全年资料
关于全年资料的图片专辑列表，每个全年资料相关图片专辑均由普通用户整理而成。通过欣赏专辑名称、风格和缩略图，能够迅速找到与你同样品味的用户创建的专辑，从而找到适合自己品味的图片。全年资料图片专辑列表，希望能帮您找到喜爱的图片。
全年资料
"Painting should always have some mystery about it."
Alexander Sharpe Ross
Alexander Sharpe Ross was a leading American illustrator in the 1940s and 50s, with his work on the covers of Good Housekeeping, Saturday Evening Post, Ladies Home Journal and Colliers. Along with a handful of key illustrators —Coby Whitmore, John Whitcomb, Al Parker, Norman Rockwell—Ross helped create an indelible image of Americans in the post WWII decades.
In the 1960s, Ross moved dramatically into the fine arts—painting abstracts, surrealists, portraits—always seeking new technique. “Inventive Realism” he called it when pressed for nomenclature, and explained, “My subjects are mainly flowers and dreamlike human figures. Flowers have beautiful shapes that lend themselves to abstraction, and I incorporate new dimensions in them, using the essence of ‘flower’ from memory to create a whole gamut of emotions.”
Ross was awarded an Honorary Degree of Master of Arts by Boston College in 1953. An assignment from the US Air Force took him to Alaska where he painted his impressions of one of American’s foremost frontiers. The award-winning works are now in the permanent collection of the Air Force. In 1969, Ross designed a postage stamp for professional baseball, celebrating the centennial of the Cincinnati Reds.
Born in Dunfermline, Scotland, Ross came to Wilkinsburg, Pennsylvania, as a youth. He was largely self-taught, although he had one year of night school at Carnegie Tech. His first break occurred in 1941 when one of his illustrations was chosen from a roomful of contestants to be a Good Housekeeping cover. The editor, Herbert Mayes, commissioned 130 additional cover illustrations over the next dozen years at roughly $1000 apiece. The covers were of children, mostly Ross’s own who early on learned to model for him. After that, Ross became quite popular as a painter of “clinch” pictures—men and women in romantic postures. His clinches appeared in Saturday Evening Post, McCall’s, Cosmopolitan, and Colliers.
Ross worked in a large variety of media: oils, watercolors, serigraphs, collages, pastels, halftones, and acrylics on gesso. For a time, Ross preferred watercolor “…because of the spontaneous outburst factor. When one is feeling happy, he doesn’t put the feeling aside, but expresses it at once, at the full height of his feelings. That is the way with watercolor.” As one art critic summarized, “The overall impact of Alexander Ross’s painting is one of immense enjoyment of the spectacle of nature. His are assured and happy pictures.”
Ross was profoundly interested in religious art. “It’s one of the most fascinating fields of creation I can think of.” He has created paintings of biblical prophets for the Mormon Church, illustrated three religious books and designed stained glass windows for a Danbury, Connecticut, church. In a major show in the 57th Street gallery, Eric, in New York City, a critic wrote, “It has been said that Ross’s vision resembles that of Renoir and Marie Laurencin, as all three share a passion for nudes, flowers and children. However, this is where the resemblance ends, as Alexander Ross has brought to his compositions an entirely new and very personal interpretation, dynamic but also sensitive, where abstractions taken over from realism in a magic blend of forms and colors.”
Successful watercolorist Fred Whitaker gave a major, published speech in 1980 about Ross’s achievements as an illustrator, likening his work to such famous American illustrators as Remington, Homer and Hopper. “When the story of today’s art epoch is written, there may well be general agreement that the real art contribution of the mid-twentieth century was that of the illustrators and commercial artists. I know of no artist who experiments more than Ross in approach to the mode of presentation; in color, in the manner of ap***ing paint, in his brushing, in the use of new angles of compositional arrangement. His one great fear is that he may become static, even afraid of copying himself.”
图片资料均收集于网络........
