关于布里欧修的图片专辑列表,每个布里欧修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。布里欧修图片专辑列表,希望能帮您找到喜爱的图片。
【刊名】为龙
【本家】APH
【主】王耀中心
【属性】正常向/全年龄向
【内容】短篇漫画/四格/插绘/吐槽向
【阵容】(排名不分先后)
【主笔】LING ■萝莉武士■ 言一■CHRY ■钉子■ASKC■眠狼
【脚本/主催】风息**
【制作/协力】kotora★钠欧★Tomoe★铲子兔
本专辑只是收集了部分彩图
为龙
词:浣姬
曲:河图
唱:河图
手心上 亘古的月光
那道伤 一笑而过的苍凉
翘首觐向 你伫立一方
是你生而为龙的狷狂
谨记你的姓名是炎黄
烽燧上 战地的残阳
断刃旁 岁月悄然的流淌
十二章纹 你遥祭四望
血脉奔腾的黄河长江
是你与生俱来的张扬
风雨打尽红墙和绿瓦
丹青留下明日的黄花
汉字里墨香温存的一笔一划
世代传承的表达
盛衰荣辱斑驳了脸颊
千载过后洗净了铅华
一直坚守的土壤在你脚下
至死不渝的回答
藏心上 亘古的月光
怀中殇 不再回眸的苍凉
翘首觐向 你伫立此方
谨记生而为龙的模样
谨记我的姓名是炎黄
中文名: 安妮·海瑟薇
外文名: Anne Jacqueline Hathaway
别名: 安妮夏菲维(港译)
国籍: 美国
出生地: 纽约布鲁克林
出生日期: 1982年11月12日
职业: 演员
毕业院校: 纽约大学
代表作品: 《蕾切尔的婚礼》,《公主日记》
星座: 天蝎座
身高: 173CM
最爱的书: Either Beloved (Toni Morrison)
工作愿望: 英语教授或心理学者
人生目标: 在百老汇唱歌
安妮·海瑟薇,美国电影和舞台剧演员,父亲是位律师,母亲则是歌手兼演舞台剧演员。她在大学里主修英文,副修妇女研究,她说过,如果当不成演员,她会想当一位文学家或是心理学家。在《公主日记》的试镜时,安妮意外地从椅子上摔了下来,结果反而被导演一眼相中,得到了扮演主角米娅的机会,并一举成名。安妮拥有灿烂明媚的笑容和高雅端正的气质,还带有一点点的调皮可爱,被誉为“茱莉亚·罗伯茨和奥黛莉·赫本”的综合体。
法国画家:William Bouguereau 阿道夫·威廉·布格罗介绍:
威廉·布格罗 (Bouguereau,Adolphe William,1825.11.30--1905.8.19)是法国19世纪上半叶法国学院派绘画的最重要人物。
他以神话和寓言题材的绘画吸引大批追随者。其作品以高度完整、技法全面和擅长表现多愁善感的题材为特征。在布格罗的画作里,女性的形象非常恬美,有妇女,仙女和农村姑娘等人物。其环境多为乡间丛林,宁逸静瑟。在人物造型处理上,为了追求高度的优美,舍弃技法创新,维护官方正统的艺术,排斥其他艺术流派,因而被现代批评家指责为保守的画家。
布格罗绘制了大批的乡村田园情调的作品。农妇、乡下小孩、流浪者、吉普赛女郎、牧羊女等等都成为了他作品下单纯、善良、美丽的形象,其身上穿着的衬衫、格子图案的意大利地方服饰、绝不重覆的服饰配搭是他在意大利四年取经行所看到并记录下来的,且自画家魔术般的手底下都成了一幅幅赏心悦目且色彩瑰丽的诗歌般的作品。
在当时的年代,他的画非常受欢迎,特别受到英美两国民众的青睐,可谓风头一时无两。大众对于他那种对唯美的诠释感到不可思议且喜爱万分,可说是继安格尔以后的另一个把古典美发挥得淋漓尽致的巨匠,甚至认为他可以媲美意大利文艺复兴三杰之一的拉斐尔(Raphael),同样以温柔婉约的画风取胜,擅刻画典雅气质的女性形象。
阿道夫·威廉·布格罗( 1825 – 1905) ,於1825年11月30日出生在La Rochelle(在法国西部沿海)的一个酒庄。 他21岁时前往巴黎进入Francois-Edouard Picot工作室,并开始参加the Prix de Rome(一个美术奖项)的竞选,在1850年获奖,补助他到罗马的Villa Medici(法兰西学院的意大利所在地)进修四年,他把握机会研究文艺复兴时代的大师名作,同时也广泛旅游了意大利的农村,这段时期的经历奠基了他日后的风格与主题。回到巴黎后,他常在沙龙展出,作品广受公众与批评家欢迎,也被代理销受到美国与英国,并且获得许多奖项,在1859年受封,1876年获得Legion of Honour(荣誉爵位),一度成为Academie des Beaux-Arts of the Institut de France的四十名成员之一,这是法国艺术家的最高荣誉;此后又成为比利时与西班牙的荣誉爵士、荷兰皇家美术学院的院士。 他是是法国19世纪上半叶法国学院派绘画的最重要人物。
1883年他成为沙龙领导人,致力於提升新进美术家的福利,并在学院中教课。最终在1905年8月19日去世。之所以会选择Bouguereau的作品是因为以天使与神画为主题的画作,另外还有女祭司那一幅。 如果把神话故事纳入奇幻的选题,奇幻的疆界将可以延伸至更深隧的时代,也更能表现出一脉相承的悠远历史;或许也可以观察西洋艺术发展对於奇幻画作的影响。
Biography of William Bouguereau
