导读：Leslie cheung is a famous singer, actor and musician who has made great sucess in both singing and acting Leslie Cheung'
Leslie cheung is a famous singer, actor and musician who has made great sucess in both singing and acting
Leslie Cheung's Photoes (20 pictures)
With top-level acting skills, he is a super star in entertainment industry of Asia who has standed erect for 20 years He is also a rigorous, dedicated, and devoted artist with great attainments Dating back to more than ten years ago, he was already seen as a legend due to his extraordinary taste and art achievements What's more, he is also a kind, forgiving, strong and enthusiastic man that is praised by every involved one
As a singer, he is one of the representatives of Cantoness pop music who enjoys high reputation in Hongkong He was already a super star in Hong Kong music industry in the 1980s, during which he was awarded many big prizes As a musician, he wrote and composed more than fourty songs and act as the Music Ambassador of the Composers and Authers Society of Hong Kong Limited for two consecutive years While as a actor, he is the king of Chinese film industry He is well known not only in China, but also in the whole Asia He is an Asian superstar with global imfluences The American magzine "TIME" evaluated him as follows : he is a born star, a more charming, sexy, and demanding actor than any other from Hong Kong and Hollywood He is the only actor whose wax statue was palaced in the "Celebrity Hall"
全手工翻译，希望能采纳~~~~~~~~
毕加索英文简介
Introduction
Picasso, Pablo Ruiz y (1881-1973), Spanish painter, sculptor, printmaker, draughtsman, designer, and ceramicist who spent most of his career in France He was the most famous and prolific artist of the 20th century and exercised enormous influence on his contemporaries
II Early Life and Work
Picasso was born in Málaga on October 25, 1881, the first child of a middle-class family His father José Ruiz Blasco was a mediocre painter who earned his living as a teacher of drawing Like many Spaniards, Picasso took his mother's family name as his surname
Picasso showed artistic talent at an early age His first surviving drawings were done when he was nine By his early teens, it was clear that he was exceptionally gifted In 1895 his family had moved to Barcelona, and from 1896 to 1897 he studied at the School of Fine Arts there His large academic canvas Science and Charity (1897, Museo Picasso, Barcelona), depicting a doctor, a nun, and a child at a sick woman's bedside, won a gold medal when it was exhibited in Málaga He then spent a few months at the Academy of Fine Arts in Madrid, but by this time—aged only 16—he already had his own studio in Barcelona and was eagerly experimenting with a variety of styles
III The Blue Period
In 1900 Picasso made his first visit to Paris, the goal of every ambitious artist, and for the next four years he divided his time between there and Barcelona He found the bohemian street-life of Paris fascinating, and his pictures of people in dance halls and cafés show how he assimilated the Post-Impressionism of Paul Gauguin and of the Symbolist painters called the Nabis The themes he found in the work of Edgar Degas and Henri de Toulouse-Lautrec, as well as the style of the latter, exerted