book6 unit1[上学期]

毕加索
毕加索(1881-1973)是现代艺术(立体派)的创始人,西方现代派绘画的主要代表.他是西班牙人,自幼有非凡的艺术才能,他的父亲是个美术教师,又曾在美术学院接受过比较严格的绘画训练,具有坚实的造型能力.
　　他一生中画法和风格几经变化:第一时期是:"蓝色时期";第二时期是:"玫瑰红时期";第三时期是: "黑人时期";第四时期是:"立体主义时期",分成分解和综合两种形式;第五时期是:"古典主义时期";第六时期是:"超现实主义时期";最后是"抽象主义时期".
　　毕加索一生是个不断变化艺术手法的探求者,印象派、后期印象派、野兽的艺术手法都被他汲取改造为自己的风格.他的才能在于,他的各种变异风格中, 都保持自己粗犷刚劲的个性,而且在各种手法的使用中,都能达到内部的统一与和谐.他有过登峰造极的境界,他的作品不论是陶瓷、版画、绘画、雕刻都如童稚般的游戏.
　　在他一生中,从来没有特定的老师,也没有特定的子弟,但凡是在二十世纪活跃的画家,没有一个人能将毕加索打开的前进道路完全迂回而过.他说过:"当我们以忘我的精神去工作时,有时我们所作的事会自动地倾向我们.不必过分烦恼各种事情,因为它会很自然或偶然地来到你身边,我想死也会相同吧!"
　　他静静地离去,走完了九十一岁的漫长生涯,他如愿以偿地度过了一生.17世纪巴洛克艺术风格经典作品赏
它的名称由来，说法不一，一说来自葡萄牙或西班牙语，意思是不圆的珠子；又一说它来自意大利语，有奇特、古怪或推论上错误的含义。
总的来说这个名称在当时含有贬意，是18世纪古典主义艺术理论家对于上一个世纪一种艺术风格的称呼。
古典主义者认为巴洛克是一种堕落瓦解的艺术，只是到了后来，才对巴洛克艺术有了一个较为公正的评价
巴洛克艺术产生于16世纪下半期，它的盛期是17世纪，进入18世纪，除北欧和中欧地区外，它逐渐衰落
巴洛文艺术最早产生于意大利，它无疑与反宗教改革有关，罗马是当时教会势力的中心，所以它在罗马兴起就不足为奇了，
可以说，巴格克艺术虽不是宗教发明的，但它是为教会服务，被宗教利用的，教会是它最强有力的支柱
概括地讲巴洛克艺术有如下的一些特点：首先是它有豪华的特色，它既有宗教的特色又有享乐主义的色彩；
二是它是一种激情的艺术，它打破理性的宁静和谐，具有浓郁的浪漫主义色彩，非常强调艺术家的丰富想象力
三是它极力强调、运动，运动与变化可以说是巴洛克艺术的灵魂；
四是它很关注作品的空间感和立体感；五是它的综合性，巴洛克艺术强调艺术形式的
综合手段，例如在建筑上重视建筑与雕刻、绘画的综合，此外，巴洛克艺术也吸收了文学、戏剧、音乐等领域里的一些因素和想象；
六是它有着浓重的宗教色彩，宗教题材在巴洛克艺术中占有主导的地位
七是大多数巴洛克的艺术家有远离生活和时代的倾向，如在一些天顶画中，人的形象变得微不足道，如同是一些花纹。
当然，一些积极的巴洛克艺术大师不在此例，如鲁本斯、贝尼尼的作品和生活仍然保持有密切的联系
艺术上的巴洛克时期，通常指17世纪。这时，欧洲封建宫廷通过对外扩张，大量攫取财富，提供了产生宏伟、豪华艺术风格的物质基础。
而由于宗教改革的冲击，教会也需要有更新颖的方式来宣传教义，吸引人们到教堂去
经济的繁荣、宗教意识的淡化，使中产阶级(主要是市民)的艺术趣味抬头，并为贵族所利用。
这就使气势宠大、形式新颖、感情充沛、注重光和色的作用的艺术风格得以出现，史称巴洛克风格
巴洛克(Baroque)一词源出西班牙语，意为不合常规、外形畸变的珍珠
最后被批评家用来比喻那些背离古典传统、追求新奇趣味的艺术作品后来这类作品有增无减，乃至形成潮流， “巴洛克样式”一词便也不带贬义了。Leonardo da Vinci
Leonardo da Vinci was an amazing guy. But let's get one thing straight: he didn't have a fucking code.
That's no slam on da Vinci, of course. He painted some of the most memorable images in history, including "The Last Supper" and the "Mona Lisa." And his science was as impressive as his art. An engineer and architect, da Vinci invented the helicopter 400 years before there was such a thing as a combustion engine.
Many of his inventions are still used today in one form or another, such as the hygrometer, the transmission drive, the ball-bearing axle and the machine gun.
But there was no da Vinci code. Sorry. Get over it.
Leonardo was born in 1452, near Tuscany in Italy, the bastard son of a local nobleman. He was reportedly an artistic prodigy, who was allowed to pore through his father's library (although he was never recognized as a legitimate offspring). As a child, he was fascinated by art, anatomy and nature.
At the tender age of 14, da Vinci traveled to the big city, Florence, where he became an apprentice to a very successful artist of the day named Andrea del Verrocchio, who is best remembered for such classic works as... well, OK, he's best remembered for having Leonardo as an apprentice. The judgments of history are cold and heartless.
del Verrocchio had a number of talented students who "assisted" him in painting his most successful works, in the custom of the day. Leonardo spent his days and nights hanging out with Verricchio, his fellow apprentices and other luminaries of the Florence art scene.
Now, you may be thinking that "teenage boy in the big city lives with grown-up artists" sounds a bit fishy, but it was a perfectly acceptable situation within the historical context.
The perfectly acceptable social context didn't stop da Vinci from turning out completely queer, of course. Florence was very much the San Francisco of its day; at the time, the German word for homosexual literally translated as "Florentine." At age 24, da Vinci was formally charged with sodomy, although nothing ever came of it. The charge, that is.
In 1477, Verrochio made a painting titled "The Baptism of Christ," a project which Leonardo assisted by painting an angel on the far left of the picture. Although it's not immediately apparent to the untrained eye (or even to the trained eye), the angel illustration was so dazzlingly great that it made the rest of the painting look like a piece of total crap.
According to legend, Verrocchio swore he would never paint again, so humiliated was he by his student's superior talent. Apparently unaware of the legend, Verrocchio appears to have continued painting after 1477 (or, more accurately, he continued to sign his name on the paintings made by his students), but he did refocus his work on sculpture as the years went on.
On the heels of this fabulous (if slightly apocryphal) triumph, da Vinci set out to make his own way in the world. His first major commission was a painting for a nearby monastery. "The Adoration of the Magi" was a sepia-toned panel that was never quite finished but is still considered great. With momentum on his side and the public humiliation of the aforementioned sodomy charge nipping at his heels, da Vinci decided it was time to move on up to Milan, where the local duke offered him a patronage.
During his 17 years in Milan, da Vinci made numerous sketches and a few really amazing paintings, including his most famous work, "The Last Supper." "The Last Supper" is one of those things. Or rather, it's one of those things, those strange artifacts of culture (like Shakespeare's Hamlet) that swell beyond their physical bounds to become a swirling object of obsessive deconstruction through the ages.
On the face of it, "The Last Supper" is just one of about eleventy-zillion painting depicting Jesus Christ and his Apostles enjoying their last big shindig before the centurions arrive for the opening act of the Crucifixion. Admittedly, it's a pretty good version of the tableaux, and it's an unusually big one at 29 feet wide, painted on the wall of a Milanese convent. Leonardo painted "The Last Supper" over the course of three years, working at the behest of his patron, the Duke of Milan.
Artistically, "The Last Supper" is exceptional -- and for several hundred years, that was all anyone had to say about, except for "It's not holding up very well, is it " The painting was made using an experimental new technique, which was unfortunately not very durable. Numerous restorations have been attempted over the centuries, with varying degrees of success.
After Leo's death, "The Last Supper" became the object of a bizarre 20th century fetish cult that believes there are secret messages hidden in every square inch of wall. At first the province of obscure scholars and authors, these theories slowly ballooned into the public eye, culminating in the publication of The Da Vinci Code, a 2003 best-seller that lifted elements from a dozen ancient conspiracy theories, including tales of the Knights Templar, the Cathars, and the Holy Grail.
The theory propounded by the book -- that Jesus didn't die on the cross, but in fact survived to father a line of French kings -- is not terribly outrageous, but it's also not proven. The major plot point of the "code" is based on analysis of the painting's tiniest details, which happen to loom rather large when you view the picture at its original 27-foot width.
The connection between da Vinci and the Jesus bloodline was first outlined in the book Holy Blood, Holy Grail, whose authors have sued the publisher of The da Vinci Code for plagiarism. According to the authors, Leonardo was the Grand Master of a secret society protecting the secret of Jesus' escape from the cross. A popular variation on the theory proposes that Leonardo may have been responsible for forging the Shroud of Turin, although the historical evidence for that claim is as sketchy as any other part of this mass of theories.
While the Jesus bloodline theory is actually pretty interesting, and not completely outside the realm of possibility, the da Vinci part of the premise is the weakest from an educated perspective. Virtually no one with a shred of credibility believes The Last Supper is Leonardo's coded message from beyond the grave about the paternity of Christ. (Then again, during Leonardo's life, virtually no one with a shred of credibility believed the earth was round, either.)
Anyway, after several successful years in Milan, da Vinci returned in triumph to Florence, where he was hailed as a conquering artistic hero. Leo traded up the Duke of Milan for a new patron, Cesar Borgia, the son of Pope Alexander VI.
While da Vinci continued to work his artistic magic, Borgia wasn't interested in pretty pictures so much as he was in war and strategy. da Vinci, who had always been a dabbler in science and engineering, was teamed with Niccol Machiavelli, who lived in Florence at the time, to execute an elaborate plan for building a strategic canal system. The plan was a bust, but Macchiavelli and da Vinci remained friends.
A highlight of da Vinci's second stint in Florence was a much-anticipated "paint battle" in which da Vinci and Michelangelo were to create murals on facing walls in a city plaza. The battle royale ended in a no-contest. Both artists were notorious for not finishing their works, and they lived up to their respective reputations.
During this period, da Vinci finished his other enduring masterpiece, "La Gioconda" -- "the joyful one", or as it is known in English, the "Mona Lisa". These days, it's taken as an established fact that the Mona Lisa's expression holds some sort of secret, that she wears an enigmatic smile. This interpretation of the painting, however, is fairly recent, first being made by art historian Walter Pater in 1873. In his book The Rennaisance, Pater wrote the following purple passage on the painting:
"La Gioconda" is, in the truest sense, Leonardo's masterpiece. [...] We all know the face and hands of the figure, set in its marble chair, in that circle of fantastic rocks, as in some faint light under sea. [...] The presence that rose thus so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire. Hers is the head upon which all "the ends of the world are come," and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed! All the thoughts and experience of the world have etched and moulded there, in that which they have of power to refine and make expressive the outward form, the animalism of Greece, the lust of Rome, the mysticism of the middle age with its spiritual ambition and imaginative loves, the return of the Pagan world, the sins of the Borgias. She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants; and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands.
As the 15th century gave way to the 16th, da Vinci found himself increasingly interested in science, to the detriment of his painting career. While he still sketched and took commissions, Leo began to focus on such disciplines as mathematics, architecture, engineering, geology, botany, hydraulics and anatomy. da Vinci's anatomical sketches are still studied today.
To better inform his studies of bone and musculature, Leonardo dissected several cadavers, a practice that was still quite controversial at the time. However, for the most part, da Vinci avoided the sort of religious and political rows that would plague other scientists of the period, like Galileo.
Leonardo's fascination with science led him down many dead-ends, but also to quite a few useful discoveries. da Vinci is credited with a number of inventions that were firsts for his time, including some so far ahead of his time that they wouldn't actually be built for centuries. They include:
The jack, the same device that you use today to change a tire
Roller bearings, a ball-bearing driven axle that is extremely similar to what cars use today
The one-man printing press
Mechanical transmissions, i.e. the gear system used in everything from ten-speeds to automobiles
The odometer
In addition to these still-employed devices, da Vinci invented a series of scientific instruments for measuring everything from tensile strength to humidity.
At least as impressive as the inventions that worked were the inventions that didn't work. Although he lacked several key components and raw materials, da Vinci nevertheless envisioned a series of inventions that would eventually be used in the modern world, sometimes with only minor changes to his original designs, including the helicopter, the hang-glider and the machine gun.
Leonardo collected his technological innovations in notebooks called codeci. One of the best preserved is the Codex Leicester, deals with everything from fossils to astronomy, included sketches of the how the moon's light is seen from earth, and the properties of water and rocks. For many years, the Codex Leicester was owned by Armand Hammer who called it the Codex Hammer from 1980 until his death; in 1994, it was bought by Bill Gates, who returned its original name.
da Vinci had become an extremely celebrated artist by the time he entered middle age, and in Italy, there was only one more realm for him to conquer: Rome. In 1513, da Vinci entered the patronage of Pope Leo X, a scion of the wealthy and powerful Medici family. At the Vatican, Leonardo had mixed successes. Artistically, he found himself dominated by his rivals, Michelangelo and Raphael. Although he received several commissions for paintings, he also spent a lot of time on architecture and engineering.
One of the few paintings he completed in this period was "St. John the Baptist," another controversial work which has been the subject of much discussion over the years. Catty observers often cite the painting as one indication of Leonardo's gayness, which isn't really so controversial that it needs to be continually re-proven. In the work, John appears to be sexually ambiguous, soft and feminine, with a decidedly "come hither" expression.
After a couple of years, Leonardo left Rome under the patronage of Giuliano Medici, the Pope's brother, where he appears to have spent the last years of his life quietly.
For the last decade of da Vinci's life, his constant companion (and presumed lover) was a much younger man named Francesco Melzi, whose life is mostly distinguished by that relationship. He was reportedly an extremely good looking guy, a minor nobleman from Milan and a talented amateur artist. After Leonardo died, Melzi inherited everything, including the inventions, the codeci, books and numerous drawings and paintings, which he carefully preserved for posterity.
Leo was a pretty interesting guy in life, but in death, he took on mythic proportions. For centuries, various untrue legends surrounding his life and his works, including a variety of spurious claims about his death and many forgeries of his work. Among the bullet points you can cross off your list of "things to believe," da Vinci did not die in the arms of the king of France, he didn't invent the bicycle, and he didn't use the same model for Judas as he did for Jesus in "The Last Supper."
In the 20th century, Leonardo has been an obsessive figure in the pages of fiction, with appearances in everything from Star Trek to a Saturday morning cartoon of Bill and Ted's Excellent Adventure. One of the Teenage Mutant Ninja Turtles was named after da Vinci. Between fiction and nonfiction, Leonardo has been featured in hundreds of movies and television shows, and tens of thousands of books. And with the breakout success of The da Vinci Code, and a movie adaptation on the way... Well, let's just say it won't be long before you're really fucking sick of Leonardo da Vinci. If you aren't already.从15世纪起谈西方绘画历史简史
一、十五世纪意大利文艺复兴古典主义始发　
　　 对我们来说,"古典"这个词听起来有点令人打寒噤.我们觉得它把我们从生
机勃勃的光明世界拖到令人窒息的房间中,那里居住的不是健康热情的人们而只
是影子."古典艺术"似乎是永远死灭的、古老的,是学院派的产物,是学问的而不
是生活的结果,而我们对生动的、现实的和可触摸到的东西的期待却是如此迫切.
现代人首先要求的是一种有强烈世俗气息的艺术,因此不是16世纪艺术而是15世纪艺术才是我们时代的宠儿,这是因为它具有鲜明的现实感和视觉与知觉的朴实性,作为一种妥协,我们接受古风的某些表现,因为我们如此热切地赞美它们,同
时也感受到了乐趣.
　　 对我们来说早期文艺复兴开创了这样一种视觉景象:有披着迎风飘拂的纱
巾、衣着鲜丽、苗条可爱的姑娘,有鲜花盛开的草地,和修长圆柱支撑着阔大拱
门的宽敞大厅;这意味着非常充沛的青春与力量,真挚自然但带有一抹神话故事
的光彩.我们极不情愿地步出这个欢乐明朗的世界而走入古典艺术巍峨而肃穆的
殿堂.这里是些什么样的人呢 他们陌生的姿势使我们心神不安,而且我们失去了
较早艺术的纯真自然.在这里,没有一个人物以老朋友的亲密眼光看着我们,没有
较舒适的,象家里那样布满家用什物的房间,只有空白的墙壁和厚实的建筑.
　　 然而古典艺术不过是15世纪的自然延续,是意大利人完全自发的表现.它不
是对外来原型(古代)的模仿,不是暖房中纤细的花草,而是露天原野上茁壮成长
的植物.这种密切关系对我们来说是朦胧不清的,因为---这是对意大利古典主义
抱有偏见的唯一可能的原因---纯民族的特征已被误认为一般的东西,而且人们
试图在完全不同的条件下模仿只有在特定天地间才有生命和意义的形式.意大利
盛期文艺复兴的艺术仍然是一种意大利艺术,而且如果"理想"是被用来提升现实,
那么这种现实不仅已得到非常全面的研究,而且理想化本质上是意大利现实的升
华.
　　 无论我们从年轻时代起通过版画和各种复制品对这些杰作如何熟谙,一幅
产生这些成果的世界的连续而生动之画面,也只是慢慢才形成的.15世纪情况不
同.在佛罗伦萨,15世纪在我们面前仍然是活生生的.诚然,许多东西亡佚了,很多
作品被人们从自然环境中分离出来,囚禁于监狱般的博物馆之中,但是那 里仍有
足够的地方为我们重新创造那个时代生活的鲜明印象.16世纪艺术保存得更为残
缺不全,而且没有得到充分的发展.在佛罗伦萨人们有这样的感觉,15世纪宽广的
基础缺少最后成就的顶冠,因为人们未能看到这一发展的完成阶段.古典艺术没
有留下宏大风格的不朽之作,这种作品将建筑和雕塑结合在一起以充分表达艺术
家的观念.而倾注了这时代全部艺术力量的最伟大的建筑委托工程---罗马对彼得
大教堂---最终没有被承认为盛期文艺复兴的不朽之作.
　　 我们可以把古典艺术比作一座建筑物的遗迹,差不多完成了,但决非全部完
成了,应当从非常分散的残片和不完全的描述中重构它原来的形状,而且,在意大
利艺术的整个历史中没有一个时代比黄金时代更鲜为人知,这样说或许是不错的.
★著名的三大先驱有：达.芬奇，米开朗基罗和拉斐尔

1）达.芬奇：
　　达.芬奇(1452-1519)是十五至十六世纪意大利的一位艺术大师和科学巨匠.
　　早在青年时期,显示了绘画的卓越才能.可惜的是,直到六十岁逝世之前还在
探索不止的达.芬奇,真正完成的创作没有几件,因为当他觉得需要探索的问题已
经解决,就转向其他的探索,因而人们公认属于他的完整的创作只有<<岩间圣母>> <<最后的晚餐>>和<<蒙娜.丽萨>>等几件作品.有人曾赞美他:"上天有时将美丽、 优雅、才能赋予一人之身,他之所为,无不超群绝寰,显出他的天才来自上苍而非 人间之力,达.芬奇正是如此.他的优雅与伟美无与伦比,他的才智之高超致使一
切难题无不迎刃而解."在芬奇的身上最突出的特征,还是他对宇宙怀有无穷的疑
问和不倦求知的精神.这是在千年的愚昧统治下,人们从神权的迷信中得以解脱
出来的最重要品格.幼年时,老师对他很感失望,说他浮躁不驯,不肯循规蹈矩地
埋头课文,而总是从一种兴趣转向另一种兴趣.这位保守的学究完全不能理解,正
是这样以新奇的目光重新审视一切的勇气和热情,才能让人类从经院的暗室里,
冲向彩色缤纷的新天地.
　　 对于探究宇宙和生命的无穷的秘密来说,时间对他永远是不够的.可是他的
研究成果,在四分五裂的意大利,在统治者们正热衷于争权和掠夺的时代里,竟不
能得到真正的重视.芬奇一生都是怀着"报国无门"的心情,从佛罗伦萨漫游到米
兰,再回到佛罗伦萨,又漂泊到罗马,最后才受到法王法兰西斯一世的尊重而被邀
赴法,不久即客死在异邦.

