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野兽派的英文

音标:[ yěshòupài ]  发音:  
"野兽派"怎么读"野兽派"的汉语解释用"野兽派"造句

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  • fauvism

例句与用法

  • By 1905, he was the leader of fauve movement .
    到了1905年,他已是野兽派动物的领袖人物。
  • Matisse and the fauves 20 mins , english cantonese
    马蒂斯与野兽派20分钟粤语英语
  • Matisse and the fauves
    马蒂斯与野兽派
  • His early style combined the primitive representation of folk art with the more sophisticated influence of gaugin and the fauves , whose work he saw in st petersburg
    早期画风中他将民间艺术的稚拙表现与高更和野兽派的更为诡谲的影响结合在一起,后者的作品他在圣彼得堡见过。
  • The realistic nonobjective expression come from two aspects : one is western modern art which develop from realism to impressionism 、 abstractionism 、 cubism and fauvism
    些概念的提出来自于两个方面,一是西方的现代艺术已经从写实派发展到现代艺术各种风格,抽象,印象,立体,野兽派等。
  • In the learning process it was very specific , like cubism , fauvism , abstract , but what i was studying was stage design , space , lighting , things to create a fake environment with
    在学习的过程当中,是很具体的,比如说立体主义,野兽派,抽象主义,但是当时我学的是舞台设计,空间、光学,创作一些假环境的东西。
  • Introducing henri matisse , the master of colour , this video explores how he and other painters emphasized the use of intensely vivid colours and vigorous brushstrokes to express their feelings in the early 20 th century movement called fauvism
    本片介绍色彩大师马蒂斯及其他画家如何透过强烈色彩去表达他们的情感,从而带动20世纪初曾风扉一时的野兽派运动。
  • Henri matisse 1869 - 1954 was the leader of the fauvist movement and came to fame in paris around 1905 . in western art history , his status is comparable to that of picasso , and he is revered as the greatest color painter of the 20th century
    注:马谛斯henri matisse , 1869 - 1954是1905年崛起于法国巴黎的野兽派大师,他在西洋美术史上的地位堪与毕卡索并驾驱,被誉为20世纪最伟大的色彩艺术画家。
  • His works before 1920 ( the date of his first trip to par ? s ) reflect the influence of different trends , like the pure and brilliant colors used in fauvism , shapes taken from cubism , influences from folkloric catalan art and roman frescos from the churches
    他1920年以前的作品(以搬到巴黎为分野)反应了不同潮流的影响,像是野兽派之中的纯净且明亮的颜色,立体派中的形状,加特兰民俗艺术以及罗马教堂中的壁画。
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用"野兽派"造句  

其他语种

百科解释

野兽派()是20世纪率先崛起的象征主义画派,画风强烈、用色大胆鲜艳,将印象派的色彩理论与凡高、高更等后印象派的大胆涂色技法推向极致,不再讲究透视和明暗、放弃传统的远近比例与明暗法,采用平面化构图、阴影面与物体面的强烈对比,脱离自然的摹仿。
详细百科解释
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