the strongest influence Picasso's Blue Room (1901, Phillips Collection, Washington, DC) reflects the work of both these painters and, at the same time, shows his evolution towards the Blue Period, so called because various shades of blue, well suited to the melancholic subjects that he favoured at that time, dominated his work for the next few years (1901-1904) Expressing human misery, the paintings portray blind people, beggars, alcoholics, and prostitutes, their somewhat elongated bodies reminiscent of the style of El Greco
IV The Rose Period
In 1904 Picasso settled in Paris, living in a shabby building known as the Bateau-Lavoir (“laundry barge”, which it resembled) He met Fernande Olivier, the first of many companions to influence the theme, style, and mood of his work The next year or so of his life is known as his Rose Period, when blue was replaced by pink as the predominant colour in his work His subjects became more cheerful and included many scenes of the circus, which he frequently visited, and circus performers—bohemians outside respectable society—with whom he identified One such painting of this period is Family of Saltimbanques (1905, National Gallery, Washington, DC); in the figure of the harlequin, Picasso represented his alter ego, a practice that he repeated in later works
In 1909 Picasso moved out of the Bateau-Lavoir into an apartment with a maid By this time he had attracted influential patrons, such as the American writer Gertrude Stein, whose portrait he painted (1906, Metropolitan Museum of Art, New York), and had gained the support of the art dealer Daniel-Henri Kahnweiler, whom he met in 1907 Kahnweiler introduced Picasso to Georges Braque, another young artist whose work he handled
V Cubist Painting
In the summer of 1906, during a stay in Gosol, a remote Catalan village in the Pyrenees, Picasso's work entered a new phase, marked by the influence of Greek, Iberian, and African art The key work of this early period is Les Demoiselles d'Avignon (1907, Museum of Modern Art, New York); the title comes from the name of a street in the red-light district of Barcelona and the painting depicts five prostitutes, their figures aggressively distorted and the faces of two of them recalling the African masks that Picasso admired and collected at this time So radical in style was this picture—its surface resembling fractured glass—that it was not understood even by contemporary avant-garde painters and critics Spatial depth is absent and the ideal form of the female nude is restructured into facets—the essential features that distinguish Cubism
From the time of their first meeting in 1906 until the outbreak of World War I, Picasso and Braque worked closely together Inspired by the volumetric treatment of form seen in the late work of Paul Cézanne, they began to paint landscapes in a style later described by a critic as being made of “little cubes”, thus leading to the term “Cubism” They were concerned with breaking down and analysing form, and together they developed the first phase of Cubism, known as Analytical Cubism Monochromatic colour schemes were favoured in their depictions of radically fragmented motifs, whose several sides were shown simultaneously Picasso's favourite subjects were musical instruments, still-life objects, and his friends; one famous portrait is Daniel Henry Kahnweiler (1910, Art Institute of Chicago) In 1912, pasting paper and a piece of oilcloth to the canvas and combining these with painted areas, Picasso created his first collage, Still Life with Chair Caning (Musée Picasso, Paris)