2）米开朗基罗
　　米开朗基罗(1475-1564)是文艺复兴意大利艺坛三杰之一.米开朗基罗六岁
时丧母,养在一个石匠的妻子的家里,因此从小就对雕塑发生兴趣.父亲送他进拉
丁文与希腊文学校学习,但是他学画画,父亲训斥也无用,十三岁进入佛罗伦萨画
家画室学画;1489年转到另一个画家学雕塑.后来当上美术学校的学生兼助手.那
里是文艺复兴运动的中心,人文主义学者集中的地方.在那里干了十四年,在思想
和艺术上被培养成一个伟大的艺术家.使他离开佛罗伦萨到罗马.二十四岁作为雕 塑家开始从事创作,制作了著名的<<大卫>>(雕塑)和<<圣家族>>(壁画),又为教皇在梵蒂冈的西斯廷小教堂画壁画,用了四年时间凭一个人在五百多平方米的天顶上画了三百四十三人,对于如此宏大的工程,找来一些人作助手,最后中意的只有一个调制颜料干杂活的,绘画都由他自己动手.米开朗基罗画的这些巨人充满超人力量,善于表现丰富的运动,并达到戏剧性高潮.人们从中感受到的是对人类的庄严颂歌.他生命的最后二十年专稿建筑.他的作品雄壮宏伟,因此他所画的女性也具有男性的气质.一生未婚,纯讲精神而不涉及肉体.他在孤独中奋战了一生.

3）拉斐尔
　　拉斐尔(1483-1520)是文艺复兴意大利艺坛三杰之一.他父亲是宫廷的二级
画师.他从小随父学画,七岁丧母,十一岁丧父,进画家画室当助手.学习了十五世
纪佛罗伦萨艺术家的作品,走上了独创的道路.从二十二岁到二十五岁创作了大量
圣母像,从此声名大扬.他没有达.芬奇那样经验丰富博学深思,也没有米开朗基罗
的雄强伟健的英雄气概.可是他虽然只活了三十七岁,却成为文艺复兴盛期最红的
画家.他的风格代表了当时人们最崇尚的审美趣味.他是个绝顶聪明的人,他的聪
明特别表现在善于汲取他人之长,而后加以综合的创造.他一生创作了不少作品,
其中<<大公的圣母>>和<<教皇利奥十世>>等,还作了一些建筑设计,并为西斯廷小教堂设计画稿.他的才能又表现在他创造出最合乎当时人们的口味的形象.风格被特称为一种"秀美"的风格,不仅使当时人倾倒,并且延续了四百年之久,成为后世古典主义者认为不可企及的典范.
二． 十六世纪德国和尼德兰的艺术
　　德国虽也受意大利文艺复兴的影响,但艺术上仍自具鲜明的民族特点.
　　十五世纪中叶,人文主义在德国知识分子中传播后,不少人向教会展开了斗
争. 这个时期,德国落后于欧洲其他国家,而皇帝、诸侯和城市的领导人之间连年
进行战争,骑士们更肆无忌惮地乘机抢劫农民和市民们.正是在这样的历史气候下, 促成了十六世纪初马丁.路德的宗教改革运动,和一五二四年伟大的农民战争.
　　 一般说来,在绘画的艺术语言中,色彩更长于表现情感,线条更长于表现理智.
而德国民族又常被人认为具有偏重理性思维的特点, 因而德国画家擅长使用线条的说法,则常见于美术史家们的论述中.尽管实际上未必完全如此, 但至少在德国画家的绘画中,我们看到了这种特长.在艺术技巧上除了吸收意大利的经验外, 更接受弗兰德尔(即今之比利时和法国的小部分)画家们的影响.
　　在十五世纪,弗兰德尔与北方的荷兰统称为尼德兰;虽受西班牙王的统治,但新教的势力随着资本主义生产方式的发展而逐渐强大.弗兰德尔既是经济繁荣区域, 又是文化艺术发达之地.大约十三世纪以来许多地方的画家, 都从中世纪流行的湿壁画转向探求一种更方便、更人表现力的绘画材料;油画是在欧洲各国画家的试探中逐渐完善的.不过,弗兰德尔出了不少精研油画技法的能手却是事实.而另一个值得重视的方面是,尽管意大利文艺复兴对弗兰德尔的艺术有所推动, 可是它却保持着相当鲜明的民族特征.
　　同是在文艺复兴的十五六世纪,人文主义的思潮在佛罗伦萨和罗马的艺术体现为争取人的尊严和解放, 赞美人的力量和雄伟;在威尼斯艺术中体现为追求世的幸福和欢乐;而在北方----德国、尼德兰的一些画家身上, 则体现为黑暗的露和对暴力的讽嘲.这不但反映了地域和民族特性的差异,也反映了个人独特的才.

★最著名的画家是：丢勒
　　丢勒(1471-1528)是伟大的德国画家,德国文艺复兴时期文化的最杰出的代表
人物.丢勒的艺术活动贯串在德国历史上重要的、同时也是悲惨的一个时期,即以
宗教改革与伟大农民战争为顶峰的广泛的人民运动时期.丢勒少年时跟父亲学艺,
其中他在二十多岁时是创作生涯硕果累累的时期.由于当时版画销路很广,他就赖
版画而扬名,因他的父亲是一个金银工艺师.木刻组画<<启示录>>是这时期最大的收获.由于研究人体比例与透视的科学,此后他的绘画发生重大转变. 他很喜爱意大利的绘画,年轻时曾两次去威尼斯观摹大师的作品.作了自画像, 是最好、最出
名的一幅. 他的创作反映了新兴的人文主义的与科学的观点同中世纪宗教世界观
的斗争.
三、十七世纪荷兰画派
　　文艺复兴以来,所谓的画派,大多是以国家或地域为名的--佛罗伦萨画派、
威尼斯画派、德国画派、弗兰德尔派、西班牙画派等, 虽各因其民族和环境的
不同而显出自己的特色,但是毕竟在题材和形式上有近似之处.而十世纪的荷兰
　　画派则不止是独具风貌,而且在美术的发展上开始了一个新的时期.
　　荷兰原为尼德兰的北部,从十六世纪后期经数十年的艰苦战,至十七世纪初
方赢得了独立.荷兰独立后,尼德兰的南方(比利时)在西班牙统治下仍称弗兰德
尔.两地虽然毗邻,在思想和文化方面却完全不同.
　　荷兰人民信奉新教,这也是他们对西班牙天主统治者进行反抗的因素之一.
南方弗兰德尔在西班牙统治下信奉旧教, 在贵族宫廷的养育下产生了标准的巴
洛克艺术.荷兰画派无论思想、题材和风格都是全然不同的一种艺术,所以把十
七世纪荷兰画派也纳入"巴洛克"的范围,总令人觉得欠妥.
　　独立后的荷兰人,生活简朴,工作勤奋,虽然善于经营计算,积累财富, 却完
全不爱"巴洛克"那一套过分华丽的东西.在宗教仪式上主张简约,不需要装饰华
丽的大教堂.这样,艺术真正从"庙堂"里解放了出来, 为满足普通居民的需要而
寻求新的道路,同时也第一次真正地成了商品.人们不再需要壁画和大型的绘画,
小型而精致的油画就普遍发展起来, 所以荷兰画家中那些善作小画的人, 也有
"荷兰小画派"之称.在他们已经安全的乡土上,比其他人更能体会到一架风车、
一座水力磨坊、一条村路、一片果园的魅力.他们觉得,真切地描绘出来的这种
现实,足以悦目赏心,用不着以幻想或灵光再加装点.
　　静物画作为一种独立的艺术样式,也是从荷兰画派开始的.它的发展, 也由
于人们来这不易的安宁富足的小康之家,产生出由衷的喜欢.品类繁多的蔬果鱼
肉, 标志着丰盛的餐宴,揩拭得闪闪发亮的日用器皿,显示出居室的雅洁和主人
的勤快. 所以在这些刻意求工的静物画中, 也不止是对于各种物质特性单纯的
"模仿",它们还是表现了人的生活状态、人们的精神需要和对于生活的理想.应
该说,风俗画也是从荷兰画家开始的.除去以农民生活为题材外, 在荷兰风俗画
中还广泛地描绘了市民生活的各种场面,在这一类日常生活的普通场面里,毫无
出奇惊人的事件,甚至也没有什么"情节",但是它们在人们都能体验到的情趣中,
给人以亲切的感受. 荷兰画家们似乎对那些奇丽的神话故事、壮观的历史勋业
和超人的英雄豪杰不感兴趣,而是从身边所见的人物场面中寻找美.这样, 使得
他们的艺术更显出独具风貌的民族特征.
　　★著名画家是：伦勃朗
　　伦勃朗(1607-1669)是荷兰十七世纪最大的画家, 是世界现实主义艺术大
师.他是一个有天才、好学而热爱艺术的人.年轻从师学画,二十三岁即小有声
誉.他的画显示了丰富的想象力和出色的构图技巧, 又在宗教题材更加接近现
实生活. 他曾一时辉煌,却是以穷困潦倒而终其一生. 命运的坎坷并未使他的
创作衰落,反击使他的艺术追求更富于独立自主的精神.生活的拮据窘困,没有
使他讨好上流社会,反而让他对于十七世纪中叶以后荷兰的社会矛盾看得更深
刻,从而激发起高度的民主精神和人道精神.一生画了大量自画像,其数量之多,
足以陈列一个美术馆, 是世上画家中仅有的.如:<<自画像>>.在他的形象的真
实刻划中, 当然也含有美的理想,他的理想就在于能够从一向被人们看作是下
贱粗丑的人物身上,发现他们纯良的品格和丰富的情感. 还有许多以圣经故事
为题材的作品,但他却把圣经传说中的事迹,当作人身边所见的人物--尤其是不
幸下层者的故事来描绘.如:圣家族之类的.他是个有多方面才能的画家,无论宗
教、神话、肖像、风景、动物等各种题材的绘画,都有独到的成就,尽管没有留
下关于自己生平自传文字,但他却是历史上最令人感到亲切的画家之一,因为他
的一些自画像已经向人们诉说了他一生的遭际.

其代表作品有：
自画像，亚伯拉罕和艾萨克和脱离托拜西斯大家庭
四、十八世纪巴洛克艺术
　　巴洛克指的是一种艺术风格。
　　自十八世纪以来，艺术史家和考古学家们特别重视风格的研究。所谓"风格"
意味一件作品是依照某种特定的组合方式而构成的，它本身有着的内在谐和一致， 但又明显地区别于其它的风格，故能给人以深刻的印象。风格的形成，当然是某一个时代和作者艺术发展成熟的表现。
　　不过，巴洛克作为一种风格，却一直是美术史家们有争论的问题。"巴洛克"
一词的原义，含有不整齐、扭曲、怪诞的意思，大约是十八世纪古典主义者奉赠
给自己不太赞同的前辈艺术的一个称号。从时间上说，"巴洛克"流行于十七世纪
至十八世纪初。所以有人把整个十七世纪各国的艺术--意大利、西班牙、弗兰德
尔、荷兰、法国。。。。。。都列在"巴洛克"范围之内。可是事实上，它们之间
的风　"巴洛克"成为独特的风格，是由于它在艺术精神和手法上，与盛期文艺复兴有明显的区别。如果文艺复兴可以归为"古典主义"，"巴洛克"可以归为" 浪漫主义"。它是在封建天主教复辟后，随着贵族统治的巩固而发展起来的。 但是，不能简单地把"巴洛克"艺术和它的代表们，称谓"反动"的，"倒退"的艺术。个人固然受制于历史，但个人又反射着各种历史因素(包括一切以往的传统)，而给当代的历史带来新的东西。这才形成了历史的变化多端、丰富绚丽的形象。

★著名的有：鲁本斯和委拉斯开兹
1）鲁本斯：
　　 鲁本斯(1577-1640)是法兰德斯大画家，他是欧洲第一个巴洛克式的画家，
他的绘画具有巴洛克艺术的壮丽风格。鲁本斯的创作以对生活的富于诗意的表现来歌颂生活，首先是歌颂作为宇宙最完美的造物的人类。他在二十年代所画肖像
绝大部分是盛装的、外表上十分华贵的贵族肖像，还有比较朴素的便装肖像的为
数甚少。他画的肖像之所以引人入胜，不仅由于绘画技巧的完美，同时还由于他
在肖像里表现了脉搏在热烈地跳动、目光中充满了生命力、富有弹性的皮肤的栩
栩如生的人物。鲁本斯在三十年代，也即是他的生命最后十年，尤其喜欢画肖像、
风景与神话画。这些作品几乎全出之于亲笔，比早期的作品更加朴素，更能予人
以亲切之感，这些作品以其画法的潇洒与极度精确及洋溢着内在热情的感染力而
引人入胜。如:<<祝福和平>>、<<自画像>>、<<接受玛丽的祝福>>、<<乡村节日>> 等。

2）委拉斯凯兹
　　 委拉斯凯兹(1599-1660)是西班牙大画家，现实主义绘画的大师。他所处的
时代正是资产阶级人文主义兴起的时代，当时的民族文艺极大繁荣。他也受到人
文主义的教育。他以画肖像著称，曾两次去意大利，考察并精心研究威尼斯画家
的作品，他没有强烈的宗教信仰心，不借助于想象。他只画他能看到的东西，在
画布上只画下真实可信的形象，因此他所画的宗教画往往不成功，而由于他的人
文主义思想与卓越的写实的绘画技巧，所以他的艺术能达到现实主义的高度成就。
这世纪由于人文主义的兴起，人从宗教的束缚中解放出来，受到重视，所以肖像
画得以盛行。但最初的肖像画大都是盛装的，并配上虚构的背景，人物做呆板，
甚至手中拿的东西也有一套公式。由于他那超群的艺术才华与写实技巧，所以他
画的人像却是十分生动，很有性格的。如:<<教皇英诺森十世>>和 <<玛格丽塔公
主>>。他却并未忘怀于那些不幸和贫苦的人，他画几幅表现一个善良而富有自尊心的不幸者，不能不对罪恶的封建制度产生愤怒，明确地表明了艺术家的爱憎。 可以说在艺术史上开辟了独到的审美领域。如:<<侏儒赛巴斯蒂安>>和 <<缝针妇女>>等。
五、十九世纪浪漫主义、现实主义和印象主义
　　文学艺术中的浪漫主义，本来是以强调"幻想"为其特征的。可是法国十九
世纪初期成为浪漫主义先导的第一张绘画，却是用最"写实"的手法表现最迫切
的现实题材。它说明一个新的思潮和流派，总是应现实的需要而出现的，它要
是能站得住，也总是根植在现实生活中的。
　　热情，是浪漫主义艺术的要素，以时事为题材而成为浪漫主义的内容，首
先是绘画中洋溢着的激情，这是遵循旧法，由"理智"导致冷漠的古典主义艺术
最缺乏的品格。构图、光线、色彩、人的动态表情，都表现了艺术家丰富的想
象力; 但可贵的是，它的浪漫的想象，是建立在现实深入认识的基础上的，它
所显示的奔放的激情，是与积极的人生理想结合在一起的; 所以能够深入人心
而具有强大艺术力量。
　　法国浪漫主义的艺术，兴起于十九世纪二十到三十年代。这是一个腐败、
混乱和倒退的年代。在这个年代出现的浪漫主义艺术，一开始即带有呼唤革命
风暴气魄。德国哲学家黑格尔在美学中说，浪漫主义所要表现的对象是 "自由
的具体的心灵生活 "。从根本上说，十九世纪浪漫主义的出现，是要求个性的
解放和心灵自由；封建政权和学院的古典艺术，同样让他们感到是必须摆脱的
精神重压。浪漫派重视色彩，是和他们重视感情的要求相一致的。要用色彩去
塑造形体。
　　十八世纪末至十九世纪，法国经历了三次资产阶级革命和巴黎公社的无产
阶级起义。这个时期艺术思潮的起伏更替，现出十分绚烂的景象。一种艺术流
派或主义的出现，当然是特定的文化思潮的反映，并且关联到一定历史时期经
济和政治的发展。但问题的复杂在于: 艺术家们多半不是按照事先拟定好的某
种"主义"的纲领去进行实践的，常常是依据自己有意或无意接受的某种思潮的
影响，创作出了作品之后，观众--特别是评论家们为了说明其艺术特征，而把
某一头衔赠给艺术家的。由于评论家(和后世的史家)们理解和着眼点的不同，
对同一个(或一群)画家，有时会冠以各种不同主义的头衔，而艺术家自己又多
半是无所谓的。浪漫主义的代表们，在美术史上好象还是没有争议的，但对其
他的一些画家，问题就更为复杂些。
　　"现实主义"与"写实主义"在西方文字中本来是一个字(源出拉丁文)，并无
两种说法。只有在上下文和通篇论述中，读者方可确定这个"写实主义"是较高
的(表现了社会的本质)或是较低的(偏于外表描写)。中国理论界创造了" 现实
主义" 一词，固然有某种方便，并在人们中间形成了"现实主义"与"写实主义"
两者有不可逾越的鸿沟的印象。但有的时候(尤其在论及历史流派时)，反而产
生了麻烦。这个问题尚留待理论界进一步研究。
　　在绘画中表现思想就十九世纪整个西方来看，在美术中要表现思想的艺术
家，却大有人在，因为这是一个不平静的世纪，人们有话要说。美国独立和法
国大革命在扩大了民主思想的同时，也增强了民族的意识。巴黎虽然由于艺术
思潮澎湃、流派迭起，一时成了西方艺术的中心，但同时各个国家--包括较远
的北欧、东欧和美洲，都涌现出不少杰出的人物。一八四八年的革命运动席卷
欧洲，因此，十九世纪中叶许多艺术运动的崛起，都直接或间接与这一重大的
历史变动有关。这表现在青年们对官方学院艺术的反抗，表现在艺术家们对社
会问题的关心，以及他们希图从民族的现实生活中吸取养料、创造自己民族的
艺术学派。具有社会责任感的艺术家，必然要通过人的形象，以及人与人关系
去反映社会问题。借鉴文学戏剧方面的经验也是不可避免的。如何在实践中恰
当地处理两者的关系，发挥绘画的专长，许多艺术家在这方面作了探索。追求
思想道德的作用，当然是好的，但只有充分掌握艺术的审美特性，发挥艺术美
的愉悦性，这种作用才能体现得更为完满。巡回画派的画家由于希图更多地反
映社会问题，有时便过多地把文学和戏剧的情节引入绘画，不但产生费解的偏
向，而在绘画形象本身的感染力以及色彩、笔法等方面的缺乏创造，也降低了
艺术的魅力。当然，作为艺术的实践家，他们不会不意识到形式技巧在艺术中
的重要作用。
　　以风景画为主的巴比松派的出现，是在复辟时代末期和七月革命初期，波
旁王朝的腐化和政治空气的低压之际。一些画家希图通过自然风光的描绘，寄
托他们民族的情感和向往自由的理想，而巴黎郊外白露附近有个巴比松小村，
有一群画家常常到那里写生，甚或住在那里画画，人们即称这群画家为巴比松
派。由于受其它传统的影响，产生不少受它影响的画家。巴比松的重要性，不
仅在于它以新的精神开辟了法国民族风景画的道路，而且成为后来印象派风景
画的直接的先导。面对自然写生，并极力追求光与色的效果。在绘画艺术中，
色彩对情绪的影响，以及色彩美给人愉悦的感受，是十分强大的。而大自然的
美所提供给人的色彩感受，又是极为丰富的。所以印象派在色彩上的创造，是
一项有益的革新，尤其是在风景画中，他们扩大了视觉感受的领域，从而丰富
和推进了现实主义的表现力。　
　　现实主义既然要求真实地去反映现实，那么，印象派忠于自己视觉的真实
感受，排除先验的成见，应该说是对现实主义的发展。

