翠 發問時間: 社會與文化語言 · 8 年前

懇請請求各位大大幫我看這一段英文 並翻譯 這是有關美術的

麻煩各位大大

我對於美術方面的真的不是很懂

請各位幫忙翻譯

做報告要用到

感恩!!

Several of these colours were chosen for their semi-transparent or opaque character.BrushesChiefly a 1/ 2’ ’ ( 13mm ) wide long one stroke in ox hair with support from a 3/ 16’ ’ ( 5mm ) one stroke also in ox hair and a small, pointed squirrel hair mop-style watercolour brush.Other items a graphite pencil, a drawing board and an easel.Paul Cezanne’s (1839-1906) paintings are an expression of his relationship with his subject-he saw them as studies of fundamental truth, of the essence of nature, of something beyond the immediate and obvious. He explained it as follows: ‘All that we see dissipates, moves on. Nature is always the same, but nothing of her remains, nothing of what appears before us. Our art must provide some fleeting sense of her permanence, with the essence, the appearance of her eternal qualities. What lies below her? Nothing, perhaps. Perhaps everything. Everything, do you see? For Cezanne the actual method was irrelevant – it was just a consequence of the way he worked. By setting up similar circumstances you can recreate it. In this case, the first step was to select and arrange the subject. Cezanne was fascinated by the structure of their underlying geometry. He made this much-quoted remark in a letter: ‘May I repeat what I told you here: treat nature by the cylinder, the sphere, the cone, everything in proper perspective so that each side of an object or a plane is directed towards a central point.’ In his still lifes Cezanne usually focuses on the issue of roundness – the sphere, the circle and the ellipse. Apples, orandes, plates, dishes, jugs, mugs, cups, saucers, jar, vases, glasses and baskets provide these shapes and are the typical ingredients of his arrangements.上次對於沒有及時做處理,對於幫我翻譯的大大我很抱歉

不好意思

希望各位大大在幫我

1 個解答

評分
  • 8 年前
    最佳解答

    這些顏色的選擇半透明或不透明的性格。

    畫筆

    主要是一個長,寬1/2“(13mm)的一招牛毛支持從3 / 16'(5mm)的一招牛毛和一個小的,尖的松鼠毛掃蕩式的水彩筆。

    其他項目,石墨鉛筆,畫板和畫架。

    保羅塞尚(1839年至1906年)的畫作表達他的關係與他的主題,他看到了他們作為研究的基本真理的本質性,超出了直接和明顯的東西。他解釋如下:“我們看到消散,移動。自然始終是相同的,但沒有她的遺體,沒有出現在我們面前的是什麼。我們的藝術必須提供一些稍縱即逝的感覺她天長地久,與本質,她的永恆品質的外觀。下面她什麼謊言?沒什麼,也許。也許一切。所有的一切,你看到了嗎?

    對於塞尚的實際方法無關 - 這只是他的工作方式的後果。通過設立類似的情況下,你可以重新創建它。在這種情況下,第一步是選擇和安排的主題。塞尚被迷住了其基本的幾何結構。他在信中如此引用的話:“我再說一遍,我告訴你在這裡:圓柱體,球體,圓錐體,一切適當的角度,使每一個對象或平面的一側是針對治療性質一個中心點,在他的塞尚靜物“通常集中在圓度的問題 - 球體,圓形和橢圓形。蘋果,桔子,盤子,餐具,水壺,杯子,杯,碟,罐子,花瓶,玻璃和花籃提供這些形狀,是他安排的典型成分。

    • 登入以對解答發表意見
還有問題?馬上發問,尋求解答。