The technique marked the transition to Synthetic Cubism This second phase of Cubism is more decorative, with colour playing a major role Picasso used Synthetic Cubism throughout his career, but by no means exclusively Two works of 1915 demonstrate his simultaneous work in completely different styles: Harlequin (Museum of Modern Art, New York) is a Synthetic Cubist painting, whereas a fine pencil drawing of his dealer, Vollard (Metropolitan Museum of Art, New York), is executed in his Ingresque style, so called because the draughtsmanship emulates that of the 19th-century French Neo-Classical artist Jean Auguste Dominique Ingres
VI Cubist Sculpture
While he was creating this revolution in painting, Picasso was doing almost equally innovative work in sculpture Traditionally there had been two approaches to sculpture—modelling (in which the form is built up from a substance such as clay) and carving (in which the form is created by removing material from a block of stone or other suitable material) Picasso changed this by putting together sculpture from pieces of commonplace material (a development of the collage elements that he sometimes included in his Cubist paintings) An example is Guitar (1912, Musée Picasso, Paris), made of cardboard, paper, and string
Picasso's sculptures in this vein were generally small and almost in the nature of jokes, but the idea was soon taken up by other sculptors in much more ambitious form Among them was the Russian painter and sculptor Vladimir Tatlin, who visited Picasso in 1914 Tatlin's variations on Picasso's method became the foundation of Constructivism, a major movement in abstract art
VII Realism and Surrealism
After the outbreak of war in 1914, Picasso continued to work in Paris In 1917 he visited Rome with the writer Jean Cocteau to meet the Russian ballet impresario Sergei Diaghilev, whose company was preparing for a production of Parade (the storyline of which was by Cocteau and the music by Erik Satie) Picasso designed the costumes and drop curtain One of Diaghilev's dancers, Olga Koklova, became Picasso's first wife In a realist style, Picasso painted several portraits of her around 1917, of their son (for example, Paulo as Harlequin; 1924, Musée Picasso, Paris), and of numerous friends The couple moved into a grand apartment in Paris and Picasso became part of the fashionable world, losing touch with his bohemian youth
In the immediate post-war period Picasso painted for a time in a style that has been called “classical” and that marked a reaction against the experimental fervour of the pre-war years Several of Picasso's most imposing works of this time feature monumentally powerful figures that have something of the solidity and grandeur of ancient sculptures, for example Three Women at the Spring (1921, Museum of Modern Art, New York) Others, such as The Pipes of Pan (1923, Musée Picasso, Paris), were inspired by mythology