★著名的有：
1）德拉克罗瓦：
　　德拉克罗瓦(1798-1863)是法国浪漫派绘画的杰出代表人物。他七岁丧父，
十七岁丧母，九岁进中学，十八岁成了古典派画家的学生。他又研究著名画家
各个的作品，这些画家的对色彩的爱好，使他也成为重色彩的画家，而与重线
条的古典派大师相对立。他用奔放的笔触、用色彩来塑造形体。他是个情感、
丰富知识广博、有多方面才能的人，他擅长音乐，有很高的文学素养。他也画
壁画、肖像画、静物画、动物画、风景画。他的绘画创作所表现的内容，足以
反映出浪漫主义的种种追求--呼吁自由、缅怀历史、对文学名著的再现、异国
情调和东方色彩、神话幻想和宗教情感、自然和原始的力。这些作品反映的生
活的范围各异，它们达到的水平也并不相同，但肯定的说，所有这些探讨都是
与他的浪漫主义的精神相关联的。浪漫主义所要表现的对象是" 自由的具体的
心灵生活"。 资本主义和机器生产所加到人们身上的束缚，他缅怀往古，寄情
于神话，羡慕原始的自然之力或东方的奇风异俗，都为了从中获得灵感以抒发
自己的幻想激情。他为人类文化创造了丰硕的财富。他被称为" 浪漫主义的狮
子"。留下不朽的作品有:<<加利列海>>、<<自由领导人民前进>>、<<希奥岛的
屠杀>>等。

2）米勒
　　米勒是十九世纪法国农民画家。他出生在农村，童年时代的农村生活给他
留下深刻的印象。茅舍虽然清贫，但父母对子女的抚爱却淳厚至深。他较少受
学院派或同辈画家的影响，自有其独特的朴素风格。真实地塑造了当代贫苦农
民的形象，他们在忧愁和失望中不屈不挠地、只是聚精会神地专注于自己的工
作，他们的生活有如季节的循环，看不出希望或变化。实际上，他是一位悲观
的人道主义者，他相信命运和历史是一种力量，这种力量把农民禁锢在使人疲
倦的境地。米勒一生非常贫困，在巴黎十几年中，始终怀才不遇，疾病和穷苦
不断袭击着他。艺术久久不为人所重视。可贵的是，他一旦决心把艺术奉献给
"泥土上的英雄"--农民劳动者，就没有动摇过。这一点对他一生的艺术成就是
有决定意义的。他是赞美劳动和自然的艺术家，也许他笔下描绘的法国农村与
中国农村有某些相象之处，也许是因为中国艺术家对农村生活历来就是感兴趣
的，所以他的画似乎特别令中国读者感到亲切。可以说是最受中国观者欢迎的
画家之一。他留下的不朽的作品:<<拾穗>>和<<播种者>>等。

3）马奈
　　马奈(1832-1883)是法国印象主义画派中的著名画家， 他对欧洲绘画的发
展有重要贡献; 尽管他从来没有参加过印象派画家的联合展览，仍被认为是印
象主义画派的奠基人。马奈的成就主要体现在人物画方面，第一个把印象主义
的光和色彩带进了人物画，开创了印象主义画风。马奈早年受过学院派的六年
教育，后又研究许多历代大师的作品，他的画既有传统绘画坚实的造型，又有
印象主义画派明亮、鲜艳、充满光感的色彩，可以说他是一个承上启下的重要
画家。他的作品(尤其是肖像画)很自然地反映出了人物的性格和心理。四十九
岁的他在艺术上已非常成熟，能够熟练地应用印象主义绘画的表现方法。可惜
他当时身体欠佳，瘫痪症开始发作，但他仍坚持画画，并且画出了许多很有表
现力的画。不久过了一年，因病去世，但留下了大量优秀的艺术佳作。大致为
<<露台>>、<<草地上的午餐>>、<吹笛子的少年>>>等。

4）德加
　　 德加(1834-1917)是十九世纪法国印象主义画家。青年时受过很严格的学
院基础训练，特别崇拜一位大师，曾教导过，这种严格的环境中，对于他后来
表现各种动态的人物，很有好处。又临摹了许多古典大师的绘画和素描。所以
他的素描颇有功力。逐渐接近印象派，印象派是以表现"外光"而著称的，他表
现室内的人物活动常用印象派表现光和色的技巧，喜欢采取特殊的角度，好象
从生活的场景中任意切下来一个片断，而造成清新悦目的效果。他的作品表现
室内的内容特别多，显示出戏剧舞台特具的美感，有时带有一点寂寞的气氛，
反映出画家自身常怀着某种悲悯的心情去看待他所描绘的这些"芸芸众生"。他
的好友都称他是悲观主义者。留下的作品:<<熨衣妇>>、<<赛马场上的马车>>、
<<舞台>>等。

5）罗丹
　　罗丹(1840-1917)是法国著名的雕塑家。他学习艺术，并不是一帆风顺的。
他出身低微，经历了不少生活的坎坷，他所处的时代正是动乱时期，社会里有
种种矛盾，他力图在作品中表达自己对于人生的思考。他的一些优秀的作品，
既具有现实主义的深度，又富有浪漫主义的激情，他的创作实践，确乎使学院
派影响下日渐衰颓的艺术，为之一振。他青年时曾做过多种手艺活儿，这些默
默无闻的劳动，不仅使他接近了下层群众，建立了对劳动的感情，同时也为他
今后成为一个有多方面表现才能的艺术家，作了技术上的准备。在艺术上苦干
的他，作品常是不断遭受围攻，开始了不平凡的艺术生涯。虽然他读书并不广
博，可是他很重视文学修养，并且对自己喜爱的诗文有精深的体会。因此在他
的作品中，不仅常常含有文学意味的深思和诗的意境，而且他的题材有不少是
来自文学作品的。各类表情样样尽有: 爱、恨、权势、嫉妒、贪婪、悲悯等，
沉迷在滚滚的人海之中。他终生经常受到不公平的待遇，但热爱祖国仍是他十
分重视的品格。在最后的生命里，也是动荡不安，世事混乱的时候，不免给他
思想上带来某种悲伤或玄秘的因素，这种情绪在他后期的作品中流露得较明显。
最终在悲痛和疾病交迫之下与世长辞。他留下的作品不多，还留下了一册脍炙
人口的著作。作品有<<吻>>等。
六、二十世纪现代绘画艺术
　　所谓西方国家从二十世纪初发展起来的现代美术中某些流派--野兽派、立
体派、未来派、达达派、表现派、超现实主义、抽象主义、波普艺术等等的统
称。"现代派"一词是和某种新的、非传统的、区别于过去的艺术思想联系在一
起的; 现代派美术既不同于以往的传统美术，也不包括现代的各种现实主义流
派，它与现代的西方美术更不是同一概念，它在其中只占一席之地。
　　西方现代派美术的出现有其政治的、经济的、文化的、哲学的历史渊源，
是与现代西方社会的进程紧密相联的。十七世纪英国资产阶级产业革命后，由
新技术革命引起的一系列变化导致社会结构以及人的思想、意识、价值观念、
人与人之间起来的现代科学，以它的实际功效和成果，促使人们对艺术创新逐
渐采取比较开放的态度; 摄影技术的日益成熟，严重地动摇了一向视模仿自然
为全部目的的绘画信念; 以日本版画为代表的东方艺术和非洲艺术的传入，大
大刺激了单一化的发展的西方美术; 在哲学和心理学的影响下，一批画家反对
理性的压制和传统的束缚，重视直觉和下意识活动，艺术上不满足于客观事物
的再现，而着重于内心的"自我表现"; 西方现实社会的种种矛盾和弊端，在画
家的作品中也产生直接的或折射的反映。所以现代派艺术正是西方现代社会发
展的必然产物。
　　从整个欧洲美术历程来看，现代派美术潮是从印象派前后这个时期开始的，
最早的源头可追溯到十六世纪的威尼斯画派，历经十七世纪的启蒙浪潮，到十
九世纪的印象派。旧的艺术分类法被打破了，不仅绘画与雕塑的界限越来越模
糊，而且音乐、戏剧、舞蹈、摄影等都介入美术创作，手段扩展到包括人自身
在内的整个环境。在六七十年代中，先后出现了集合装配艺术、环境发生艺术、
身体艺术、表演艺术、大地艺术、观念艺术以及超极现实主义艺术等等。这些
艺术形式大大超越了二十世纪初现代艺术的范畴。如何看待当今二十世纪的西
方现代派美术 自缭乱缤纷的西方现代派美术出现以来，不仅在我国，就是在
西方也是褒贬不一，众说纷纭。美术不论是传统的还是现代派的，关键是它的
内容:表现什么 反映什么 另一方面，作为美术创作方法和流派也不是固定不
变的。我们应该对艺术家和作品，进行深入的研究和历史主义的社会学的分析，
笼统地肯定和否定，或者简单地把现代派美术和资产阶级的颓废艺术划等号都
是不科学不全面的。现代艺术史已经证明，现代派关于夸张、变形与抽象的表
现方法，关于色彩、视觉的研究，以及关于新材料的运用等等，对广告制作、
家具造型、服装设计、建筑构思、封面装帧等实用美术的应用、发展和变革产
生过影响，今后还会继续起一定作用。总之，现代派艺术家的创作思想是极为
复杂和多种多样的。

★著名的有：
1）塞尚：
　　塞尚(1839-1906)是法国著名的印象主义画派的画家，又被奉为"后期印象
派的三大巨匠之一"，其艺术原则成为现代"立体派"和"表现主义"绘画的先导，
因而有"现代绘画之父"的称号。二十多岁时便自学绘画，常常与印象派画家一
起画外光风景。他爱画静物和风景，尤以静物最有名。那丰富的想象、大胆的
独创、热烈的激情，说明他已脱离传统的学院派绘画，也有别于当时流行的印
象主义，而预示着一种新艺术的出现。他活着时，没有被人们赏识，反而当成
"异端"备受非难，于是他便到乡下，埋头画画，十八年没有公开展出一幅画。
他死后的第二年，他的作品受到社会的推崇。还有他也画了人物画，他的画不
太重视思想感情和个性特征的刻划，与他的静物画有许多类似之处，但其中也
有非常洗练、生动传达个性特征的作品。表现自己的主观想象则成了艺术创作
的基本依据。后来许多现代流派都受他的启发。他留下的不朽的作品: <<穿红
马甲的男孩>>、<<红椅上的塞尚夫人>>、<<静物>>、<<玩扑克的人>>等。

2）高更
　　高更(1848-1903)是法国后期印象派三大巨匠之一。 他起步较晚，早期的
画追求形式的简化和色彩的装饰效果，但还没有摆脱印象派的手法。他厌恶资
本主义的文明社会，包括传统的艺术趣味。他不但对埃及古代绘画很感兴趣，
而且向往仍处于原始部落生活的土人们的风习和艺术。被称为" 原始人产最高
典型"。 他不顾一切，远涉重洋到南太平洋上的一个岛上去生活和画画，直到
去世。他的作品具有浓厚的主观色彩和装饰效果。他的作品也不为人们赏识，
甚至连印象派大师也斥责他的画风。他的画描绘了别人没有发现的美--质朴的
原始美。他以极的热情非常真诚地描绘了土著民族及其生活。高更的艺术对现
代绘画影响极大，他被称为"象征派的创始人"。野兽派和表现主义绘画就是在
高更和凡高的启示下发展起来的。他的作品有:<<游魂>>、<<塔希蒂二少女>>
和<<快乐>>等。


3）凡·高
　　凡·高是后期印象派的三大巨匠之一。他学画起步较晚，他是荷兰人，他
到过巴黎，当时掀起印象主义绘画运动，使他大开眼界，竭力想冲破印象主义
的局限性开始探索自己独特的艺术道路。他是一个对受苦的下层人民怀有热爱，
对资本主义现实深感悲愤的人道主义者。由于关心人，要求自己的艺术有益于
人，所以不管他运用怎样"任意的色彩"或夸张的造型，他总是注意对象内在的
生命，注意人物的性格及其思想。所以他画的穷苦的劳动人，但是寻找他理想
的模特也是不容易的。这个差不多是自修成功的画家，只生活了三十七岁，而
全部杰出的、富有独创性的作品，都是在他生命最后的五六年中完成的。难得
的可贵是他对绘画的热爱超过他的生命。 他留下的流传百世的不朽的作品:<<
向日葵>>。其它的如: <<吃土豆的人们>>、<<夜间咖啡店>>、<<自画像>>等。