我太爱这些有模有样的瑜伽高手了，谁是我的同好啊？
以下是背景资料，供大家参考。
这一系列超可爱小猫小狗瑜珈照皆由Dan Borris掌镜，这些照片除了可爱外也实实在在地表达出了瑜珈人对于瑜珈的热情。你也一定很好奇这些小猫小狗是从哪里来的？它们都是从动物防御同盟会（Animal Defense League）借来的小猫小狗，Dan Borris表示：想要成为瑜珈高手想必是需要花费多年的时间以及毅力来累积经验，但是奇迹的是这些小猫小狗只花了十六个星期！
这一系列小猫小狗瑜珈已经制作成月历及图书开始销售至世界各地，像英国、俄罗斯（包括巴尔干地区）、日本、韩国、德国，Dan Borris也送了小猫小狗瑜珈书以及月历给同盟会，供他们做募捐用。
动物防御同盟会（Animal Defense League）是国际性的动物保护组织。（文/dcview.）
一座落在高山迷你小學旁的「免姨商店」，是小朋友放學後的天堂。獨自經營雜貨店的阿免姨（林美秀飾），熱心照料著每個肚子餓的小朋友，阿免姨的茶葉蛋，就像溫暖人心的暖暖包。
老郵差米多力(陳慕義飾)把整座山當成自己的管區，天天尋找賺取外快的機會，希望有朝一日能存到旅行基金，帶著阿免姨去各地旅行。他和悶悶不樂的小孩Yabi，都把商店當作自己的家，整天與阿免姨為伴。
有一天，山裡來了一位外國神父吉米(紀亞文飾)，全年無休的免姨商店關上了大門，因為歐巴桑阿免姨竟然跑去向吉米神父學ABC，此舉讓所有人深感疑惑。
阿免姨學英文，帶起了一連串的趣味事件，也讓寧靜的小山村掀起了陣陣漣漪，這26個英文字母，不但拼出了Yabi爸爸喪命的真相，也解開了阿免姨慈祥笑容背後，不可告人的秘密……
故事发生在1978年的夏天，向远（王雷 饰）的志向是成为一名厨师，可是，身为教授的父亲却希望儿子能够参加高考成为一名大学生。就在向远因为前途问题而跟家里闹得最凶的时候，他遇见了名叫麦秋（曾泳醒 饰）的美丽女孩，麦秋的母亲为她许配了人家，而思想先进的麦秋却将理想放在了大学校园之中。
就是这样人生轨迹截然相反的两人，他们相爱了，尽管这段感情遭到了家长们的极力反对，但两人依然义无反顾。一次偶然中，向远得到了市里高考工作安排的重要文件，不知情的向远将文件夹杂在复*资料里借给了麦秋，此时的向远并不知道，他的这一举动将永远的改变他和麦秋两家人的命运。
2006年，青岛电视台、青岛市**新闻办公室、青岛档案馆、德国国家历史博物馆四方联合拍摄创作了八集电视文献系列片《青岛影像，1897—1914》。此片以德国征集的历史照片、影像和文献档案资料为主，修复了德占“胶州湾事件”以来青岛特殊历史时期“1897—1914年”的城市记忆。此片不做大历史的评判与回述，而专注于历史事件下人物或事件的故事细节、人文内涵。此片在探询、求证、再现等方面，充分调动了多种电视表现形式，以期呈现历史真实。此片共分四个专题“贝麦眼中的青岛”、“一所大学的消失”、“地图上的青岛”、“城墙内外”，每一专题又分上下集，每集20分钟，共八集，160分钟，此片*期播出。
戴安（西格妮·韦弗 Sigourney Weaver 饰）是一位专门研究黑猩猩的野生动物专家，为了能够更好的观察和接*黑猩猩，戴安只身潜入了位于非洲卢旺达弗朗山脉的原始森林中。黑猩猩性格十分凶猛狂野，这也就意味着，待在它们身边的每一分每一秒，戴安的性命都有不保的可能。
随着时间的推移，戴安和黑猩猩之间的距离越来越*，通过模仿它们的叫声和*性，戴安渐渐获得了黑猩猩群体的信任和肯定，亦发现了许多珍贵的信息和资料。在原始森林中，偷猎者们十分猖獗，戴安毕生都在同他们做着不懈的斗争，因此结下了许多仇家，某日，人们在戴安的房间中发现了她的尸体，证据显示这位伟大的科学家死于谋杀。
性感火辣的妮可·劳恩（麦当娜 Madonna 饰）是一个小偷，四年前她被卷入一起凶杀案中。当年，她的男友强尼偶然获知一桩名人丑闻，于是搜集资料，打算从中渔利。结果对方雇来强盗拉乌将其杀害，并将剁碎的尸体塞到妮可的车中，后者碰巧***方临检，结果锒铛入狱。四年后，表现良好的妮可提前出狱，但狱方要求她立刻离开此地，回到家乡费城。
另一方面，当年与丑闻有关的著名律师沃斯顿正在筹备女儿的婚礼，当获悉妮可出狱的消息，唯恐节外生枝的他派出唯唯诺诺的准女婿劳登（Griffin Dunne 饰）亲自将妮可送出城。只是，这个火辣的小野猫不愿背负罪名回家，她势要在离开前证明自己的清白……