This serenity was short-lived, however, for in the mid-1920s Picasso became interested in Surrealism and then started painting violently expressive pictures that reflected his despair at his increasingly unhappy marriage The Three Dancers (1925, Tate Gallery, London) is a key work in this phase of his career
Several Cubist paintings of the early 1930s, stressing harmonious, curvilinear lines and expressing an underlying eroticism, reflect Picasso's pleasure with his newest love, Marie Thérèse Walter, who gave birth to their daughter Maïa in 1935 Marie Thérèse, frequently portrayed sleeping, was also the model for the famous Girl Before a Mirror (1932, Museum of Modern Art) In 1935 Picasso made the etching Minotauromachy, a major work combining his minotaur and bullfight themes; in it the disembowelled horse, as well as the bull, prefigure the imagery of Guernica, a painting often called the most important single work of the 20th century
VIII Guernica
Picasso was moved to paint Guernica shortly after German planes, acting in support of General Franco, bombarded the Basque town of Guernica on April 26, 1937, during the Spanish Civil War Completed in less than two months, Guernica was hung in the Spanish Pavilion of the Paris International Exposition of 1937 The painting does not portray the event; rather, Picasso expressed his outrage by employing such imagery as a bull, a dying horse, a fallen warrior, a mother and dead child, a woman trapped in a burning building, another rushing into the scene, and a figure leaning from a window and holding out a lamp Despite the complexity of its symbolism, and the impossibility of definitive interpretation, Guernica makes an overwhelming impact in its portrayal of the horrors of war It now hangs in Madrid's museum of 20th-century art, the Reina Sofía Art Centre Dora Maar, Picasso's companion at the time, took photographs of Guernica while the work was in progress
IX Later Works
Picasso remained defiantly in Paris during the German occupation of the city in World War II, but after the war he lived mainly in the South of France, in Vallauris from 1948 and at Notre-Dame-de-Vie, a villa in Mougins, from 1961 until his death He continued to be extremely productive to the end of his long life (not least in ceramics, which he took up in 1946), but it is generally agreed that his post-war output is of lesser importance and interest than his earlier work He died on April 8, 1973, aged 91
中文介绍
毕加索作为法国现代画派的主要代表，是一位最富有创造性的艺术家。20世纪的艺术家、特别是西方艺术家，几乎没有未受过他的影响的。毕加索的艺术成就除去绘画以外，还涉及到各种材质的雕塑、陶艺、书籍装帧等方面。毕加索从9岁起就开始作画，无论质还是量，都是惊人的，他的作品约达六万件，仅油画一项就在万件以上。这位天才横溢的艺术家在极其漫长的创作活动的每一刻，似乎想做的都让他准确无误地做到了。
父：荷西·路易兹-布拉斯科
母：玛莉亚·毕加索-洛培兹
1881 10月25日出生于西班牙南部的马拉加
1888/9 7/8岁 在父亲(美术教师)指导下画画。
1889 8岁 完成第一件油画作品，画的是斗牛士。
1895 14岁 进入巴塞隆纳的隆哈美术学校，其父于该校任教。入学考试是古典艺术与静物写生，依规定可有一个月时间完成，毕加索在一天之内就完成了。
1896 15岁 作品"初次领圣体"参加巴塞隆纳美术与工业展。
1897 16岁 进入马德里圣费南多美术学院就读。但常不去上课，比较喜欢去"普拉多美术馆"参观。在那里，他可以接触到西班牙大师的作品：葛雷柯、委拉斯盖兹及哥雅等。 作品"科学与慈善"获马德里全国美展荣誉奖，后来又在马拉加得到金牌奖。
1898 17岁 经常出入"四只猫"酒馆，开始与前卫艺术圈往来。结织卡萨吉玛斯及日后成为其私人秘书的沙巴特斯。
1900 19岁 在"四只猫"酒馆举行首次个展。与卡萨吉玛斯首次前往巴黎，居住于蒙马特区。
1901 20岁 好友卡萨吉玛斯因失恋自杀，触发毕加索以蓝色调作画，蓝色时期开始。在弗拉画廊举行巴黎首次个展，开幕前就卖出15张画。
1902 21岁 完成"蓝色自画像"。
1903 22岁 完成"人生"。以浓郁的蓝色调表示贫、老与孤独的苦难。1900-1903年间三度回西班牙。
1904 23岁 定居于巴黎"洗衣船"。邂逅费尔南德．奥立维并同居，常去观赏马戏团的演出，粉红色时期开始。
1905 24岁 以马戏团题材创作"卖艺人家"等。画展受到重视。结识洁楚·斯坦因兄妹。