4）毕加索
　　毕加索(1881-1973) 是现代艺术(立体派)的创始人，西方现代派绘画的主
要代表。他是西班牙人，自幼有非凡的艺术才能，他的父亲是个美术教师，又
曾在美术学院接受过比较严格的绘画训练，具有坚实的造型能力。他一生中画
法和风格几经变化: 第一时期是:"蓝色时期";第二时期是:"玫瑰红时期";第三
时期是: "黑人时期";第四时期是:"立体主义时期"，分成分解和综合两种形式;
第五时期是:"古典主义时期";第六时期是:"超现实主义时期"; 最后是"抽象主
义时期"。
　　毕加索一生是个不断变化艺术手法的探求者，印象派、后期印象派、野兽
的艺术手法都被他汲取改造为自己的风格。他的才能在于，他的各种变异风格
中，都保持自己粗犷刚劲的个性，而且在各种手法的使用中，都能达到内部的
统一与和谐。他有过登峰造极的境界，他的作品不论是陶瓷、版画、绘画、雕
刻都如童稚般的游戏。在他一生中，从来没有特定的老师，也没有特定的子弟，
但凡是在二十世纪活跃的画家，没有一个人能将毕加索打开的前进道路完全迂
回而过。他说过:"当我们以忘我的精神去工作时，有时我们所作的事会自动地
倾向我们。不必过分烦恼各种事情，因为它会很自然或偶然地来到你身边，我
想死也会相同吧!"他静静地离去，走完了九十三岁的漫长生涯，他如愿以偿地
度过了一生。他留下下的作品:<<纪念阿弗尔>>、<<伏拉像>>、<<和平与鸽子>>等。 Masaccio
Masaccio (1401-1427), the first great painter of the Italian Renaissance, whose innovations in the use of scientific perspective inaugurated the modern era in painting.
Masaccio, originally named Tommaso Cassai, was born in San Giovanni Valdarno, near Florence, on December 21, 1401. He joined the painters guild in Florence in 1422. His remarkably individual style owed little to other painters, except possibly the great 14th-century master Giotto. He was more strongly influenced by the architect Brunelleschi and the sculptor Donatello, both of whom were his contemporaries in Florence. From Brunelleschi he acquired a knowledge of mathematical proportion that was crucial to his revival of the principles of scientific perspective. From Donatello he imbibed a knowledge of classical art that led him away from the prevailing Gothic style. He inaugurated a new naturalistic approach to painting that was concerned less with details and ornamentation than with simplicity and unity, less with flat surfaces than with the illusion of three dimensionality. Together with Brunelleschi and Donatello, he was a founder of the Renaissance.
Only four unquestionably attributable works of Masaccio survive, although various other paintings have been attributed in whole or in part to him. All of his works are religious in nature—altarpieces or church frescoes. The earliest, a panel, the Madonna with St. Anne (circa 1423, Uffizi, Florence), shows the influence of Donatello in its realistic flesh textures and solidly rounded forms. The fresco Trinity (c. 1425, Santa Maria Novella, Florence) used full perspective for the first time in Western art. His altarpiece for Santa Maria del Carmine, Pisa (1426), with its central panel of the Adoration of the Magi (now in the Staatliche Museen, Berlin), was a simple, unadorned version of a theme that was treated by other painters in a more decorative, ornamental manner. The fresco series for the Brancacci Chapel in Santa Maria del Carmine, Florence (about 1427) illustrates another of his great innovations, the use of light to define the human body and its draperies. In these frescoes, rather than bathing his scenes in flat uniform light, he painted them as if they were illuminated from a single source of light (the actual chapel window), thus creating a play of light and shadow (chiaroscuro) that gave them a natural, realistic quality unknown in the art of his day. Of these six fresco scenes, Tribute Money and the Expulsion from Paradise are considered his masterpieces.
Masaccio's work exerted a strong influence on the course of later Florentine art and particularly on the work of Michelangelo. He died in Rome in 1427 or 1428.文森特·凡·高
文森特·凡·高（Vincent van Gogh, 1853.3.30-1890.7.29）出生在荷兰一个乡村牧师家庭。他是后印象派的三大巨匠之一。
　　凡·高年轻时在画店里当店员，这算是他最早受的“艺术教育”。后来到巴黎，和印象派画家相交，在色彩方面受到启发和熏陶。以此，人们称他为“后印象派”。但比印象派画家更彻底地学习了东方艺术中线条的表现力，他很欣赏日本葛饰北斋的“浮世绘”。而在西方画家中，从精神上给他更大的影响的则是伦勃郎、杜米埃和米莱（Millet）。
　　凡·高生性善良，同情穷人，早年为了“抚慰世上一切不幸的人”，他曾自费到一个矿区里去当过教士，跟矿工一样吃最差的伙食，一起睡在地板上。矿坑爆炸时，他曾冒死救出一个重伤的矿工。他的这种过分认真的牺牲精神引起了教会的不安，终于把他撤了职。这样，他才又回到绘画事业上来，受到他的表兄以及当时荷兰一些画家短时间的指导，并与巴黎新起的画家（包括印象派画家）建立了友谊。
　　凡·高全部杰出的、富有独创性的作品，都是在他生命最后的六年中完成的。他最初的作品，情调常是低沉的，可是后来，他大量的作品即一变低沉而为响亮和明朗，好象要用欢快的歌声来慰藉人世的苦难，以表达他强烈的理想和希望。一位英国评论家说：“他用全部精力追求了一件世界上最简单、最普通的东西，这就是太阳。”他的画面上不单充满了阳光下的鲜艳色彩，而且不止一次地下面去描绘令人逼视的太阳本身，并且多次描绘向日葵。为了纪念他去世的表兄莫夫，他画了一幅阳光下《盛开的桃花》，并题写诗句说：“只要活人还活着，死去的人总还是活着。”
　　人们如果确能真诚相爱，生命则将是永存的，这就是凡·高的愿望和信念。可是冷酷和污浊的现实终于使这个敏感而热情的艺术家患了间歇性精神错乱，病发之时陷于狂乱，病过之后则更加痛苦。他不愿增加别人（尤其是弟弟提奥）的负担，于1890年7月23日自杀，几天后身亡，享年只有37岁。几个月后，曾经把自己全部热爱和物力献给他的提奥也死去了。人们说：提奥是为了凡·高而生的……
　　凡·高的正式作品和素描按照J.B.De LA Faille的“The Works of Vincent Van Gogh: His Paintings and Drawings”一书中所用的编号标出，编号前注有F或SD（从属于素描）；JH为Jan Hulsker所设编号, 相比“F”更准确，也更全面。书信部分按照《文森特·凡·高书信全集》（1981年波士顿出版）的编号标出。凡·高给提奥的信及少量写给其他人的信在编号前注有“L”；写爱弥尔·贝尔纳的信编号前注有“B”；写给安东·凡·拉帕德的信编号前注有“R”；写给威廉敏娜·凡·高的信编号前注有“W”；提奥写给凡·高的信编号前注有“T”。Guggenheim Museum
1929–30 At age sixty-six, the wealthy American industrialist Solomon R.Guggenheim begins to form a large collection of important modern paintings by artists such as Vasily Kandinsky, Paul Klee, and Marc Chagall. He is guided in this pursuit by a young German artist and theorist, Hilla Rebay (born Baroness Hilla Rebay von Ehrenwiesen). In July 1930, Rebay brings Guggenheim to Vasily Kandinsky's Dessau studio, and Guggenheim purchases several of the artist’s paintings and works on paper; he will eventually acquire more than 150 works by Kandinsky.
1930s Guggenheim's growing collection is installed in his private apartment at the Plaza Hotel in New York. Small exhibitions of newly acquired works are held there intermittently for the public. Rebay organizes a landmark loan exhibition entitled Solomon R. Guggenheim Collection of Non-Objective Paintings, which travels to Charleston, South Carolina; Philadelphia; and Baltimore.
1937 The Solomon R. Guggenheim Foundation is formed for the "promotion and encouragement and education in art and the enlightenment of the public." Chartered by the Board of Regents of New York State, the Foundation is endowed to operate one or more museums. Solomon Guggenheim is elected the first President of the Foundation, and Rebay is appointed its Curator.
1938 At age forty, Peggy Guggenheim, Solomon's niece, opens Guggenheim Jeune, a commercial art gallery in London representing such avant-garde artists as Jean Cocteau, Kandinsky, and Yves Tanguy. Initially advised by Herbert Read and Marcel Duchamp, she soon begins to amass her own important collection of Surrealist and abstract art.
1939 Under the auspices of the Solomon R. Guggenheim Foundation, the Museum of Non-Objective Painting opens in rented quarters at 24 East Fifty-fourth Street. Under Rebay’s direction, the museum— decorated with pleated gray velour on the walls and thick gray carpeting, and featuring recorded classical music and incense—showcases Solomon's collection of American and European abstract artists.
1942 Peggy opens Art of This Century, a unique gallery-museum on Fifty-seventh Street in New York, designed by Frederick Kiesler. The inaugural installation features her own collection displayed in unconventional ways. Over the next five years, Peggy mounts dozens of important exhibitions devoted to European and American artists such as Giorgio de Chirico, Robert Motherwell, Jackson Pollock, and Mark Rothko.
1943 Solomon and Rebay commission Frank Lloyd Wright to design a permanent structure to house the Museum of Non-Objective Painting. Over the next fifteen years, Wright will make some 700 sketches, and six separate sets of working drawings, for the building. The Foundation acquires a tract of land between East Eighty-eighth and Eighty-ninth Streets on Fifth Avenue, but construction is delayed until 1956 for various reasons, foremost among them postwar inflation.
1949 One year after Peggy exhibits her now fabled collection of Cubist, Surrealist, and European abstract painting and sculpture at the Venice Biennale, she purchases the Palazzo Venier dei Leoni on Venice's Grand Canal, installs her collection there, and opens it to the public. She establishes the Peggy Guggenheim Foundation to operate and endow the museum.
1952 Rebay resigns and James Johnson Sweeney is named Director of the museum. The name of the Museum of Non-Objective Painting is changed to the Solomon R. Guggenheim Museum to designate it as a memorial to its founder, who died in 1949, and to signify a shift toward a broader view of modern and contemporary art. Under Sweeney, the Foundation purchases several sculptures by Constantin Brancusi and other important artists whose work does not fall within the category of non-objective art.
1959 The museum opens to an enthusiastic public on October 21, just six months after Wright's death. From the beginning, the relationship between the breathtaking architecture of the building and the art it was built to display inspires controversy and debate. One critic writes that the museum "has turned out to be the most beautiful building in America . . . never for a minute dominating the pictures being shown," while another insists that the structure is "less a museum than it is a monument to Frank Lloyd Wright."
1961 One year after the resignation of Sweeney, Thomas M. Messer is appointed Director of the Solomon R. Guggenheim Museum. He will remain in that position for twenty-seven years, during which time he greatly expands the collection and establishes the Guggenheim as a world-class institution known for its art scholarship and special exhibitions.
1963 The Solomon R. Guggenheim Foundation receives a major portion of Justin K. Thannhauser's renowned personal collection of Impressionist, Post-Impressionist, and early modern art. Over the years, Thannhauser and his widow, Hilde, will give the Guggenheim more than seventy works, including thirty-four by Picasso alone. This donation greatly enlarges the scope of the collection to include painting of the nineteenth century, beginning with Camille Pissaro’s The Hermitage at Pontoises. Under the terms of the gift, the Thannhauser Collection is on permanent view at the Solomon R. Guggenheim Museum.
1976 Peggy Guggenheim transfers ownership of her collection to the Solomon R. Guggenheim Foundation with the understanding that the works of art will remain in Venice. Peggy dies in 1979 and the Foundation takes ownership of the palazzo. Thomas M. Messer is appointed Director of the Peggy Guggenheim Collection in addition to his role overseeing the New York museum, and he supervises a major effort to conserve and document the Venice holdings. In 1980, Messer is named Director of the Solomon R. Guggenheim Foundation.
1988 Thomas Krens succeeds Messer as Director of the Foundation. Krens takes charge of an expansion program already underway in New York, which will include an annex designed by Gwathmey Siegel and Associates Architects, and initiates planning for a comprehensive restoration of the Wright building.
1990 The Wright building is closed to the public so that the restoration and expansion can begin. Over the next two years, masterpieces from the collection are exhibited in a triumphant international tour to Venice, Madrid, Tokyo, Australia, and Montreal.
1991 Through purchase and gift, the Solomon R. Guggenheim Foundation acquires the Panza di Biumo Collection of Minimalist and Conceptual Art. This acquisition dramatically enlarges the Foundation’s permanent collection, giving it great depth in works by American postwar masters Carl Andre, Dan Flavin, Robert Ryman, and Richard Serra, among others.
1991–92 Agreements are signed between the Basque Administration and the Solomon R. Guggenheim Foundation to create a Guggenheim Museum in Bilbao, Spain. The Basque Administration will fully fund the $100 million construction and will make annual contributions to the operating budget. The Foundation will provide curatorial and administrative expertise as well as the core art collection and programming. Frank Gehry is chosen as the architect of the future museum. The Robert Mapplethorpe Foundation gives the Guggenheim 200 vintage photographs by Mapplethorpe, as well as a grant to launch a photography program. Contemporary photography quickly becomes a major area of collecting for the Solomon R. Guggenheim Foundation, and within a decade it is able to mount major exhibitions based on its holdings.
1992 After a three-year restoration of its interior, the Solomon R. Guggenheim Museum reopens to great acclaim. An eight-story annex, designed by Gwathmey Siegel and Associates Architects, opens simultaneously. The Guggenheim Museum SoHo opens. During its ten years in operation, the museum, designed by Arata Isozaki, will mount many small but important exhibitions focusing on artists such as Max Beckmann, Marc Chagall, and Antoni Tàpies as well as on art created in new media.
1997 The Guggenheim Museum Bilbao opens and is instantly hailed as an architectural masterpiece. Frank Gehry's titanium and steel structure becomes the first work of museum architecture to rival the Wright building in its achievement and influence. Guided by the Solomon R. Guggenheim Foundation, the Bilbao museum forms an important collection of postwar American and European painting and sculpture that complements the Foundation's holdings in New York and Venice. The exhibition program includes exhibitions that originate at the New York Guggenheim, as well as at other internationally prominent museums. In only a few years, the Guggenheim Museum Bilbao is widely credited with reviving the reputation and fortunes of the Basque region. The Deutsche Guggenheim, Berlin, opens. This small museum, designed by Richard Gluckman, is a unique partnership between the Solomon R. Guggenheim Foundation and Deutsche Bank. Funded entirely by the German corporation, the museum's primary purpose is to commission important new works by contemporary artists that will then enter the Guggenheim collection. Over the next eight years, several distinguished international artists are commissioned, including William Kentridge, Jeff Koons, Gerhard Richter, James Rosenquist, Hiroshi Sugimoto, Rachel Whiteread, Bill Viola, and Lawrence Weiner.
2000 The Solomon R. Guggenheim Foundation signs an alliance agreement with the State Hermitage Museum in St. Petersburg, which becomes a trilateral alliance in early 2001 when these institutions are joined by the Kunsthistorisches Museum in Vienna. The objectives of the alliance are to expand international cultural relations; to make each museum's collections accessible to broader audiences; to pursue collection sharing strategies that complement each institution's holdings; to implement joint exhibition, publishing, educational, and retail initiatives; and to facilitate each institution's long-term goals. Philip Rylands is promoted from Deputy Director to Director of the Peggy Guggenheim Collection.
2001 The Solomon R. Guggenheim Foundation and the State Hermitage Museum jointly open the Guggenheim Hermitage Museum at the Venetian Resort in Las Vegas. This small museum, designed by Rem Koolhaas, is devoted to masterworks from the permanent collections of the allied museums. Simultaneously, a large Kunsthalle called the Guggenheim Las Vegas opens at the Venetian in order to provide a venue for the Foundation’s popular exhibition The Art of the Motorcycle. The exhibition runs for an unprecedented sixteen months, at which time the Guggenheim Las Vegas closes.
2005 Richard Serra's monumental site-specific installation The Matter of Time (2005) opens at the Guggenheim Museum Bilbao. The largest sculpture commission in history, it is hailed by critics as a singular achievement. Restoration of the exterior of the Frank Lloyd Wright building begins. Work will be finished in time for the fiftieth anniversary of the museum's opening. Lisa Dennison is promoted from Deputy Director and Chief Curator to Director of the Solomon R. Guggenheim Museum.达·芬奇 (1452—1519年)