William Bouguereau is unquestionably one of history's greatest artistic geniuses. Yet in the past century, his reputation andunparalleled accomplishments have undergone a libelous, dishonest, relentless and systematic assault of immense proportions. His name was stricken from most history texts and when included it was only to blindly, degrade and disparage him and his work. Yet, as we shall see, it was he who single handedly opened the French academies to women, and it was he who was arguably the greatest painter of the human figure in all of art history. His figures come to life like no previous artist has ever before or ever since achieved. He wasn’t
just the best ever at painting human anatomy, more importantly he captured the tender and subtlest nuances of personality and mood.
Bouguereau caught the very souls and spirits of his subjects much like Rembrandt. Rembrandt is said to have captured the soul of age. Bouguereau captured the soul of youth.
Considering his consummate level of skill and craft, and the fact that the great preponderance of his works are life-size, it is one of the largest bodies of work ever produced by any artist. Add to that the fact that fully half of these paintings are great masterpieces, and we have the picture of an artist who belongs like Michelangelo, Rembrandt and Carravaggio, in the top ranks of only a handful of masters in the entire history of western art.
Having died in 1905, we can suppose it best that he was not here to see the successful assault on traditional art that turned the art world inside out and upside down in the decades that followed his death. His fate was to be much like that of Rembrandt, whose work was also ridiculed and banished from museums and official art circles for the hundred years following his death. Rembrandt’s reputation wasn’t resuscitated until the 1790’s (he died in 1669) due to the influence of the founder of the Royal Academy in London, Sir Joshua Reynolds. Even as recently as 1910, Reynolds paintings brought higher prices at auction than Rembrandt. Bouguereau’s re-appreciation can rather accurately be traced from about 1979 when his prices at auction quadrupled that year alone, and then was further catapulted by the 1984 retrospective that traveled from the Petite Palais in Paris, to the Montreal Museum of Fine Arts in Canada and finally to the Wadsworth Athenaeum in Hartford. In 1980 The Metropolitan Museum in New York permanently hung two of his works that been left in storage from early in the century.