有一个生活层面他是完全一无所知的,这也难怪,要知道在沙龙时代之前所有神职作品都从来没有提及过。
There is, however, one side of life to which he is entirely blind, as was perhaps natural in an ecclesiastic writing before the Age of Salons.
1893年,就在Wiertz的作品在巴黎的画展沙龙遭受到敌对评论家批评后,他强烈号召布鲁塞尔“崛起”并成为“欧洲之都”,让巴黎仅仅成为“省城”。
After a hostile reception by critics at the Paris salon of 1839, Wiertz published a furious call for Brussels to “rise up” and become “capital of Europe”, leaving Paris a mere “provincial” town.
于是我们在挑选参展作品时,选择了多元,选择了自由表达,也选择了对过去几十年“中国式沙龙风光摄影”的突破和反叛。
So when we do selection of the exhibited works, we choose variety, free expression, as well as breakthrough and rebellion to the "Chinese salon landscape photography" in the past decades.
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