列奥纳多·达·芬奇是人类智慧的象征，他怀有神灵般的无限理想，试图重新创造世界的美，量度世界的广大无垠，解释世界的奥秘。可是他只有常人的生命和力量。他的抱负是发现一切、研究一切、创造一切。他的生命是一条没有走完的道路，路上是撒满了崇高的未完成作品的零章碎片，他在临终前心酸地说过：“我一生从未完成一项工作。”列奥纳多生于佛罗伦萨郊区的芬奇小镇，因此取名叫芬奇，5岁时能凭记忆在沙滩上画出母亲的肖像，同时还能即席作词谱曲，自己伴奏自己歌唱，引得在场的人赞叹不已。父亲安东尼奥律师认识到儿子的绘画才能，决定送他进佛罗伦萨艺术家委罗基奥工作室学习。在那里，他不仅接受绘画、雕刻、建筑艺术的教育，还受到其他科学的影响。芬奇在委罗基奥工作室曾经研究过鸡蛋的明暗变化关系，发现了明暗渐进画法。他在委罗基奥工作室度过了6个年头，成长为具有现代科学思想和勇于探索的人类智慧的典范。芬奇在佛罗伦萨是无法施展自己的才能的，他一心想要把他的艺术和智慧带进现实世界，光彩照人。他在31岁那年写信给米兰大公鲁多维柯·斯弗查，在信中列举了自己的各种才能，最后他还表示可为大公的父亲塑造一座骑马像，成为世界上前所未有的巨型雕像。大师41岁时完成这一巨作的土制塑像，因没有足够的铜铸造而使巨作终未完成，1499年法军入侵时被毁，否则将成为世界一大奇迹。大公对他的天才和辛勤劳动酬谢不是金币，而是金言玉语，这使芬奇十分不安，大公为了安慰他，请他为米兰格雷契寺院食堂画幅画，这就是《最后的晚餐》。如果说《最后的晚餐》是世界最著名的宗教画，那么芬奇在51岁时自米兰重返佛罗伦萨而作的《蒙娜丽莎》则无愧为世界上最著名、最伟大的肖像画。这两件誉满全球的作品使达·芬奇的名字永垂青史。达·芬奇独特的艺术语言是运用明暗法创造平面形象的立体感。他曾说过：“绘画的最大奇迹，就是使平的画面呈现出凹凸感。”他使用圆球体受光变化的原理，首创明暗转移法(亦称明暗渐进法)，即在形象上由明到暗的过渡是连续的，像烟雾一般，没有截然的分界，《蒙娜丽莎》是这种画法的典范之作。瓦萨利认为这种明暗画法是绘画艺术的一个转折点。芬奇的一生始终在探索艺术的高贵气质，只有在美的创造中他才能感到心满意足。15世纪意大利的科学与理智、美的追求与创造，由于达·芬奇而登峰造极。可是大师的才能到了晚年并没有受到重视和赏识，教皇的冷漠使他十分伤心。1515年法兰西国王弗朗索瓦一世重新占领米兰时，邀请大师赴法国定居克鲁堡，应聘为宫廷画家。大师1519年客死异国，终年67岁。他的学生佛朗西斯柯·穆埃基说：“芬奇的死，对每一个人都是损失，造物主无力再造一个像他这样的人了。”犹大之吻 (意大利 乔托)
　
《犹大之吻》是十三世纪后期佛罗伦萨大画家乔托的代表作之一，它是欧洲文艺复兴初期的绘画杰作。
十三世纪的意大利是欧洲文艺复兴的春鸟，它在文学上的伟大代表是诗人但丁和小说家薄伽丘，在绘画领域里的伟大代表则是乔托。因此，在文艺复兴史上，乔托与但丁齐名，而且乔托在但丁的著名诗篇《神曲》里得到赞扬，说他超越了他的老师契马布埃，声誉高过其师；薄伽丘则在《十日谈》中评价乔托说：“他生而具有超群的想象力，凡自然界的森罗万象，他无一不能运用他的妙笔画得惟妙惟肖，令见者几疑是物的真体。”
乔托的贡献在哪里呢？十三世纪以前的意大利绘画，一直在拜占庭艺术的控制之下。所谓拜占庭艺术，是一种受罗马拜占庭帝国影响而产生的艺术风格，它的特点是高度的程式化，色彩艳丽而人物僵硬，重装饰而鄙视造型，离开真实非常遥远。特别表现在宗教画上，人被“神化”，而神又被僵化，人物没有个性，形象呆滞僵直。这种情况从契马布埃(约1240-1320)开始，逐渐有所转变，但是真正使意大利绘画摆脱拜占庭定型式的宗教画风的是乔托。
乔托(1266-1337)是佛罗伦萨人，据传说，他是契马布埃的学生。传说乔托小时候是个牧羊人，在牧羊时以石块和树枝在地上作画，契马布埃偶然在途中见到，惊异于这个牧羊少年画得生动而真实，就收他为学徒了。后来，他一生从事于为教堂画壁画，从1308年到1334年间，他的壁画遍及罗马、佛罗伦萨、巴图亚、比萨、维罗纳、那不勒斯等地，可惜大都损毁了，保存下来的真迹不多。最著名的有《犹大之吻》、《逃往埃及》、《基督传》等。
《犹大之吻》是《圣经》故事之一，犹大是出卖耶稣的叛徒。在逾越节的晚餐桌上，耶稣指出他是出卖主的人。他知道自己已经暴露，就提前溜走，立即去给敌人引路前来捉拿耶稣，他以亲吻作为暗号。画面上表现的是犹大带领了一队兵马，还有祭司长和法利赛人的差役，直奔耶稣，要与他亲吻。画面上耶稣双目盯紧犹大，满眼怒火；犹大则十分紧张。四周则充满着骚动，气氛极其悲壮。这幅画虽然是圣经故事，但从生活的光明和黑暗两个方面表现了一个真实的人的形象，表现了正义与邪恶的搏斗。整个画的光线、色彩、构图都集中在中心人物形象上，犹大的黄色大氅明亮而醒目。全画用重色调，上部深蓝，下部褐色，造成一种沉重的黑暗感，以渲染这种斗争的紧张气氛。Henry Clay Frick
The Frick is one of the predominant small art museums in the whole of the United States. The museum is located on Fifth Avenue and 70th street, and faces onto Central
Park. The building is the former residence of steel magnate Henry Clay Frick (1849-1919). It was constructed in 1913-1914 from a design by Thomas Hastings. Frick was generally regarded as a tough entrepreneur whose only interest was in business, but within his family, he was regarded as a warm and affectionate man. He became an avid collector of art which he eventually left to the American people, plus a large endowment for its upkeep.The Frick Collection includes many very well known paintings by some of the greatest artists in Europe, plus major works of sculpture and bronzes, there is some superb eighteenth-century French furniture and porcelains, also Limoges enamels, Oriental rugs, and other works of remarkable quality.
Frick's, private art collection was made into a museum after his death. It has been designed to feel more like a private home than a public place, with the mansion itself being considered to be a work of art in its own right. The low stone building and courtyard take up almost an entire city block. Over the years the Collection has expanded, with about one third of the pictures now being exhibited having been acquired since his death. In 1935 and again in 1977, the building was enlarged to accommodate the growing collection.
The furniture that adorns all the rooms of the house is almost entirely from the sixteenth century. Many rooms have rich wood walls and floors, marble fireplaces and decorative columns, giving visitors the sense of the grandeur of a bygone age. You will see nothing more recent than 1880’s French Impressionism here; most of the work is at least a century older than that, with one piece being nearly seven hundred years old. The house has several small, rooms set off from the main ones, so take care not to miss any during your visit to the museum.
The treasures found here include major works by Bellini, El Greco, Vermeer, Velazquez, Goya, Turner, Van Dyke, Rembrandt, Renoir and Holbein, plus wall panels by Fragonard and Boucher.
The indoor courtyard with a fountain and glass ceiling is a lovely tranquil spot. Both the mansion and the works in it serve as a monument to one of America's greatest art collectors. Many of the rooms are arranged almost precisely the way Henry Clay Frick would have wanted them. Unlike many other museums, the works of art are not displayed in any particular order of date or style, which adds to the impression of intimacy. Nowhere in New York, or in the United States for that matter, will you find such an inviting, intimate museum displaying such rare works.马奈
马奈1832年1月23日生于巴黎， 父亲是司法部官员，门第高贵， 自幼受到良好的教育。父亲希望他献身公职，但他却醉心绘画。1850年，他进入古典派画家库退尔的画室学习但却不盲从老师的方法。他从委拉斯贵支、哈尔斯、戈雅和拉斐尔等前代大师的作品中汲取了较多的营养。
　　1856年，马奈建立画室。这一年，他到荷兰、意大利和德国旅行，萍心地临摹过委拉斯贵支和提香的作品。1859年，他首次向沙龙送去作品，但被评审委员所拒绝。1861年，他的《弹吉他的西班牙歌手》等两件作品入选，并在展出时获奖。1863年，他的大幅油画《草地上的午餐》以"有伤风化"的罪名被拒绝；随后，油画《奥林匹亚》受到批评家的谴责。于是，他仿效库尔贝的做法，结合一部分落选画家，举行了《落选作品展览会》 (落选沙龙)。对于这些作品，舆论褒贬不一，狂热的吹捧和刻薄的讥消都达到空前的水平。1867年，同世界博览会相对抗的马奈作品展开幕。马奈在目录册的序言中写道："马奈先生根本无意于提出抗议，相反，是别人对他提出了抗议。而这是非他所料的，这些反对者都是以传统的观念来理解绘画的形式、手法和观点的，他们不承认其它的理解方法。他们在这方面表现了一种幼稚的偏见。除了他们的公式，一切都毫无价值。马奈先生一向承认别人的才识，从不妄想消灭先前的绘画或创造新的绘画。他只不过是要做他自己，而不想去做某一个别人 quot;
　　他的努力得到著名作家左拉的支持，左拉化名克洛德，在《事件》报上预言：青年马奈的作品必将在卢佛 宫占有一席之地。这一预言在马奈死后的1907年终于兑现。这一年，由法国总理克列孟梭签署命令，将马奈的《奥林匹亚》一画置于卢佛富陈列。
马奈并不分成印象派的色彩理论，与印象派之排斥黑色不同，马奈却是十分善于使用黑色的。它像乐队中的定音鼓，使整个画面的色彩响亮醒目而又各得其所。在瓦伦斯的肖像中，裙子的黑色正是起到了这种作用。1812年，马奈在巴提约尔街的画室成为青年画家向往和聚会的地方。后来成为印象画派成员的马奈、德加、雷诺阿等人，经常在此聚会，马奈成为他们心目中的领袖。但是，马奈不赞成印象派的观点，也没有参加过印象主义者的画皮，所以，他不是印象派的成员。1883年4月30日， 马奈因疽毒症不治身亡。，数万人参加了他的葬礼，著名画家埃德加·德加，望着长长的送葬者行列，深深地感慨道： "马奈比我们想像的更伟大!"拉斐尔 (1483—1520年)
达·芬奇的艺术深沉、含蓄、富有理智、充满智慧；米开朗基罗的艺术博大、雄伟、富有激情、充满力量；而拉斐尔的艺术则以优雅、秀逸、和谐、高度的完美为标志。拉斐尔·桑蒂1483年生于意大利山区的乌尔宾诺小公园。父亲乔万尼·桑蒂是乌尔宾诺大公的御用画家，拉斐尔的启蒙教师。15岁的拉斐尔在波伦亚画家的画室里学习，他勤奋地探索绘画的奥秘，能敏感地捕捉住美和艺术的真谛。16岁时离开家乡乌尔宾诺到北意大利安布利亚地区的裴路基亚城，从师于佩鲁基诺。一天，佩鲁基诺对拉斐尔说：“我不想让这小地方拖住你，你要到大师云集的佛罗伦萨去，你可以独立工作了。”这时拉斐尔19岁。拉斐尔从老师那里学到了色彩感觉与透视原理，绘画技巧相当成熟，才能已超过老师。在佩鲁基诺的引导下，拉斐尔跨进了佛罗伦萨的艺术世界，很快就融入到画家群里。他那讨人喜爱的外貌和善于自持的性格，立刻就为自己开辟了艺术道路。佛罗伦萨给了拉斐尔从未有过的艺术教益。他急切地吸取着大师们作品中的成就，他以一个学生的姿态对待达芬奇和米开朗基罗。他充分利用佛罗伦萨能提供给他的一切：他研究解剖学、观察大自然和新的社会中人际关系，他对生活、对人、尤其对女性和母亲更加充满感情和爱，他既崇拜达芬奇，也尊重米开朗基罗，他要把佛罗伦萨的全部艺术精华变成自己的营养。他开始意识到自己的羽毛已经丰满了，他可以走向更高的艺术殿堂，他想到罗马去一显自己的才能，让世人看一看谁是当今意大利最优秀的画家。教皇朱理二世为了赞颂自己，把最优秀的画家、雕刻家、建筑家都请到罗马来为他服务，当时，米开朗基罗正在为他画西斯廷教堂天顶画。刚满25岁的拉斐尔，在佛罗伦萨接到罗马送来的圣旨：“教皇想尽快在梵蒂冈见到拉斐尔，以便他在罗马与意大利最优秀的艺术家一起，为美化罗马而工作。”不久梵蒂冈的画家们被告知：除了拉斐尔和米开朗基罗之外，其余的画家们全被辞退了。教皇认为罗马只要有这两位大师就足够了。天才的成就，引来繁重的订画任务，这是拉斐尔的光荣，也是他的悲剧，太大的名望终于把他压垮了。 1520年4月1日，他病了。医生为他诊断病情以后摇着头说：“您，亲爱的大师，您从年轻时候起就过着过于紧张的生活，现在受到报应了。人们都知道艺术家是一些什么都不在乎的人，他们不吝惜生命，而是让生命去燃烧。”一个星期以后的4月6日他死了。他死后的荣誉，将永远存在于他的作品之中，载入人类文明的史册。徐悲鸿
徐悲鸿 ：（1895-1953）现代绘画艺术大师，江苏宜兴人。四岁入塾，从父习画。年甫弱冠，东渡日本，翌年赴法，师事达仰，继入徐梁学院及巴黎国立美术学校1921年游学德，1927年归国，任中大艺术教授。1933年在巴黎画展，法政府选购十二幅，辟专室陈列。旋赴欧，在德、意及苏联举行画展。抗战后，屡在国内广州、长沙以及香港、印度、星洲等各地为救济祖国难民，举办画展。历任北京大学、桂林美术学院教授。后，任北平艺专校长。解放后，任中央美术学院院长，中华全国美术工作者协会主席。在绘画创作上，反对形式主义，坚持写实作风，主张“古法之佳者守之，垂绝者继之，不佳者改之，末足者增之，西方绘画可采入者融之。”继承我国绘画优秀传统，吸取西画之长，创造自己独特风格。长于国画、油画、尤擅素描。造诣极深，善于传神。著名油画《 我后》、《田横五百士》国画有、《九方皋》、《愚公移山》、《会师东京》等，最为所重。画马为世所称，笔力雄健，气魄恢宏，布避设色，均有新意。。1952年病中，曾将自己一生创作和全部珍藏，捐献国家。平生积极从事美术教育事业，为中国美术事业发展，鞠躬尽粹，培育不了少优秀人才。。1953年卒于北京。年仅五十九岁，就其寓所改建徐悲鸿纪念馆。其代表作《奔马图》，最为人所喜爱。间作花鸟及猫，亦别具风格，情趣盎然。著有《普吕动》、《初伦杰作》、《悲鸿素描集》、《悲鸿油画集》、《悲鸿彩墨画集》等行世。(共27张PPT)
课标人教实验版高二 Module 6
Unit 1
Listening
广东 林慧贤
Listening on P41
Show the order in which you hear them discussed.
4
1
2
3
Name Number of times each
spoke
Steve lee
Wang pei
Xiao wei
4 times
7 times
7 times
Listen again and put a tick in the chart every time you hear the person speak. Who speaks most often Who speaks least often
Who arrived late
Xiao Wei.
Why did they decide not to get the vase for Mr Hang
It was too expensive.
Listen again and answer the
questions.
Why did Steve Lee wish they had talked to Mrs Hang before they went shopping
Mrs Hang would probably have known what to get Mr Hang.
Which present did Wang Pei prefer
At first he liked the book but later
he thought the wall hanging would be best.
Which present do you think the students will get Give a reason.
I think they will probably get the wall hanging because the others seem to respect Wang Pei’s opinion. Also, they know Mr Hang likes that type of wall hanging.
Listening text
Mr Hang, the art teacher is leaving the school. Steve Lee, Wang Pei and Xiao Wei have decided to get him a going-away present. Listen to them talking about what to get him.
STEVE: Where’s Xiao Wei She ought to be here by now.
WANG: There she is, just coming in the door.
XIAO: Hi Steve, Wang Pei. Sorry I’m
late.
WANG: Never mind, you’re here now. Look, We’ve picked out these four things. So now we just have to choose between them.
STEVE: I like the vase best of all. Do you think he’d like that
XIAO: Yes, I’m sure he would, Steve. It’s beautiful. But look at the price! It’s too expensive. If we had more money it would be the perfect gift.
WANG: Yeah, I suppose so. Well what about the paints and brushes
XIAO: Don’t you think he’d prefer to choose his own paints and brushes
WANG: You’re probably right. So that leaves just the wall hanging and the art book.
STEVE: We should’ve talked to his wife before we came shopping. If we had, we would have a better idea about what he likes.
XIAO: Well, we didn’t, so we’ll just
have to do the best we can.
WANG: I think I’d rather get him the book. Everyone likes books.
XIAO: Yes but what if he’s already got it He’s probably got lots of art books.
WANG: If he’s already got this one, he can change it for another one. What do you think Steve
STEVE: This is too hard. I wish we knew more about Mr Hang. He might hate what we get him.
XIAO: No, he wouldn’t. He’d like
anything his students give him.
WANG: Do you remember those wall hangings he talked about in class He said he loved that kind
of art. I think if he were here, he’d choose the wall hanging.
XIAO: OK, so what’s it to be Which would he prefer — the wall hanging or the book
(fade with them saying He’d prefer…, I think…I wish…)
Listening task on P44
Number them and then write the name of the historical period when it was painted.
1
6
4
2
3
5
5000-3000 BC
First century AD
Tang Dynasty
Yuan Dynasty
20th century
20th century
Listening text
Good morning class. Today I’d like to show you some of my favourite paintings and pottery by Chinese artists.
You may not know that Chinese artists have been creating art for over 7,000 years. In this picture you can see a piece of painted pottery that was made between 5,000 and 3,000 BC.
When Buddhism came to China in the first century AD, architecture,
sculpture and painting began to have a religious theme. This cave painting is from the Caves of the Thousand Buddhas near Dunhuang, Gansu. As you can see, artists at this time had developed a very organized system of drawing, which focused on the use of brush strokes.
By the time of the Tang Dynasty, from about 960 to 1279 AD, the traditional style of painting we recognize today was well developed. Humans animals and scenes of palace life were popular for painting at this time, as you can see in this picture painted about 650 AD by Yan Liben.
During the Yuan Dynasty, human figures and pictures of still life became popular. This painting by Zhao Mengfu is typical of that period. As you can see, these artists did not try to paint nature realistically. Instead, they changed the real scenery to stress one
part of the scenery. They did this to show their feelings, thoughts and hopes in their paintings.
Even today, Chinese artists continue the traditions of old Chinese artists. However, many artists also experiment with Western techniques and styles in
their work. You can see the western influence in these two modern paintings. This one was painted by Lin Fengmian in 1974, while this abstract painting by Zhong Ling was done in the 1980s.
I’m afraid that’s all I have time to talk about today. But if you’re interested, I can give you more information after class and show you many examples of Chinese art from ancient to modern times. Thank you for listening to my talk.Unit 1 Art
Teaching plan
I. 单元教学目标：
1． Talk about art and galleries
2． Talk about likes and preferences
3． Learn words in families
4． Use the subjunctive mood
5． Writer a letter to give suggestion
II. 目标语言
1． 功能句式。
Talk about likes and preference:
I’d prefer…/ I’d rather…/ I’d like…/ which would you prefer…./ I really prefer…/ would you rather…/ would you like…or…
2. 词汇
abstract, sculpture, gallery, consequently, belief, consequent, convince, shadow, ridiculous, controversial, nowadays, attempt, predict, aggressive , scholar…
3. 语法: the subjunctive mood
if I were you…./ I wish I could…
4. 重点句子
1. there are so many different styles of western art it would be impossible to describe all of them in a short text.
2. people became focused more on human and less on religion.
3. if the rules of perspective had not been discovered, people would not have been able to paint such realistic pictures.
4. at the time they were created, the impressionists’ painting were controversial but today they are accepted as the beginning of what we now call “modern art”.
III. it is amazing that so many great works of art from late-19th century to 21st century could be contained in the same museum.
IV. 教材分析。
本单元一ART 为主题，主要介绍了西方绘画监视，描写了曼哈顿最好的艺术长廊。帮助学生了解更多的有关美术的背景知识，分析中西艺术史上各大流派的特点，指出其代表性的画家和作品，并对中西方的绘画艺术进行比较。
1． Warming up 部分要求学生运用相关目标语言对自己喜欢的艺术形式和流派展开讨论，并说明喜欢的原因。
2． Pre-reading 让学生有关画展或书中的艺术作品以及西方不同时期的著名画家。
3． Reading 介绍了西方绘画监视，不同的艺术流派，艺术特点及其代表性的画家和作品。
4． Comprehending要求学生在理解课文的基础上，写出三件有关西方艺术史的事并西方艺术分割变化大的原因。
5． Using language 是由reading, listening, discussing and writing 四部分组成，要求学生在了解艺术长廊相关知识的基础上，为当地举办的一场画展提出合理化的建议。
IV．课型设计与课时安排
Ist period reading
2nd period language point
3rd period grammar
4th period listening and talking
5th period using language
6th period speaking and writing
分课时教案
The first period reading
Teaching Aims:
Help the students to talk about the short history of Western painting.
Difficulty and importance
Enable the students to talk about their opinions about different styles of Western art.
Teaching methods:
Skimming and Scanning ;individual, pair or group work; discussion.
Teaching aids
A computer and a projector, a recorder, and some famous paintings.
Teaching Procedures
StepⅠ Warming Up
1. Show some paintings to students to put forward the topic ---paintings
2. let students discuss some familiar Chinese painters and their paintings and a famous painting of Leonardo da vinci.
3. Match some new words in column A with the correct English meanings in Column B.
A B
b. abstract
c .existence
d. detailed
e. religious
f .traditional
Step II : reading
1. scanning :
Read the passage as quickly as you can to find out the answers to the questions on the screen
1What were the artists interested in from 5th to 15th century AD
2How did Masaccio paint his paintings
3Why did the impressionists have to paint quickly
2. careful reading
·deal with exe.2 on page 3
·do five questions to check students understanding.
·go through the passage and analyze the characters of each period.
Now that we have learned the passage , an you tell me :what is the writing style of the passage
How about its writing characteristic
StepⅦ Homework
1Underline the time expressions in the reading passage.
2Retell the passage with the help of the chart about the text.
3Disscuss the questions in Ex 3 on page 3.
The 2nd period
Teaching Aims: words and expressions
Difficulty and importance: new words
Teaching methods:
Teaching aids
A computer and a projector
Teaching Procedures & ways
StepⅠ
Art is influenced by the way of life and beliefs of the people.
艺术受人们生活方式和信仰的影响。
He is interested in the beliefs of the Christian Church.
He has lost his belief in god.
The story of his miseries is beyond belief.
1我们有相同的政治信仰。
We share the same ______ _________
2我非常信任医生。
I have_______ _______ in doctors.
Consequently, this text will describe only a few of the main styles.
