【正文】 s gradual y repl aced those hel d in the Mi ddl e Ages. Peopl e began to concentrate l ess on reli gi ous them es and adopt a m ore hum ani sti c atti tude to li fe. At the sam e ti m e pai nters returned to cl asi cal Rom an and Greek i deas about art. They tri ed to pai nt peopl e and nature as they real y were. Rich peopl e wanted to posses thei r own painti ngs. so they coul d decorate their superb pal aces and great houses. They pai d fam ous arti sts to pai nt pictures of them sel ves, thei r houses and possessi ons as wel l as thei r acti vi ti es and achi evem ents. One of the most im portant di scoveri es duri ng thi s peri od was how to draw things i n perspecti ve. Thi s techni que was fi rst used by Masacci o i n 1428. When peopl e fi rst saw his pai nti ngs, they were convi nced that they were l ooki ng through a hol e i n a wal l at a real scene. If the rul es of perspecti ve had not been di scovered, on one woul d have been abl e to paint such reali sti c pi ctures. By coinci dence, oil pai nts were al so developed at thi s tim e, whi ch m ade the colors used i n pai nti ngs l ook ri cher and deeper. Wi thout the new pai nts and the new technique, we woul d not be abl e to see the m any great masterpi eces for whi ch thi s period i s fam ous. Im pressi oni sm (l ate 19th to earl y 20th century) In the l ate 19th century, Europe changed a great deal, from a mostl y agri cul tural soci ety to a m ostl y industri al one. Many peopl e moved from the countrysi de to the new ci ti es. There were m any new i nventi ons and social changes. N atural l y, these changes al so l ed to new pai nti ng styl es. Am ong the painters who broke away from the tradi ti onal style of pai nti ng were the Im presi oni sts, who l ived and worked i n Pari s. The Im presi oni sts were the fi rst painters to work outdoors. They were eager to show how li ght and shadow fel on objects at different ti mes of day. H owever, because natural l ight changes so quickl y, the Im pressioni sts had to pai nt qui ckly. Thei r pai nti ngs were not as detail ed as those of earli er pai nters. At fi rst, m any peopl e disli 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 careless and thei r pai nti ngs were ri di culous. Modern Art (20th century to today) At the ti m e they were created, the Impressi onist pai nti ngs were controversi al , but today they are accepted as the begi nni ng of what we cal “m odern art”. Thi s is because the Im pressioni sts encouraged arti sts to l ook at their envi ronm ent i n new ways. There are scores of modern art styl es, but without the Im pressi onists, m any of these pai nting styl es m i ght not exi st. O n the one hand, som e m odern art i s abstract。Young Li fesaver Schem e at hi s hi gh schol. When congratul ati ng John, Mr Alan Southerton, Di rector of the Young Li fesaver Schem e sai d, “There i s no doubt that John’s qui ck thinki ng and the fi rst ai d skil ls he l earned at school saved Ms Sl ade’s li fe. 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 reception yesterday hosted by the Prim e Mi nister. 選修六 Uni t 1 A SH O RT H ISTO RY O F WESTERN PAIN TIN G Art i s infl uenced by the customs and fai th of a peopl e. Styl es i n Western art have changed many tim es. As there are so m any di fferent styl es of Western art, i t woul d be i mpossi bl e to descri be al of them i n such a short text. Consequentl y, thi s text wil l descri be onl y the m ost important ones, starti ng from the si xth century AD. The Mi ddl e Ages (5th to the 15th century AD) Duri ng the Mi ddl e Ages, the mai n aim of pai nters was to represent rel i gi ous them es. A conventi onal arti st of thi s peri od was not i nterested i n showing nature and peopl e as they real l y were. A typi cal pi cture at this tim e was ful l of reli gi ous sym bol s, whi ch created a feel i 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 otto di Bondone began to pai nt reli gi ous scenes in a more reali sti c way. The Renai ssance (15th to 16th century) Duri ng the Renai ssance, new i deas and val ues gradual y repl aced those hel d in the Mi ddl e Ages. Peopl e began to concentrate l ess on reli gi ous them es and adopt a m ore hum ani sti c atti tude to li fe. At the sam e ti m e pai nters returned to cl asi cal Rom an and Greek i deas about art. They tri ed to pai nt peopl e and nature as they real y were. Rich peopl e wanted to posses thei r own painti ngs. so they coul d decorate their superb pal aces and great houses. They pai d fam ous arti sts to pai nt pictures of them sel ves, thei r houses and possessi ons as wel l as thei r acti vi ti es and achi evem ents. One of the most im portant di scoveri es duri ng thi s peri od was how to draw things i n perspecti ve. Thi s techni que was fi rst used by Masacci o i n 1428. When peopl e fi rst saw his pai nti ngs, they were convi nced that they were l ooki ng through a hol e i n a wal l at a real scene. If the rul es of perspecti ve had not been di scovered, on one woul d have been abl e to paint such reali sti c pi ctures. By coinci dence, oil pai nts were al so developed at thi s tim e, whi ch m ade the colors used i n pai nti ngs l ook ri cher and deeper. Wi thout the new pai nts and the new technique, we woul d not be abl e to see the m any great masterpi eces for whi ch thi s period i s fam ous. Im pressi oni sm (l ate 19th to earl y 20th century) In the l ate 19th century, Europe changed a great deal, from a mostl y agri cul tural soci ety to a m ostl y industri al one. Many peopl e moved from the countrysi de to the new ci ti es. There were m any new i nventi ons and social changes. N atural l y, these changes al so l ed to ne