毕加索努力捕捉他绘画对象的神韵。
他抑制一切使它们成为他的绘画对象的企图，使他们带有他个人的构思和风格。
He suppresses any attempt to make them his objects, to invest them with his personal vision or style.
尽管梵高为了寻找恰当的效果、光线和绘画对象而远走他乡，但他一直都渴望家的感觉。
Although van Gogh traveled far to discover the right effects, the right light and the right subjects for his paintings, all the while he was longing for a sense of home.
从诸如这样的绘画开始，画布就成为一个完整的对象，完整的宇宙，没有任何东西可以超越。
Starting with paintings like this one, the canvas is the whole object, the whole universe, and there is nothing beyond it.
首先在元素本身中定义画布的固定大小，然后利用使用 canvas API 在画布上创建可视化对象的脚本来实际绘画。
You define the fixed size of the canvas in the element itself, and then typically you do the actual drawing from a script that uses the canvas API to create visual objects on the canvas.
服务设计、交互设计和体验设计都不是设计实物对象，它们对绘画技能、材料知识和生产工艺这些要求极少。
Service design, interaction design, and experience design are not about the design of physical objects: they require minimal skills in drawing, knowledge of materials, or manufacturing.
你可以使用特定的本地窗口对象开始绘画。
You can use the given native window object to start drawing.
画者与写生对象之间的最佳距离，通常是对象高度或宽度的3倍到5倍之间，良好的习惯有助于绘画技能的提高。
The optimal distance between painting and sketching objects, usually between height and width of the object 3 times to 5 times, good habits help painting skill enhancement.
为了表现出对象的空间感，浮雕使用绘画中透视法来表现三维空间。
To show that the object, the dimensional feeling of relief use paintings of perspective to represent the three dimensional space.
本文以藏传佛教艺术中最主要的绘画形式——“唐卡”的技法材料为主要研究对象，同时也必不可少地涉及到其艺术表现形式和审美意蕴。
In Tibetan Buddhism, the main art form of painting--thang khatechniques and materials for the main study, but also essential to involve the art form and aesthetic subjects.
学生在绘画中观察比较自然和具体对象后，思维就有素材，接着以自身体验进行创作就水到渠成。
The student observes after the drawing is quite natural and the concrete object the thought has the source material then carries on the creation by own experience to success when conditions are ripe.
绘画技巧上对光和色进行了深入的探讨，研究出用外光描绘对象的方法。
On the painting technique he studies further the light and color, and finds a way to describe object with outside light.
线条是大家再熟悉不过的了，人们在拿起画笔来描绘对象的时候，首先想到的就是勾勒外形，线条自然就成为了人的第一个绘画语言。
Lines so familiar to everyone, and the people pick up the brush to describe an object, the first thought is the outline shape of the line will naturally become the first painting of human language.
无论从风格与绘画的对象上，他的“立体印象派”创作变得更加自由。
In both style and subject, his Cubist works became even more unrestricted.
本文选择了戏剧、小说、绘画、电视作为电影的比较对象，从各个角度论述了电影艺术的特征。
This thesis chooses drama, novel, painting and TV as the objects to be compared, discussed the characteristics of the movie from every point of view.
习附的绘画线条功能主要在服务于“存形”，即真实描绘客观对象。
Habit of painting lines in service at the main function "of shape," painted an objective that is the real target.
人们对绘画艺术的早期认识是：绘画艺术的任务就是用线条和色彩记录下艺术对象在某一瞬间的状态。
In the earl ier period people's cognition of the painting art is: the mission of the painting art is to use the lines and colors to mark the instant appearance of object.
绘画是把指定对象绘出在画面上的艺术。
What is painting art? It means to carry the object on the screen.
本论文以德国当代艺术家安塞尔姆·基弗绘画的表现性为研究对象。
In this thesis, the contemporary German artist Anselm Kiefer painting? Performance of the study.
如果你能够在人们讨论过程中为讨论的对象画一些草图，那么你通过绘画就可以阐明人们所表达的意思，并且可以使每一个人有相同的认识。
If you can sketch what people are talking about right there, in the middle of the discussion, you can use the drawing itself to clarify what people mean and give everyone a shared image.
在绘画创作中，惯用去除不必要的部分，展现对象的特质，称之为“纯化”，而摄影构图亦同，是必要的手段之一。
In the painting, the usual removing unnecessary parts, displaying the characteristics of an object called the "purification" and the photographic composition likewise, is one of the means necessary.
本文是以活跃在清乾隆朝的画家王宸作为主要研究对象，进行的绘画风格的个案研究。
This paper focuses on the case study of the painting style of Wang Chen, an active painter in Qian Long period of Qing Dynasty.
艺术家在绘画中运用光的起因是为了追求真实表现客观对象，后逐渐成为艺术家自觉使用和积极探索的表现性语言。
Lights was originally used by artists in order to depict objects realistically, however, it has gradually become an language that artists consciously and actively explore.
比方说，有位显赫的理论家，把绘画作品看作非常复杂的感知对象。
One prominent theorist, for example, regards paintings as very complex perceptual objects.
本论文以晚明绘画中存在的“心学”因素为研究对象。
In this paper, to the late Ming Dynasty painting of "Mind" factor for the study.
文中还通过对象征性绘画作品的分析，阐述象征性在绘画中所具有的独特的审美价值。
The paper also through the analysis of symbolic paintings to describe the symbolic trait's unique aesthetic value in the paintings.
文中还通过对象征性绘画作品的分析，阐述象征性在绘画中所具有的独特的审美价值。
The paper also through the analysis of symbolic paintings to describe the symbolic trait's unique aesthetic value in the paintings.
应用推荐