因此，本文仅介绍其中主要的几种风格。
The bank refused to help the company; consequently, it went bankrupt.
She overslept and, consequently, she was late.
consequently adv. =as a result ,therefore
adj. consequent
It rained that day and___ the baseball game was called off.
(however, still, consequently, so)
A. As a result of her mother’s illness, she left school.
B. Her mother became ill; ______________ she left school.
During the Middle Ages, the main aim of the painters was to represent religious themes.
中世纪，画家们的主要目的是表达宗教主题。
aim
take aim at 瞄准
Ex.
1这些措施旨在削减政府的开支。
These measures are ______ _______ government costs.
2他没有瞄准就开枪。
He fired _______ _________.
3他的人生没有目标。
He has________ ___________ in life。
In the Renaissance, new ideas and values took the place of those that were held in the Middle Ages.文艺复兴时期，新的观点和价值观取代了中世纪人们坚持的观点和价值观。
value n .价值观
v.重视，估价
价值观pl. values to be of value 有价值
1他的意见没有价值。
His opinions are_____________________
2她重视你的忠告。
She ___________________________
3那幅画被估计为一万美元。
The painting was ____________________ $ 10 000.
People became focused more on humans and less on religion.
人们变得多关心人，少关心宗教。
Focus your attention on your work.
focus on sth. focus sth on sth.
focus on 集中精力，注意力 =concentrate on
focus on无宾语时，focus on
Ex.
We must focus on this question.
We must _________________ this question.
他的目光集中在她身上。
His eyes __________________ her.
focus on 聚焦于，使…成为兴趣的焦点
我要把镜头对准那儿的一群重要人物。
所有的目光都集中到他的身上。
They paid famous artists to paint pictures of themselves, their houses and other possessions.他们雇请著名艺术家来画他们，及他们的住宅和其他的财产。
possession n.
1私有财产 [c]
2占有，拥有 [u]
sb in possession of 某人拥有某物
sth in the possession of 为某人拥有
When her father died, she came into possession of a large fortune.
The people had to gather up their few possessions and escape to the hills.
1那幢房子为我所有。
The house is_____________________________
2他已经失去全部财产。
He has lost______________________________.
When people first saw his paintings ,they were convinced they were looking through a hole in a wall at a real scene. 人们初次看到他的作品，认为是通过在墙上的一个小孔看到了真实的场景。
他使我确信他的真诚。
He convinced me of his sincerity.
你的错误使我确信你没有学习功课。
Your mistakes convinced me that you hadn’t study your lesson.
convince vt. 使确信
convince sb. of sth convince sb. that
be convinced of sth be convinced that
1我们说服她搭火车去。
We__________ her_____________ by train.
2她试图使我们相信她的清白。
She tried to ______________her innocence.
attempt vt. =try
attempt to do/doing=try to do /doing
attempt
The third period
Teaching aims:
Help the students to use the subjunctive mood correctly in different situations.
Difficulty and importance
Enable the students to use the correct form o f of the subjunctive mood
Teaching methods:
Summarizing, comparative method; practicing activities
Teaching aids
A computer and a projector
Teaching Procedures
StepⅠ Presentation
1. explain what is subjunctive mood.
Step II
Divide the subjunctive mood into several situation: uses in condition clause, in object clause,
In each part it will:
first Let students to make sentences in a certain situation: if you won the lottery what would you do
second show some pictures to let students make sentences with subjunctive mood.
Third do some exercises.
Step III
Explain some mistakes easy made.
StepⅣ Consolidation
Ex.1----4 in using structures on page 43.Then check the answers.
Prepare for the Listening and Talking on page 41.
StepⅤ Homework
Prepare for the Listening and Talking on page 41
The fourth period listening
P7 P41 P44
Task1
Do some listening practice on page 7,
StepⅠ Listening
Listen and answer the questions in Exercise1&2
Answers2: 1John.2Susan. 3He wants to see the exhibition of Chinese art.4Small galleries. 5It is big, crowded and too expensive.6Modern art. 7The Frick collection and the Metropolitan Museum on Friday and the Whitney and the Guggenheim on Saturday.
StepⅡ Discussion
So far, we have learned some knowledge about the art. Let's talk about how to express likes and preferences. Let's see some sentence structures. Discuss the questions on page 41
Look at some sentences structures :
I ’d prefer…
I ’d rather…
I’d like…
Which would you prefer…
I really prefer…
Would you rather…
Would you like…or
Sample dialogue 1
S1: Who are your favorite Chinese artists
S2: I’d prefer the Chinese famous painter Qi Baishi, who is a master of traditional Chinese realistic paintings. He is good at combining two kinds of techniques: traditional Chinese realistic painting and freehand brushwork in traditional Chinese painting.
S1: Would you like any western artists
S2: Yes, of course. I prefer the Italian artist Giotto di Bondone. He is well-known for his rediscovery of the third dimension
Sample dialogue 2
S1: Which style would you prefer, two –dimensional or three-dimensional
S2: I prefer two-dimensional style. My favorite art style is photography. My ideal is to be a photographer. Images and information can be presented to thrill and inspire people.
S1: I’d rather like three dimensional style. I like pottery very much
Sample dialogue 3
S1: There are many kinds of folk arts in China, such as paper cutting ,kites, jade and other stone carvings, etc. what kind of Chinese art do you like best
S2: I enjoy paper cutting very much. The crafts use simple materials.
S3: I’d rather like clay figures. Chinese folk artists use simple and cheap materials to make small and delicate handicraft. Clay figurine making is a unique folk handicraft of China.
Task 2:
Do some listening practice on page 44.Keys
1 What about visiting some art galleries
3There’s even a section on Chinese art .I’d like to see that.
4 Well, the Frick Collection is quite small, and it has a beautiful garden.
5 Oh no. It’s too big and crowded.
6 Modern art! Do we have to I’m not very fond of that stuff. A monkey could have painted better pictures than some of those paintings.
7 Metropolitan stays open until 8:45 on Friday evenings.
7 ...They ‘re quite close together. The Guggenheim stays open till late on Saturdays...
2 Listen again and then answer the questions.
P41
3 book 1vase
4wall hanging 2paints and brushes
P41 2
1Xiao Wei. 2It was too expensive.
3Mrs Hang would probably have known What to get Mr Wang.
4At first he liked the book but later he thought the wall hanging would be the best.
5I think they will probably get the wall hanging because the others seem to respect Wang Pei’s opinion. Also, they know Mr Hang likes that type of Wall Hanging.
P44 Listening task
1 discuss :In what period do you think they were
2Listen to the tape: Number the artworks 1---6 to show the order in which Zhang Lin talks about them.
3 5 2
6 1 4
Learn new words pottery陶器
Buddhism 佛教 Architecture 建筑
Brush strokes 绘画的技巧 Typical 典型的 Technique 技巧，手法
Answer key for Ex.2
15000—3000BC 2First century AD Tang Dynasty 4Yuan Dynasty 5 20th century
6 20th century
Key for Ex 4
1Painted pottery.
2Religious theme, organized system of drawing focused on the use of brush strokes.
3The traditional style that is practised even today was well developed .Pictures of human figures, animals and everyday life were popular during the Tang Dynasty.
4Pictures of human figures and still life became popular. Scenery did not look realistic with a particular part of the scenery enlarged/focused on.
5& 6
Painters have become influenced by Western art, both abstract and realistic art painted.
The 5th period using language
具体见课件
The 6th period speaking and writing
Teaching Aims:
Help and Enable the students learn how to talk about environment.
Help the students learn how to write a letter asking for permission.
Difficulty and importance
Teach the students learn how to write a letter asking for permission
Teaching methods:
Fast reading; careful reading; discussion
Teaching aids
A computer a projector, and a recorder
Teaching Procedures & ways
StepⅠ Reading Task
Here is a letter on page 45 from a group of students who would like to make their school more attractive.
Fast reading
1Why do they become worried
2What do they hope the headmaster to do for their project
Careful reading: suppose you were the president of the high school council and you received the letter. prepare to make notes for a report about the letter, filling the blanks on page 46
Some tips about how to make notes
Just write down some key words
Use words or phrases
Omit the small words like prepositions
Letter from____________________________
Asking for______________ and____________
Reason ______________________________
Their plan: 1___________________________
2___________________________
3___________________________
Work will be done by :___________________
StepⅡ Speaking task
Ask the Ss to discuss how to improve the environment of our school in fours, then speak out.
A: planting more trees, grass and flowers, a beautiful garden, not pick the flowers and stamp the grass
B: not throw litter, pick the rubbish, throw it into a dustbin, collect waste paper and bottles for recycling.
C: keep the schoolyard or classroom clean, not draw pictures on walls, not carve names on the trees or desks and chairs
D: make our school a non-smoking place
In all, if everyone makes contribution to protecting the environment, the world will become much more beautiful. If all Chinese care about the environment, I ’m sure China will become one of the most beautiful countries in the world
StepⅢ Writing task
Write a letter to the headmaster of the school asking for permission to improve the environment of the school. While writing, refer to the instructions in WRITING TASK.
A sample letter:
Dear Mr. Wang,
As you know, our school used to look like a beautiful garden with green trees and many kinds of flowers in our schoolyard all year round. But great changes have taken place since a
chemical work was built near our school two years ago .It produces poisonous gases and pours a large amount of waste water into the river. The terrible pollution has done great harm to students and teachers as well as to the surroundings. It's time for us to do something to protect our school and prevent her from being polluted.
First, we must make great efforts to clean up polluted water and stop further water pollution. Ask the government to maintain and improve present facilities, and construct new project with health, safety, and protection of the environment as primary concerns.
Second, we must insist that water pollution control laws be passed and strictly enforced. This responsibility extends also to members of the general public in our surrounding community. An important aspect of this responsibility is making ongoing water quality. This is of such importance, that is must be given precedence over operating productivity.
Finally, we can also protect ourselves against polluted water. We should take
measures to clean the polluted water. To cooperate with government, industry and academia is supporting research and maximizing benefits for the general public in safety, heath and environmental matters.
We hope you will give us a permission to carry out he project and donate 5,000yuan we need. And we also require you to make a report to ask for the government’s rescue. By doing so , we will be able to live a healthier and happier life.
Yours sincerely,
Liu Wei
1.accurate
2tate or fact of existing
3being in thought but having a physical or practical existence
4lifelike,true to life
5classical,of old beliefs
6sincere to believe in a god or gods(共56张PPT)
课标人教实验版高二 Module 6
Unit 1
A short history
of western painting
Reading
广东 林慧贤
What do we call these things ----
paintings
painting
painter
Brain Storm
Can you name some famous painting and painters
Can you match the painting and the painters
Monet
Can you tell the ages of the paintings
Xu Beihong
Who are your favorite painters from China
Qi Baishi
Zhang Daqian
Why do you like them
…for their painting is very vivid, or their paintings show the real life of the nature or the people in the old days….
Comparison of Western and Chinese painting.
Time Western Chinese
5th to 15th century AD
15th to 16th
century
Late 19th century to early 20th century
20th century to today
Which do you think has a greater change Why
Let’s know some famous Western artists!
Giotto di Bondone
乔托·迪·邦多纳
犹大之吻
Giotto di Bondone (1267 - 1337). Florentine painter and architect. He was recognized as the first genius of art in the Italian Renaissance. Giotto lived and worked at a time when people’s minds and talents were first being freed from the shackles of medieval restraint. He dealt largely in the traditional religious subjects, but he gave these subjects an earthly, full-blooded life and force.
Leonardo da Vinci
(1452-1519)
Michelangelo Bounaroti (1475－1564)
米开朗基罗
Creation of Adam
Raffaello Sanzio
(1483-1520)
拉斐尔
The School of Athens
Masaccio(1401-1427), the first great painter of
the Italian Renaissance,
whose innovations in
the use of scientific
perspective inaugurated
the modern era in
painting.
Madonna with
Child and Angels
Crucifixion
Masaccio的作品：
凡高《向日葵》
1. state or fact of existing
2. lifelike, true to life
3. being in thought but having a physical or practical existence
a. realistic
b. abstract
c. existence
Match the words with the correct meanings:
[A] [B]
4. classical, of old beliefs
5. accurate, minute
6. sincere to believe in a god or gods
d. detailed
e. religious
f. traditional
圣母与圣婴
天使报喜
织锦画
Compare the two paintings
《圣母子》中世纪
Gods are painted
《蒙娜丽莎》文艺复兴
People are painted.
莫瑞桥--阿尔弗莱德·西斯莱
赛艇--局斯塔夫·卡耶博特
蓬图瓦兹. 埃尔米塔日的坡地
--卡米耶·毕沙罗
戴帽的自画像--塞尚作
被称为”现代艺术的起源”
What were the artists interested in from 5th to 15th century AD Creating _______ and ____ for God.
2. How did Masaccio paint his paintings He drew things in__________, which makes pictures very _______.
respect
love
perspective
realistic
Skimming
3. Why did the impressionists have to paint quickly
Because the natural light _______ quickly, they had to _____ quickly.
changes
paint
1. Which of the following statements is true
A. Paintings in Middle Ages were very realistic.
B. Western art has changed a lot since the 5th century.
C. Impressionist paintings were painted mainly indoors.
D. Modern art began in the Renaissance.
Scanning
2. At first most people hated the impressionists’ style of painting, because _____.
their painting were very abstract.
their painting were very realistic.
They broke away from the traditional style of painting.
D. their paintings were very ridiculous.
3. In the Renaissance, painters___.
Painted religious scenes in a more realistic style.
B. focused more on religion than on humans.
C. began to paint outdoors.
D. returned to classical Roman and Greek ideas about art.
4. ____discovered how to make paintings look more real by using perspective.
Giotto di Bondone.
Masaccio.
Claude Monet.
D. Pablo Picasso
5. What does the text mainly tell us
How religious painting developed.
How oil painting developed.
How impressionist painting developed.
D. How western art developed.
Detailed Reading: True or False
1. Western art has changed very little over the last seventeen centuries.
2. Painters in the Middle Ages painted mainly religious subjects.
3. Paintings in the Middle Ages were very realistic.
4. Renaissance painters tried to paint things in a realistic way.
F
T
F
T
5. Two important discoveries in the Renaissance period were oil paints and drawing in perspective.
6. Impressionists painted their pictures mainly indoors.
7. At first people did not like the impressionists’ paintings.
8. Modern art began with the impressionists.
T
F
T
T
Listen to the tape and fill in the chart:
Ages Time Artist Feature
Middle Ages
Renaissance
Impressionism
Modern
Ages: Middle Ages
Time: 5th to 15th century AD
Artist: Giotto
Feature: Religious, realistic
Ages: the Renaissance
Time: 15th to 16th century AD
Artist: Masaccio
Feature: perspective, realistic
Ages: impressionism
Time: Late 19th to early 20th
Artist: not mentioned
Feature: Not detailed, ridiculous

