【正文】 Young Li fesaver Schem e at hi s hi gh schol. When congratul ati ng John, Mr Al an Southerton, Di rector of the Young Li fesaver Schem e sai d, “There i s no doubt that John’s qui ck thi nki ng and the fi rst ai d skil ls he l earned at school saved Ms Sl ade’s l ife. It shows that a knowl edge of first ai d can m ake a real di fference.” Before receivi ng thei r awards l ast ni ght, John and the ni ne other Li fe Savers attended a speci al recepti on yesterday hosted by the Prim e Mi nister. 選修六 Uni t 1 A SHO RT H ISTO RY O F WESTERN PAIN TIN G Art i s i nfl uenced by the custom s and fai th of a peopl e. Styl es i n Western art have changed m any tim es. As there are so m any different styl es of Western art, it woul d be i m possi bl e to descri be al l of them i n such a short text. Consequentl y, thi s text wi l descri be onl y the m ost i m portant ones, starti ng from the si xth century AD. The Mi ddl e Ages (5th to the 15th century AD) Duri ng the Mi ddle Ages, the m ai n aim of pai nters was to represent reli gi ous them es. A conventi onal artist of thi s period was not i nterested i n showi ng nature and peopl e as they real y were. A typi cal pi cture at thi s tim e was ful of rel igi ous sym bol s, which created a feeli ng of respect and l ove for God. But i t was evi dent that i deas were changi ng i n the 13th century when pai nters li ke Gi oto di Bondone began to pai nt rel i gi ous scenes i n a m ore real i sti c way. The Renai ssance (15th to 16th century) Duri ng the Renai ssance, new i deas and val ues gradual l y repl aced those hel d in the Mi ddl e Ages. Peopl e began to concentrate less on reli gi ous them es and adopt a m ore hum ani sti c atti tude to l ife. At the sam e tim e pai nters returned to cl asi cal Rom an and Greek i deas about art. They tried to pai nt people and nature as they real y were. Ri ch peopl e wanted to possess thei r own pai nti ngs. so they coul d decorate thei r superb palaces and great houses. They pai d famous artists to pai nt pi ctures of them sel ves, thei r houses and possessi ons as wel l as thei r activi ti es and achi evem ents. O ne of the m ost im portant di scoveri es during thi s peri od was how to draw thi ngs i n perspecti ve. This techni que was first used by Masacci o i n 1428. When peopl e fi rst saw hi s pai nti ngs, they were convi nced that they were l ooking through a hol e i n a wal l at a real scene. If the rul es of perspective had not been di scovered, on one would have been abl e to pai nt such real i sti c pi ctures. By coi nci dence, oi l pai nts were al so devel oped at thi s ti m e, whi ch made the col ors used i n pai nti ngs l ook ri cher and deper. Wi thout the new pai nts and the new techni que, we woul d not be abl e to see the m any great m asterpi eces for whi ch thi s peri od i s fam ous. Im presi oni sm (l ate 19th to earl y 20th century) In the l ate 19th century, Europe changed a great deal , from a m ostl y agricul tural soci ety to a m ostl y i ndustri al one. Many peopl e m oved from the countrysi de to the new ci ti es. There were m any new i nventions and soci al changes. N atural y, these changes al so l ed to new pai nti ng styl es. Am ong the pai nters who broke away from the tradi ti onal styl e of pai nti ng were the Im pressi onists, who li ved and worked i n Paris. The Im pressi oni sts were the fi rst painters to work outdoors. They were eager to show how l ight and shadow fel l on objects at di fferent tim es of day. However, because natural li ght changes so quickl y, the Im pressioni sts had to pai nt qui ckl y. Thei r painti ngs were not as detai l ed as those of earl i er pai nters. At fi rst, many peopl e di sli ked thi s styl e of pai nti ng and becam e very angry about i t. They sai d that the pai nters were carel ess and thei r pai nti ngs were ri di cul ous. Modern Art (20th century to today) At the tim e they were created, the Im pressi oni st pai nti ngs were controversi al, but today they are accepted as the begi ni ng of what we cal l “m odern art”. This i s because the Im pressi onists encouraged arti sts to l ook at their envi ronm ent i n new ways. There are scores of m odern art styl es, but without the Im pressi onists, m any of these painti ng styl es m i ght not exi st. O n the one hand, som e m odern art i s abstract。 十七、組員評(píng)價(jià) 62 十五、研究結(jié)論與建議 60 十四、風(fēng)險(xiǎn)分析 59 十三、社會(huì)評(píng)價(jià) 57 十二、財(cái)務(wù)評(píng)價(jià) 56 十一、融資方案 52 九、項(xiàng)目實(shí)施進(jìn)度 50 八、組織機(jī)構(gòu)與人力資源配置 七、勞動(dòng)安全 衛(wèi)生與消防 錯(cuò)誤 !未定義書(shū)簽。 五、節(jié)能節(jié)水措施 錯(cuò)誤 !未定義書(shū)簽。 that is, the painter does not attem pt to pai nt objects as we se them wi th our eyes, but i nstead concentrates on certai n quali ties of the object, usi ng col or, li ne and shape to represent them. O n the other hand, som e pai ntings of m odern art are so real isti c that they l ook li ke photographs. These styl es are so di fferent. Who can predi ct what pai nti ng styl es there wil be i n the future? TH E BEST OF MANH ATTAN’S ART GALLERIES The Fri ck Col ecti on (5th Avenue and E. 70th Street) Many art l overs woul d rather vi si t thi s sm al art gal ery than any other i n N ew York. H enry Cl ay Fri ck, a rich N ew Yorker, di ed i n 1919, leaving hi s house, furni ture and art col ecti on to the Am erican peopl e. Fri ck had a preference for pertwenti eth century Western pai nti ngs, and these are wel lrepresented i n thi s excel ent col l ecti on. You can al so expl ore Fri ck’s beauti ful hom e and garden whi ch are wel worth a vi sit. Guggenhei m Museum (5th Avenue and 88th Street) Thi s m useum owns 5, 000 superb m odern painti ngs, scul ptures and drawi ngs. These art works are not al l displ ayed at the sam e tim e. The exhi bi tion i s al ways changi ng. It wi l apeal to those who l ove Im pressi oni st and PostIm pressioni st pai nti ngs. The Guggenheim Museum buil di ng i s al so worl dfam ous