Ages: modern art
Time: 20th century to today
Artist: not mentioned
Feature: controversial, abstract, realistic
Now can you tell which period the following pictures belong to
The Middle ages
Impressionism
Modern art
Renaissance
Modern art

Middle Ages
Now draw the history of western painting:
Middle Ages,from 5th to 15th century.
Impressionism:
late 19th to early 20 century
Modern Art: from 20th to today
The Renaissance:
from 15th to 16 century
The style of Western art has changed __________, while Chinese art has changed ________. Art is _________ by the way of ___ and ______.
During the Middle Ages, the main ____ of painters was to _________________ themes. Artists were ___________ creating ______ and _____for God.
many times
less often
influenced
life
beliefs
aim
represent religious
interested in
respect
love
In the Renaissance, people became _______ more on _______and less on _______. Artists tried to paint ______ and ______ __ they really ____.
Masaccio used __________ in his paintings which made people ________ they were ______________ a hole in the wall __ a real scene.
focused
humans
religion
people
nature
as
were
perspective
convinced
looking through
at
In the late 19th century, Europe changed __________ from a mostly __________ society to a mostly ________ one. The ____________ were the first to paint ________. They had to paint ______ and their paintings were not __ ______________ of earlier painters.
a great deal
agricultural
industrial
impressionists
outdoors
quickly
detailed as those
as
Today people accept _____________ ________ as the _________ of _______ _______. Some modern art is _______while some is ___.
impressionists’
beginning
modern
abstract
realistic
paintings
art
Discussion
Work in pairs:
What styles of painting there will be in the future
Look for more information about paintings in http://tu./list/culture.html
Read the text more after class.
Homework莫奈
莫奈于1840年10月14日生于巴黎，一度随父亲居住在海边小城阿弗尔做杂货买卖，自幼就厌恶学校，视为“监狱”，像个流浪汉成天流连在海边。他说：“我愿永远站在大海面前或波涛之巅。”他喜欢画画，15岁画的画就已挂在布丹的画框店展出，并得到布丹的忠告：“当场直接画下来的任何东西往往是有一种你不能再在画室里找到的力量和用笔的生动性。”布丹的忠告渗透了莫奈的灵魂，成为他终生追求的画旨：“我想在最易消逝的效果前表达我的印象。”在他19岁时来到巴黎，父亲希望他进美术学院受教于著名画家，而他的叛逆性使他拒绝学院派教育而流连于各种画展，并和一些反学院派的青年画家聚在一起高谈阔论。莫奈没有逃避兵役，他被编入非洲军团在阿尔及利亚度过了虽极为艰苦，但对青年画家来说是美好的两年，因病被父亲赎回法国，又在家乡阿弗尔海滩作画了，在这里结识了热爱大自然的画家琼坎。莫奈说：“从那时候起，他成为我真正的老师，他完成我眼睛观察事物的教育。”
　　22岁的莫奈再次来到巴黎求学，入古典主义学院派画家格莱尔画室，在这里结识了同学巴齐依、雷诺阿和西斯莱，他们结成“四好友集团”，听话的三个朋友与莫奈一道开始倾向于走出画室向卢浮宫和大自然学习。学业结束后就完全转向枫丹白露森林和自己家乡大自然写生。他开始独具匠心地尽情描绘大自然的光和色彩。
　　莫奈所关心的是整个大自然，在莫奈的画中人和大自然和谐地融为一体，他们融合在景色、阳光和空气中，而这一切又融合在画家特有的灿烂、艳丽、却又像乐曲般和谐的色彩之中。色彩就是描绘壮丽的自然交响乐的音符！莫奈研究色彩，入迷到了在守护病中妻子时竟下意识地去观察搜索死亡在她面孔上引起褪色的迹象，看到的是蓝色、黄色和灰色的细微变化。他曾说过：“当你去画画时，要设法忘掉你面前的物体，一棵树、一片田野。只是想这是一小块蓝色，这是一长条粉红色，这是一条黄色，然后准确地画下你所观察到的颜色和形状。直到它达到你最初的印象时为止。”
　　莫奈很重视笔触，它成为色彩表现的灵魂，不同的笔触能表现出事物不同的质感和动势，他运用不同的笔触充分表现色彩以符合自然的本来面貌。在他29岁时开始和雷诺阿共同在塞纳河上写生作画，他们为水面上闪烁和晃动不已的光所激动，为迅速变幻的丰富色彩所迷惑，于是自然而然产生了迅速疾驰粗犷的笔触和灿烂斑驳的色块。他们在迅疾挥毫中获得了捕捉瞬间即逝的印象的有效方法。
　　巴黎公社诞生前，莫奈曾和画家巴齐依参加过保卫共和国的国民自卫军，巴齐依英勇战死。莫奈后来前往英国，在那里会见过毕沙罗，曾取道荷兰写生。回国后又与雷诺阿共同作画，于1874年展出惊世之作《印象·日出》。历经磨难的43岁莫奈带着失去母亲的儿子与阿丽丝组成新家庭定居于离巴黎40公里的吉维尼村，隐居作画又生活了43年，在这里创作了许多作品，重要的《睡莲》就是他晚年的名作。1926年11月5日，这位86岁的印象派之父永远离开了他热爱的阳光与色彩。中世纪美术综述
按历史学家界定中世纪是指欧洲封建社会历史时期，是从公元476年西罗马帝国灭亡到公元17世纪中叶英国资产阶级革命前夕止。但在文化史上习惯指到公元14世纪意大利文艺复兴开始为标志，恩格斯说过但丁是中世纪最后一位伟大诗人。
欧洲封建社会的精神支柱是基督教，中世纪是上帝主宰的时代，是神灭掉人的最黑暗时代，
封建统治阶级利用基督教麻痹和毒害人民。愚民们纷纷走进教堂，接受上帝的熏陶，忍受现世的苦难，祈望死后进入天堂。教堂里有《圣经》，但大多数人读不懂、不会读，所以神圣的教义只能通过绘画和石头来讲述——把它雕刻在教堂的墙壁和柱子上。于是圣人的形象和《圣经》的内容，寓言和布道场景都装饰到了教堂上，那里便成了大家都能读懂的“石头圣经”。
所以中世纪的美术基本上是基督教美术，基督教活动主要是教堂，所以其美术和教堂建筑、 壁画和雕塑装饰融为一体。
中世纪教堂建筑的形式主要有两种：早出现的一种叫“罗马式”，它是由更早的“巴西里卡式”演变而来，其外形像封建领主的城堡以其坚固、敦厚、牢不可破的形象显示教会的权威，如意大利的比萨教堂。较后一种称为“哥特式”，它的形式比“罗马式”轻巧而更富于装饰意味，采用很多矢状卷的构造和尖塔式的装饰，以其高耸入天与上帝接近的感觉，控制人们的精神感情。如意大利的米兰大教堂和法国的巴黎圣母院。
中世纪教堂的装饰美术是基督教美术的主要组成部分。在教堂的内部布置有大量的宣传基督教教义的装饰壁画、窗玻璃画、浮雕和圆雕。其共同点是：内容全部是圣经故事和人物用以宣传教义、规劝世人服从神权和容忍上帝对现实世界的一切安排，做一个顺从的“上帝的奴仆”，实际上成为封建统治者的奴仆。从其形式来看，人物形象是超现实人世的、实际上是解释教义的一种精神符号，表情没有人性，显得呆板僵化，表现出一种远离尘世的圣者气息，在人物神态上有一种静穆的神秘感，有的形象夸张到令人感到恐怖，众多的这类形象布置
在教堂内外，从四面八方造成一种令人震慑的非人间的世界。
教堂装饰中采用彩色镶嵌画和窗玻璃画，这种透光的画面在白天的阳光和夜晚的烛光下摇曳闪耀不定，画上的圣像和五彩装饰图案，在光的照射下令人目眩神迷，这一切更增加了教堂内部的光怪陆离和神秘恐怖，非尘世的特殊效果，达到了基督教征服人心的目的。乔尔乔内 (1477-1510年)
原名乔尔乔·巴巴雷里·达卡斯特弗兰柯。出生于威尼斯附近的卡斯特弗兰柯小镇，后来迁居威尼斯，他追求个性解放和享受生活乐趣，长于谈吐，善于交往。他热爱自然，喜欢唱歌，弹得一手好竖琴，他的笛声能引得少女神魂颠倒。瓦萨利在他死后30年写道：“大自然赋予他如此轻而易举和顺利成功的天姿；他的油画和壁画中的色彩忽而活泼鲜明，忽而柔和平稳，并且把从明到暗的过渡画到如此程度，以至于当时的许多优秀大师都承认他是一个生来就使人体富有生气的画家。”他对大自然的色彩变化有着超凡的敏锐洞察能力和表现能力，他的目光能透过千变万化的阳光，捕捉到色彩变化的精髓，并且能生动地呈现在画布上。由于他画了美丽的威尼斯，人们这才发现威尼斯光彩绮丽的美，他用天才的笔触画出青翠的山坡和陡峭的悬崖，人们这才注意到威尼斯风景所呈现出的明暗差别，怪不得有人说威尼斯的美是乔尔乔内画出来的。(共62张PPT)
课标人教实验版高二 Module 6
Unit 1
虚拟语气(一)
Subjunctive Mood (I)
GRAMMER 语法
广东 林慧贤
陈述语气 I went to the theatre yesterday. Jack hadn’t come back home yet.
祈使语气 Let’s go. Don’t touch anything on the table until the bell rings.
一. 语气的分类
虚拟语气 If I were you,I would not leave her alone. Our teacher suggested that we go to the library this afternoon.
条件句表示主句的条件,分真实条件句 和虚拟条件句 两种。
a. 真实条件句 表示条件是真的或有可能实现的, 采用陈述语气。
b. 虚拟条件句 表示条件是无法实现或几乎无法实现的, 采用虚拟语气。
二. ‘if ’虚拟条件句的概念
由 ‘if’ 引导的虚拟条件句叫作 ‘if’虚拟条件句
I could easily recognize if I had seen him before.
其他虚拟条件句
Without your help, I couldn’t have finished my work on time.
三. if Sentence Structure
‘if ’虚拟条件句的结构
a. 表示与现在事实相反 的假设
b. 表示与过去事实相反 的假设
c. 表示与将来事实相反 的假设
1. 虚拟语气用于条件状语从句中
(1) 表示与现在事实相反的假设, 条件 状语从句中的谓语动词用“过去式(be 动词的过去式用were)”, 而主句中的谓语动词“would / should/ could / might + 动词原形”。
虚拟语气
If I were a boy, I would join the army.
What would you do if you won the lottery
If I won the lottery, I would…
If I won the lottery, I would buy an expensive car.
If I had a lot of money
I would buy a villa.
If I had a lot of money now, I would travel around the world.
If it were fine now,
I would go shopping.
If I ____ a teacher, I….
were
a. If they ____ (be) here, they __________ (take) your advice.
b. If the world-war _____ (burst) out again, what _____________ (happen) to our people on earth
were
would take
burst
would happen
PRACTICE 1: Fill in the blanks.
c. If the policeman ________ (be not) in that room, it ________ (be) very dangerous.
d. If I ____ (be) in your position, I _________ (ask) for teacher’s help.
were not
could be
were
would ask
2. 与过去的事实相反
从句的谓语用had＋过去分词, 构成If I (we, you, he, they)＋had＋过去分词的形式；
主句的谓语用should(第一人称)/would (第二、三人称) /could/might have ＋动词过去分词。
If he __________ more carefully, he _________________ the car accident yesterday.
had driven
would not have had
If I ________ how to swim,
I __________________ trapped in this island.
had learnt
would not have been
a. If Tom ________ (be) more careful in the exam, he ________________ (pass) it already.
b. If you _______ (get) up earlier, you ________________ (catch) the first train.
had been
would have passed
had got
would have caught
PRACTICE 2: Fill in the blanks
c. If I _______ (meet) you yesterday, we ______________ (go) to the concert together.
had met
would have gone
3. 与将来事实相反
从句的谓语用If I (we, you, he, they) ＋动词过去式或 were to do 或should do 形式, 主句谓语用should(第一人称) /would (第二、三人称) /could/ might ＋动词原形。
If he got up early,
he would be on time.
假如他来了, 我们对他说什么呢？
If he were to come, what should we say to him.
假如他看见我, 就会认识我。
If he should see me, he would know me.
a. If there ________ (be) no natural resource any more, we ___________ (make) use of nuclear power .
b. What ____________ (happen) if you ____________ (get up) too late tomorrow
should be
should make
would happen
should get up
PRACTICE 3: Fill in the blanks
c. If Robots _____________ (control) the world some day, here ________ (be) no friendship.
were to control
would be
主句与从句的动作发生在不同的时间, 这时主从句位于动词的虚拟语气形式因时间不同而不同, 这叫做混合条件句。
例句中从句与过去事实相反, 主句与现在事实相反
If you had asked him yesterday, you would know what to do now.
If the staff had been more careful,
the mall would not be on fire now.
条件从句 If 从句的谓语形式 主句的谓语形式
现在
过去时(were)
would/could/should/might +V. (原)
虚拟语气在条件状语从句中的用法。
条件从句 If 从句的谓语形式 主句的谓语形式
过去
过去完成时
would/could/should/might + have+ p.p.
条件从句 If 从句的谓语形式 主句的谓语形式
未来
1.过去时
2.should+V.
3. were to do
would/could/ should/ might +V. (原)
二. 虚拟语气在宾语从句中的用法
1. 在动词wish后的宾语从句中, 表示与现在或过去的事实相反, 或对将来的主观愿望, 从句通常省略连词that。
1) 表示对现在情况的虚拟: 从句动词用过去式或过去进行式 (be动词一般用were) 。
I wish I were as tall as you.
I wish I were a bird.
I wish every day were my birthday.
I wish/wished I hadn’t eaten so much watermelon.
(2) 表示对过去情况的虚拟:从句动词常用“had＋过去分词”。
The party was terrible, I wish I had never gone to it.
(3) 表示对将来的主观愿望: 从句动词形式为 “ would＋动词原形”。
注意: 主句的主语与从句的主要不能相同, 因为主句的主语所期望的从句动作能否实现，取决于从句主语的态度或意愿(非动物名词除外)。
但愿你立刻来。
I wish you would come soon.
I wish it would rain tomorrow.
as if/as though
由as if (as though) 或even though (even though) 引导的状语从句表示比较或方式时, 从句谓语形式为动词的过去式(be用were)或 “had＋过去分词”。
He behaves as if he owned the house.
(But he doesn’t own it or probably doesn’t own it or we don’t know whether he owns it or not.)
He talks about Rome as though he had been there himself.
他那样对待我, 好像我式陌生人似的。
He treats me as if I were a stranger.
注意: 如果表示的事情可能会发生, 那么方式状语从句中的谓语动词可用陈述语气。
Even if she were here, she could not solve the problem.
关于虚拟语气 辩析1
关于虚拟语气 辩析2
关于虚拟语气 辩析3
关于虚拟语气 辩析4
关于虚拟语气 辩析5
句型练习 (用If I were you句型翻译下列句子)
1. 我要是你的话, 我就会把英语学好。
2. 如果你昨天来, 你就会看见他。
3. 万一明天下雨, 我们就不到那儿去。
4. 我希望我十年前认识他。
5. 他对待我就像对待他自己的儿子一样。
Homework
关于陈述语气 1
What will you do if it rains tomorrow
I will stay at home if it rains tomorrow.
关于陈述语气 2
关于祈使语气 1
关于祈使语气 2
关于祈使语气 3
关于祈使语气 4
真实条件句
真实条件句用于陈述语气, 假设的情况可能发生, 其中 if 是如果的意思。
时态关系 句型: 条件从句　　 主句 　　 一般现在时 shall/will + 动词原形
If he comes, he will bring his violin.
The volleyball match will be put off if it ___. A. will rain　 B. rains
C. rained D. is rained
答案B 真实条件句主句为将来时, 从句用一般现在时。
注意：
在真实条件句中,主句不能用be going to表示将来,该用shall, will.
(错) If you leave now, you are never going to regret it.
(对) If you leave now, you will never regret it.
2) 表示真理时,主句谓语动词便不用shall (will) +动词原形,而直接用一般现在时的动词形式。Background Knowledge: Chinese painting
Chinese painting, the flower of Chinese culture, is distinguished by a spirit and an atmosphere all its own, entirely different from Western painting. It is as different from Western painting as Chinese poetry is different from Western poetry. That difference is hard to grasp and express. It has a certain tone and atmosphere, visible in Western painting, but essentially different and achieved by different means. It shows a certain economy of material marked by the many blank spaces, an idea of composition determined by its own harmony and marked by a certain "rhythmic vitality," and a boldness and freedom of the brush which impress the onlooker in an unforgettable manner. - From My Country and My People by Lin Yutang
Figure painting (人物画）: It includes portraits, story painting and genre painting with figures as the main subject. Lines are the key point in the portrayal.
Landscape painting （山水画）: Chinese landscape paintings can be divided into blue-and-green landscape, gold-and-green landscape, light-purple-red landscape and water ink landscape according to the colors that used in painting. The one without outlines is called boneless landscape.
Flower and bird painting （花鸟画）: Flowers, rocks and birds are usually the main subject of this kind of paintings. Technically, there are elaborate style with colors and free style with ink.
Court painting （宫廷画）: It refers to the works done by those professional painters employed by the royal court, or imitations of their works by other painters. This kind of painting is usually very elaborate and meticulous, sumptuous and decorative.
Literati painting （文人画）: It generally refers to the paintings done by intellectuals and officials, who usually took painting as a kind of their spiritual sustenance, emphasizing more the scholarly execution of brush strokes and ink colors in expression than painting's likeness to real images.
Dan Qing (traditional Chinese painting): The Chinese water ink painting actually developed from early "contour lines with filled-in colors" painting. "Dan Qing" literally means the mineral colors of cinnabar and azurite that used in those early paintings. So, people today use this term for the traditional Chinese paintings.
Four masters of the Yuan dynasty: In Chinese history, Wang Gongwang, Wu Zhen, Ni Zhan and Wang Meng are the four great masters of landscape painting of the Yuan dynasty (1271-1368). They initated the literati's water ink painting with their skillful brush strokes and exerted great influence on the late development of Chinese painting.Giotto di Bondone
Giotto di Bondone (1267 - 1337). Florentine painter and architect. Outstanding as a painter, sculptor, and architect, Giotto was recognized as the first genius of art in the Italian Renaissance. Giotto lived and worked at a time when people's minds and talents were first being freed from the shackles of medieval restraint. He dealt largely in the traditional religious subjects, but he gave these subjects an earthly, full-blooded life and force.
The artist's full name was Giotto di Bondone. He was born about 1266 in the village of Vespignano, near Florence. His father was a small landed farmer. Giorgio Vasari, one of Giotto's first biographers, tells how Cimabue, a well-known Florentine painter, discovered Giotto's talents. Cimabue supposedly saw the 12-year-old boy sketching one of his father's sheep on a flat rock and was so impressed with his talent that he persuaded the father to let Giotto become his pupil. Another story is that Giotto, while apprenticed to a wool merchant in Florence, frequented Cimabue's studio so much that he was finally allowed to study painting.
The earliest of Giotto's known works is a series of frescoes (paintings on fresh, still wet plaster) on the life of St. Francis in the church at Assisi. Each fresco depicts an incident; the human and animal figures are realistic and the scenes expressive of the gentle spirit of this patron saint of animals. In about 1305 and 1306 Giotto painted a notable series of 38 frescoes in the Arena Chapel in Padua. The frescoes illustrate the lives of Jesus Christ and of the Virgin Mary. Over the archway of the choir is a scene of the Court of Heaven, and a Last Judgment scene faces it on the entrance wall. The compositions are simple, the backgrounds are subordinated, and the faces are studies in emotional expression.
Vasari tells the story of how Pope Boniface VIII sent a messenger to Giotto with a request for samples of his work. Giotto dipped his brush in red and with one continuous stroke painted a perfect circle. He then assured the messenger that the worth of this sample would be recognized. When the pope saw it, he "instantly perceived that Giotto surpassed all other painters of his time."
In Rome, Naples, and Florence, Giotto executed commissions from princes and high churchmen. In the Bargello, or Palace of the Podesta (now a museum), in Florence is a series of his Biblical scenes. Among the bystanders in the paintings is a portrait of his friend the poet Dante. The Church of Santa Croce is adorned by Giotto murals depicting the life of St. Francis.
In 1334 the city of Florence honored Giotto with the title of Magnus Magister (Great Master) and appointed him city architect and superintendent of public works. In this capacity he designed the famous campanile (bell tower). He died in 1337, before the work was finished.
Giotto was short and homely, and he was a great wit and practical joker. He was married and left six children at his death. Unlike many of his fellow artists, he saved his money and was accounted a rich man. He was on familiar terms with the pope, and King Robert of Naples called him a good friend.
In common with other artists of his day, Giotto lacked the technical knowledge of anatomy and perspective that later painters learned. Yet what he possessed was infinitely greater than the technical skill of the artists who followed him. He had a grasp of human emotion and of what was significant in human life. In concentrating on these essentials he created compelling pictures of people under stress, of people caught up in crises and soul-searching decisions. Modern artists often seek inspiration from Giotto. In him they find a direct approach to human experience that remains valid for every age.
The Mourning of Christ
Giotto is regarded as the founder of the central tradition of Western painting because his work broke free from the stylizations of Byzantine art, introducing new ideals of naturalism and creating a convincing sense of pictorial space. His momentous achievement was recognized by his contemporaries (Dante praised him in a famous passage of The Divine Comedy, where he said he had surpassed his master Cimabue), and in about 1400 Cennino Cennini wrote `Giotto translated the art of painting from Greek to Latin.'
In spite of his fame and the demand for his services, no surviving painting is documented as being by him. His work, indeed, poses some formidable problems of attribution, but it is universally agreed that the fresco cycle in the Arena Chapel at Padua is by Giotto, and it forms the starting-point for any consideration of his work. The Arena Chapel (so-called because it occupies the site of a Roman arena) was built by Enrico Scrovegni in expiation for the sins of his father, a notorious usurer mentioned by Dante. It was begun in 1303 and Giotto's frescos are usually dated c. 1305-06. They run right round the interior of the building; the west wall is covered with a Last Judgement, there is an Annunciation over the chancel arch, and the main wall areas have three tiers of paintings representing scenes from the life of the Virgin and her parents, St Anne and St Joachim, and events from the Passion of Christ. Below these scenes are figures personifying Virtues and Vices, painted to simulate stone reliefs -- the first grisailles. The figures in the main narrative scenes are about half-size, but in reproduction they usually look bigger because Giotto's conception is so grand and powerful. His figures have a completely new sense of three-dimensionality and physical presence, and in portraying the sacred events he creates a feeling of moral weight rather than divine splendor. He seems to base the representations upon personal experience, and no artist has surpassed his ability to go straight to the heart of a story and express its essence with gestures and expressions of unerring conviction.
The other major fresco cycle associated with Giotto's name is that on the Life of St Francis in the Upper Church of S. Francesco at Assisi. Whether Giotto painted this is not only the central problem facing scholars of his work, but also one of the most controversial issues in the history of art. The St Francis frescos are clearly the work of an artist of great stature (their intimate and humane portrayals have done much to determine posterity's mental image of the saint), but the stylistic differences between these works and the Arena Chapel frescos seem to many critics so pronounced that they cannot accept a common authorship. Attempts to attribute other frescos at Assisi to Giotto have met with no less controversy.
There is a fair measure of agreement about the frescos associated with Giotto in Sta Croce in Florence. He probably painted in four chapels there, and work survives in the Bardi and Peruzzi chapels, probably dating from the 1320s. The frescos are in very uneven condition (they were whitewashed in the 18th century), but some of those in the Bardi Chapel on the life of St Francis remain deeply impressive.
Nothing survives of Giotto's work done for Robert of Anjou in Naples, and the huge mosaic of the Ship of the Church (the Navicella) that he designed for Old St Peter's in Rome has been so thoroughly altered that it tells us nothing about his style. In Rome he would have seen the work of Pietro Cavallini, which was as important an influence on him as that of his master Cimabue.
Several panel paintings bear Giotto's signature, notably the Stefaneschi Altarpiece (Vatican), done for Cardinal Stefaneschi, who also commissioned the Navicella, but it is generally agreed that the signature is a trademark showing that the works came from Giotto's shop rather than an indication of his personal workmanship. On the other hand, the Ognissanti Madonna (Uffizi, Florence, c. 1305-10) is neither signed nor firmly documented, but is a work of such grandeur and humanity that it is universally accepted as Giotto's.
Among the other panels attributed to him, the finest is the Crucifix in Sta Maria Novella, Florence. On account of his great fame as a painter, Giotto was appointed architect to Florence Cathedral in 1334; he began the celebrated campanile, but his design was altered after his death.
In the generation after his death he had an overwhelming influence on Florentine painting; it declined with the growth of International Gothic, but his work was later an inspiration to Masaccio, and even to Michelangelo. These two giants were his true spiritual heirs.(共47张PPT)
课标人教实验版高二 Module 6
Unit 1
Using language
Reading
The Best Of Manhattan’s Art Galleries
广东 林慧贤
The Frick Collection弗里克收藏馆
Henry Clay Frick
Home of Frick
5th and Madison Avenues
Many art lovers consider this to be the best small art gallery in New York. Henry Clay Frick, a rich New Yorker, died in 1919, leaving his house, furniture, and art collection to the
The Frick Collection
Avenue n. 大街: a hotel on Fifth Avenue
第五大街上的旅馆
American people. At this Gallery, you will not only see an excellent collection of pre-twentieth century Western paintings but you will also be able to explore Frick’s beautiful house. The garden of this lovely mansion is also well worth a visit.
Guggenheim Museum
古根海姆博物馆
1929–30 At age sixty-six, the wealthy American industrialist Solomon R. Guggenheim begins to form a large collection of important modern paintings by artists such as Vasily Kandinsky, Paul Klee, and Marc Chagall. He is guided in this pursuit by a young German artist and theorist, Hilla Rebay (born Baroness Hilla Rebay von Ehrenwiesen).
In July 1930, Rebay brings Guggenheim to Vasily Kandinsky's Dessau studio, and Guggenheim purchases several of the artist’s paintings and works on paper; he will eventually acquire more than 150 works by Kandinsky.
5th Avenue and 88th Street
This museum owns 5,000 modern paintings, sculptures and drawings. These art works are not all displayed at the same time. The exhibition is always changing.
Guggenheim Museum
exhibition n. 展览, 展出; 展览品
The largest part of the collection is the impressionist and post-impressionist section. The Guggenheim Museum building is world famous. When you walk into the gallery you feel like you are inside a huge white sea shell. The best way to see the paintings is to start
from the top floor and walk down to the bottom. There are no stairs, just a circular path. The museum also has excellent restaurant.
Metropolitan Museum Of Art
大都会博物馆
Metropolitan Museum of Art
5th Avenue and 82nd Street
This museum has the greatest collection of art in the United States. Its art collection covers more than 5,000 years
of civilization from many parts of the world, including America, Europe, China, Egypt, Africa and South America. The museum displays more than just art. It introduces you to ancient ways of living. You can visit an Egyptian Temple, a Ming garden, a room in an 18th century French house and many other special exhibitions.
civilization n. 文明
Museum of Modern Art 现代艺术博物馆
Museum of Modern Art
53rd Street ( between 5th and 6th Avenue)
It is amazing that so many great works of art from the late 19th century to the 21st
century could be contained in the same museum. The collection of Western art includes paintings by such famous artists as Monet, Van Gogh, Picasso, and Matisse. A few words of warning: admission price is not cheap and the museum is often very crowded.
Monet
Matisse
French painter
Whitney Museum of American Art
惠特尼美国艺术博物馆
Whitney Museum of American Art
945 Madison Avenue (near 75th St.)
The Whitney holds an excellent collection of contemporary American painting and sculpture. There are no permanent displays in this museum and exhibitions change all the time.
contemporary adj. 当时的, 同时代的
permanent adj. 永久的, 持久的
Every two years, the Whitney holds a special exhibition of new art by living artists. The museum also shows videos and films by contemporary video artists.
Match the number on the map
with the names of the museum.
Number on map Museum
Metropolitan Museum of Art
Whitney Museum of American Art
The Frick Collection
Museum of Modern Art
Guggenheim Museum
2
3
4
5
1
Complete the chart with the information from the reading passage.
Name Address Type of Art
Which centuries What countries
Whitney Museum of American Art 945 Madison Avenue (near 75th St.)
Contemporary (mainly art by living artists)
America
Name Address Type of Art
Which centuries What countries
Museum
of
Modern
Art 53rd Street (between 5th and 6th Avenues)
Late 19th century to the 21st century
Western countries
Name Address Type of Art
Which centuries What countries
Metropolitan Museum of Art 5th Avenue and 82nd Street
All over the world
From
ancient
to modern
times
Name Address Type of Art
Which centuries What countries
Guggen
heim
Museum
5th Avenue and 88th Street
Modern (from late 19th century onwards)
Western countries
Name Address Type of Art
Which centuries What countries
The Frick
Museum 5th and Madison Avenue
Before the 20th century
western countries
Listening
1. Number the galleries in the order that you hear about them.
The Frick Collection
Guggenheim Museum
Metropolitan Museum of Art
Museum of Modern Art
Whitney Museum of American Art
5
1
3
4
2
2. Listen again and then answer the questions.
1. Who first suggested they visit art gallery
2. Who is the least interested in visiting art galleries
John
Susan
3. Why is Gao Yang interested in visiting the Metropolitan Museum
He wants to see the exhibition of Chinese art.
4. Does Susan prefer large or small galleries
Small galleries.
5. Why doesn’t Susan want to go to the Museum of Modern Art
It is big, crowded and too expensive.
6. What kind of art does Susan dislike
Modern art
7. Which two galleries do they decide to visit on Friday and which two galleries on Saturday
The Frick Collection and the Metropolitan Museum on Friday and the Whitney and the Guggenheim on Saturday.
Listening text
Gao Yan, Susan and John are on holiday. They are staying in a hotel in Manhattan, which is an island between two rivers in the centre of New York. Listen to the three friends discussing which art galleries to visit.
GAO YAN: What do you want to do tomorrow
JOHN: What about visiting some art
galleries
GAO YAN: That’s a good idea, John.
SUSAN: But it says in the guide book that there are more than sixty galleries in Manhattan.
JOHN: Well, let’s choose just a few.
SUSAN: Even a few galleries would take more than one day.
JOHN: OK. Let’s spend two days visiting galleries.
GAO YAN: OK, fine.
SUSAN: Mmm. Alright.
JOHN: So, Gao Yan, which galleries would you prefer
GAO YAN: I’d like go go to the Metropolitan Museum. It’s got art from all over the world. There’s even a section on Chinese art. I’d like to see that.
SUSAN: It’s a very big museum. I’d prefer something smaller to start with.
JOHN: Well, what do you suggest
SUSAN: Well, the Frick Collection is quite small, and it has a beautiful garden. Perhaps we could go to the Metropolitan Museum after that.
GAO YAN: And we could go to the Museum of Modern Art the next day.
SUSAN: Oh no. It’s too big and crowded. And it’s expensive.
JOHN: If you want to see contemporary art, the Whiney might be better, anyway.
SUSAN: Modern art! Do we have to I’m mot very fond of that stuff. A monkey could have painted better pictures than some of those paintings.
JOHN: Susan, you don’t want to visit art galleries, do you Perhaps you’d rather do something else
SUSAN: No, no. I’d like to see some art, just not too much and not too modern.
GAO YAN: Look, what about this Tomorrow we could go to the Frick in the morning and the Metropolitan in the afternoon. The
Metropolitan stays open until 8:45 on Friday evenings. If you’ve had enough by dinner time, Susan, you could go back to the hotel and I could stay at the museum.
SUSAN: Yeah, that’s a good plan.
JOHN: Mmm, but I’d also like to go to the Guggenheim.
GAO YAN: That’s OK. We could do that on Saturday. We could have a quick look in the Whitney first and then go on to the Guggenheim.
They’re quite close together. The Guggenheim stays open till late on Saturdays so we’d have plenty of time.
JOHN: That’s an excellent plan.
SUSAN: Yeah, OK. I agree (said grudgingly).(共16张PPT)
课标人教实验版高二 Module 6
Unit 1
Red flowers
Unfinished basketball court
What did you find about the environment
Presentation
Speaking
Discussion
What should be improved
How to improve
Writing task 1
Draw up an outline for the letter to our headmaster.
Writing
How to write
Start your letter with an introductory paragraph.
Describe your plan and how you will achieve it.
End with a summary.
How to write
on one hand,
on the other hand; above all;
firstly, secondly, thirdly;
what’s more;
for example;
in a word;
in conclusion
1. We suggest doing…
/that …(should) do…
2. I think we should…
3. Maybe we should…
4. How about…
5. Why not…
Write your own letter according
to the outline.
Writing task 2
Dormitory: beautiful roof, but rough ground
The unfinished
basketball court
A purpose Some ideas
A summary Some structures
Clear steps Some conjunctions
High-level sentences
Good handwriting
A good writing
Share your letter
Post-class task
Task 1
Write a letter to your parents---what to be improved in your house and how.
Task 2
Write a letter to the mayor--- how to improve the environment of Guangzhou.
Task 3
Write an E-mail to your head teacher---how to improve your class management.凡高
文森特·凡·高（Vincent van Gogh, 1853.3.30-1890.7.29）出生在荷兰一个乡村牧师家庭。他是后印象派的三大巨匠之一。
　　凡·高年轻时在画店里当店员，这算是他最早受的“艺术教育”。后来到巴黎，和印象派画家相交，在色彩方面受到启发和熏陶。以此，人们称他为“后印象派”。但比印象派画家更彻底地学习了东方艺术中线条的表现力，他很欣赏日本葛饰北斋的“浮世绘”。而在西方画家中，从精神上给他更大的影响的则是伦勃郎、杜米埃和米莱（Millet）。
　　凡·高生性善良，同情穷人，早年为了“抚慰世上一切不幸的人”，他曾自费到一个矿区里去当过教士，跟矿工一样吃最差的伙食，一起睡在地板上。矿坑爆炸时，他曾冒死救出一个重伤的矿工。他的这种过分认真的牺牲精神引起了教会的不安，终于把他撤了职。这样，他才又回到绘画事业上来，受到他的表兄以及当时荷兰一些画家短时间的指导，并与巴黎新起的画家（包括印象派画家）建立了友谊。
　　凡·高全部杰出的、富有独创性的作品，都是在他生命最后的六年中完成的。他最初的作品，情调常是低沉的，可是后来，他大量的作品即一变低沉而为响亮和明朗，好像要用欢快的歌声来慰藉人世的苦难，以表达他强烈的理想和希望。一位英国评论家说：“他用全部精力追求了一件世界上最简单、最普通的东西，这就是太阳。”他的画面上不单充满了阳光下的鲜艳色彩，而且不止一次地下面去描绘令人逼视的太阳本身，并且多次描绘向日葵。为了纪念他去世的表兄莫夫，他画了一幅阳光下《 盛开的桃花》，并题写诗句说：“只要活人还活着，死去的人总还是活着。”
人们如果确能真诚相爱，生命则将是永存的，这就是凡·高的愿望和信念。可是冷酷和污浊的现实终于使这个敏感而热情的艺术家患了间歇性精神错乱，病发之时陷于狂乱，病过之后则更加痛苦。他不愿增加别人（尤其是弟弟提奥）的负担，于1890年7月23日自杀，几天后身亡，享年只有37岁。几个月后，曾经把自己全部热爱和物力献给他的提奥也死去了。人们说：提奥是为了凡·高而生的…… 　　
凡·高的正式作品和素描按照J.B.De LA Faille的“The Works of Vincent Van Gogh: His Paintings and Drawings”一书中所用的编号标出，编号前注有F或SD（从属于素描）；JH为Jan Hulsker所设编号, 相比“F”更准确，也更全面。书信部分按照《文森特·凡·高书信全集》（1981年波士顿出版）的编号标出。凡·高给提奥的信及少量写给其他人的信在编号前注有“L”；写爱弥尔·贝尔纳的信编号前注有“B”；写给安东·凡·拉帕德的信编号前注有“R”；写给威廉敏娜·凡·高的信编号前注有“W”；提奥写给凡·高的信编号前注有“T”。虚拟语气专练
1.——Did you submit(递交）your application for a Master’s degree(硕士学位）？
——Not yet. If I_____ to see my father, I would have.”
A. didn’t go B. haven’t gone C. wouldn’t have gone D. hadn’t gone
2.——Why didn’t Tom give you one of his paintings
——I didn’t want one, but he would have given me one if I ____.
A. Do B. would C. will D. had
3.——Do you think the thief entered through the garage door
——No, if he had, I don’t believe _____broken the living room window.
A. would he have B. he had C. he would have D. he has
4._______I’d have told you.
A. If I would have known it B. If I had have known it
C. Had I know it D. Should I know it
5. I ____come yesterday, but I couldn’t.
A. was to have B. must C. ought D. have to
6.——It is raining, and I have no umbrella.
——Here’s mine, and I insist ____it.
A. you to take B. that you take C. that you taking D. you taking
7. The professor gave orders that the test ____before 5:30.
A. be finished B. will finish C .will be finished D. shall finish
8. I must go there earlier. John has suggested that I _____an hour before the discussion begins.
A. go B. shall go C. will go D. would go
9. I didn’t go to the party, but I do wish I ____there.
A. was B. were C. had been D. went
10. She speaks as if she ____on the spot.
A. was B. were C. had been D. is
11. If I ______ten years younger, I _____ very happy.
A. were, would be B. am, shall be C. were, shall be D. am, would be
12.—— You can ask your brother for help.
—— He is not at home. If he ____, I _____.
A. is, would B. were, would C. is, will D. were, will
13. If you ____the doctors advice, you would have already recovered.
A. follow B. followed C. would follow D. had followed
14. If he had not missed the train, he _____by then.
A. might get B. might have got C. got D. had got
15. What would you have done last night, if you _____to write your homework.
A. hadn’t B. haven’t had C. didn’t have D. hadn’t had
16. —— Did you catch the plane
——No. if I had hurried, I ______.
A. would B. would have C. could D. did
17. Why didn’t you tell him the truth If I _____you, I would have.
A. were B. had been C. am D. would be
18.——How do you like the party
——Wonderful. If you had come with us, you ____a good time.
A. had B. had had C. would have D. would have had
19. If I _____out of my ink, I would have finished writing the paper.
A. didn’t run B. shouldn’t run C. haven’t run D. hadn’t run
20. If you _____early tomorrow morning, you would be there by noon.
A. have started B. were started C. were to start D. had started
21.——Did you hand in your application for a league member
——Not yet. If I _____to see my father, I would have.
A. didn’t go B. haven’t gone C. wouldn’t have gone D. hadn’t gone
22.——Why didn’t Tom give you one of his paintings
——I didn’t want one, but he would have given me one if I _____.
A. do B. would C. will D. had
23.——Do you think the thief entered through the garage door
——No, if he had, I don’t believe ____broken the living room window.
A. would he have B. he had C. he would have D. he has
24.______I’d have told you.
A. If I would have known it B. If I had have known it
C. Had I known it D. should I know it
25. I ____come yesterday, but I couldn’t.
A. was to have B. must C. ought D. have to
Keys: 1-5 DDCCA 6-10 BAACB 11-15 ABDBD
16-20 BBDDC 21-25 DDCCA(共19张PPT)
课标人教实验版高二 Module 6
Unit 1
UNIT 1 Art
LANGUAGE POINTS
广东 林慧贤
1. The style of Western art has changed many times, while Chinese art has changed less often.
while
--I drink black coffee while he prefers it with cream.
--English is spoken all over the world, while Turkish is spoken by few people.
表示对比或相反的情况
西方艺术的风格变化比中国的频繁。The style of western art has changed more often than that of Chinese art.
2. consequently
“福斯特先生从未去过中国, 所以对中国了解得很少。” Mr Foster has never been to China. Consequently, he knows very little about it.
It rained that day and ___ the baseball game was called off. A. however B. still
C. so D. consequently
D
3. In the Renaissance, new ideas and values took the place of those that….
take the place of = take one’s place = replace 代替
I will take the place of my father for a while.
Who will take the place of him if he doesn’t come
take place 发生, 举办
take one’s place 就座, 坐下
--Everyone took their place and the play started.
--When did the accident take place exactly
--The wedding took place yesterday.
4. People became focused more on humans and less on religion.
1) focus on 集中(注意力, 精力等)
I will focus on the main group of people over there.
All the eyes focused on him.
2). 调焦距
This photograph looks funny; I think you forgot to focus the camera.
5. They paid famous artists to paint…their houses and other possessions…
possession n.
拥有, 占有, 所有, 着迷, 领土, 领地, 财产(常用复数)
possess v.
--He possesses two cars. 他有两辆汽车。
--She possesses some interesting pictures.
她有一些有趣的画儿。
6. They were convinced…
convince vt. -d; -cing 使相信; 信服; 说服
He convinced me that I should study law. 他劝我应该学法律。
--It took many hours to convince the court of his guilt.
花费了许多个小时法庭才相信他有罪。
--Everyone was convinced by his words.
7. In the late 19th, Europe changed a great deal.
a great deal, a good deal 用作n./adv. 大量的; ….得多 (跟在比较级后)
-He ate a great deal for supper yesterday. (n.)
-He ran a great deal faster than me. (adv.)
-She is a great deal better today.
-She has a great deal of experience.
她有丰富的经验。
-I have a great deal of work to do.
a great deal of money/ information/ water
8. Nowadays,there are scores of modern art styles.
scores of 很多, 几十
-There are scores of rooms in the hotel.
-I’ve seen the film scores of times.
-Scores of people were killed in the fight.
score a goal (游戏、比 赛的) 得分, 评分
The score in the football game was 4 - 1.
足球比赛的比分是四比一。
注意: scores of 前不能加数词;数词+score, 有时加of, 有时不加 of
A score (of) people attended the special performance. 二十人
Two score (of) those people wanted to fly there. 四十人
好几十人: scores of people/ books/ flowers
9. …the painter does not attempt to paint….. 尝试、企图 n. /v.
The second question was so difficult that I didn’t even attempt it.
I attempted to speak but was told to keep quiet.
She made an attempt to lock the door. attempt to do/doing = try to do/doing毕加索其人和他的艺术
　　毕加索从不执意拒绝接受当代人类文明事件的压力，也从不否定不论是来自他的内心世界还是来自他的家庭感情的推动和激励；他从不对他同时代的人在文化和语言方面提出的主张视若无睹，也从不对古老的历史文明或者所谓原始文明的深邃而富有魔力的启示视而不见，这也正是这位艺术家的特点之一。但是，他既不乔装打扮，也不改变本色；他永远是他自己，永远保持着他那猛禽般狂暴的豪情和那紧抓现实不放的作风，永远保持着他那异乎寻常的巨大魅力和巨大热情。
　　有了毕加索，绘画破天荒第一次在表现形象方面不仅得以再现现实的外表，和通过现实来表达情感，而且还表现有关对现实本身的感觉的思想内涵。正因为如此，表现就变为讲述，也正因为如此，艺术家所具有的全部经验在每一幅绘画中都能发挥作用。绘画不再是形体美的抽象理想或是用诗情画意的手法来体现视觉表象，绘画成为艺术家面对某一事物或某一事件有感而生的思想的客观叙述。肉眼可以看到的现实的外表形式与绘出的形象二者之间的那种外部相似性，已经不再有任何价值了，艺术家也不必再在自然的广阔天地中去闯荡，去寻找“图式”和“印象”；因为艺术家本身就带有自身丰富的认识经验和感情经验。因此，从不临摹实物作画的毕加索就曾说过：“我不是在寻找，而是在发现。”
　　这位西班牙艺术家在创造出立体主义语言之前的那些时日中所走的路程的各个阶段，都是处于“世纪末”的欧洲文化气氛之下，并带有双重探索的标记；既探索风格上的坚定意志，又探索巨大的狂暴感情。他曾尝试过运用强烈而明亮的色彩，加强他那些属于蓝色时期的绘画中的忧伤而多感的笔调；他也曾从后印象派色调的精细中重新发现形体上的大略简洁笔法，而这就是“玫瑰红时期”的典型画法。