1906 25岁 在罗浮宫看到伊比利亚半岛的雕塑展，印象深刻。结识野兽派大师马蒂斯。
1907 26岁 创作"亚维农的少女"。到民俗博物馆看非洲雕塑。参观两个塞尚回顾展。结识布拉克。
1908 27岁布拉克第一次举行立体派画作展。
1909 28岁 解析立体派开始。与布拉克成为邻居。作"费尔南德头像"。
1911 30岁 首次把印刷字母放到构图中。邂逅艾娃·谷维。
1912 31岁 与费尔南德分手。完成第一个拼贴作品"藤椅静物"。与布拉克合作纸贴画，发展出合成立体主义。
1915 34岁 艾娃因肺结核逝世。
1917 36岁 至意大利为俄罗斯芭蕾舞团作舞台设计，邂逅舞者欧嘉．科克洛瓦。
1918 37岁 与欧嘉结婚。因芭蕾而与上流社会接触。与马蒂斯举行联展。
1919 38岁 认识米罗。
1921 40岁 长子保罗(1921-1975)出世。
1922 41岁 创作"海边奔跑的两个女人"。
1924 43岁 以装饰性立体派风格作许多静物画。
1916/7-1924年间多次为芭蕾舞台作设计。
1925 44岁 创作"舞"，首次影射与欧嘉的紧张关系。参加超现实主义的首次展出。
1926 45岁 以集合物手法作"吉他"系列。
1927 46岁 邂逅年仅17岁的玛丽-德雷莎·华特。
1929 48岁 与雕塑家贡萨列斯一起创作雕塑和铁线构成。作系列以女人头像为题的攻击性画作，显现姻婚危机。结识达利。
1931 50岁 于柏吉卢城堡设立雕塑工作室。参加超现实主义于美国的首展。
1932 51岁 以玛丽-德雷莎为模特儿。
1933 52岁 以雕塑家工作室为题，创作蚀版画 (佛拉系列版画)。费尔南德．奥立维出版回忆录。
1934 53岁 创作以斗牛为题的作品。发表用织物做模型翻制的雕塑作品。
1935 54岁 6月与欧嘉及保罗分居。9月玛丽-德雷莎与毕加索的女儿玛亚出生。
1936 55岁 邂逅南斯拉夫女摄影师兼画家多拉·玛尔。
1937 56岁 创作"格尔尼卡"。
1939 58岁 同时画玛丽-德雷莎与多拉的同姿势肖像。
1943 62岁 邂逅22岁的方斯华姿·吉洛。作集合物"牛头"。
1944 63岁 加入法国***。
1945 64岁 于慕洛完成第一批石版画。
1946 65岁 与方斯华姿·吉洛同居。访马蒂斯。
1947 66岁 方斯华姿·吉洛生子克罗德。首次在陶艺家哈米耶工作室中制陶，至1948年共作了2000件陶艺。
1949 68岁 方斯华姿·吉洛生女帕乐玛。为世界和平会议作"鸽子"石版海报。
1950 69岁 获颁列宁和平奖章。
1953 72岁 于玛都拉陶艺工作坊邂逅杰奎琳·洛克。
1954 73岁 与方斯华姿·吉洛分手。马蒂斯逝世(毕加索曾说："只有马蒂斯才是真正的画家")。开始创作德拉克洛瓦的"阿尔及利亚女人"变奏系列。
1955 74岁 欧嘉逝世。
1956 75岁 与克鲁佐共同拍摄**"毕加索之谜"公映。写信给***，抗议俄罗斯入侵匈牙利。
1957 76岁 画委拉斯盖兹"宫女"变奏40余张。
1959 78岁 作马内"草地上的午餐"变奏系列。
1961 80岁 与35岁的杰奎琳结婚。
1963 82岁 绘制"画家与模特儿"系列。巴塞隆纳的毕加索美术馆开幕。布拉克逝世。
1964 83岁 方斯华姿·吉洛出版回忆录，造成毕加索与克罗德及帕乐玛决裂。
1966 85岁 巴黎大皇宫及小皇宫举办大型毕加索回顾展。
1970 89岁 把西班牙家中保存的画作捐赠给巴塞隆纳毕加索美术馆。
作品
1881—1900年 童年时期
1881年 10月25日毕加索出生于西班牙南部的马拉加；
1889年 完成第一件油画作品《斗牛士》；
1895年 进入巴塞罗那的隆哈美术学校；
1897年 进入马德里的皇家圣费南多美术学院就读，油画作品《科学与慈善》获马德里全国美展荣誉奖，后来又在马拉加得到金牌奖；
1900—1903年 蓝色时期
1902年 完成“蓝色自画像”；
1903年 完成《人生》，以浓郁的蓝色调表示贫老与孤独的苦难；
1904—1906年 玫瑰时期
1904年 开始定居巴黎的“洗衣船”，玫瑰时期开始。邂逅费尔南德·奥利维叶，并同居：
1905年 创作《拿烟斗的男孩》并被慈善家约翰·海惠特尼女士以3万美元重金购得；
1906年 结识野兽派大师马蒂斯，为美国作家兼收藏家菖楚·斯坦因画像，《斯坦因画像》是毕加索从“玫瑰时期”跃入“立体主义”的跳板；
1907—1916年 立体主义时期
1907年 结识布拉克，开始立体派风格创作，创作《亚威农少女》；
1909年 解析立体派开始；创作《费尔南德头像》；
1917—1924年 古典时期
1917年 在意大利邂逅舞者欧嘉·科克洛娃，创作《欧嘉的肖像》；
1918年 与欧嘉结婚，与马蒂斯举行联展；
1920年 手工彩绘珂罗版《三角帽》；
1922年 创作《海边奔跑的两个女人》；
1925—1932年 超现实主义时期
1927年 邂逅年仅17岁的玛丽·德蕾莎·沃尔持，成为毕加索的模特。并生下女儿马姬；
1929年 与雕塑家贡萨列斯一起创作雕塑和铁线结构成。作系列以女人头像为题的攻击性画作，显现婚姻危机，结识达利；
1932—1945年 蜕变时期
1932年 创作《红色扶手椅中的女人》；
1933年 以雕塑家工作室为题，创作蚀版画
1934年 创作以斗牛为题的作品；
1936年 西班牙内战暴发。认识多拉。玛尔，并创作《多拉·玛尔的肖像》；
1937年 创作完成《格尔尼卡》；
1942年 创作版画《大自然的故事》
1943年 邂逅22岁的弗朗索娃·吉洛；
1944年 加入法国***；
1945年 开始尝试石版画创作；
1946—1973年 田园时期
1947年 儿子克洛德降生。在陶艺家哈米耶工作室制陶，至1948年共作了2000件陶艺术品；
1948年 为世界和平会议作“和平之鸽“海报和《贡戈拉的二十首诗》；
1949年 创作《卡门》系列；
1950年 获列宁和平奖章；
1953年 在玛都拉陶艺工作坊邂逅杰奎琳·洛克；
1954年 开始创作德拉克罗瓦的“阿尔及利亚女人”变奏系列；
1956年 与克罗鲁佐共同拍摄**《神秘的毕加索》公映；
1957年 在纽约现代艺术馆举办“毕加索75岁纪念展”，创作版画《斗牛系列》；
1958年 毕加索为设在巴黎的联合国教科文总部大厦创作了壁画《伊卡洛斯的坠落》；
1959年 创作仿马奈《草地上的午餐》变奏系列；
1961年 与35岁的杰奎琳·洛克结婚，并庆祝毕加索80大寿；
1963年 绘制《画家与模特儿》；
1966年 巴黎大皇宫及小皇宫举办大型《毕加索回顾展》。创作《流沙系列》；
1968年 创作《塞莱斯蒂纳》和《可笑的男人》系列版画；
1970年 把西班牙家中保存的近2000件早期作品捐赠结巴塞罗纳毕加索美术馆：
1971年 巴黎国立现代艺术馆举办了《毕加索诞生90同年回顾展》；
1973年 92岁，4月8日逝世于坎城附近的幕瞻市。4月10日葬于佛文纳菊别墅花园里
an aspring artist
一个有抱负的艺术家。
以下是这句英语短语的详细解析，希望能够帮助到你。
1、含义解释：
aspiring是动词aspire的现在分词形式，意为“有志于，渴望成为”，artist则是指“艺术家”。
因此，an aspiring artist指的是一个有志于成为艺术家的人。
2、难词解释：
aspiring [əˈspaɪrɪŋ]
形容词，意为“有志于，渴望成为”。
双语用例：
- She's an aspiring actress who's been taking acting classes for years
（她是一个有志成为演员的人，已经上了多年的表演课了。）
- He's an aspiring writer who spends all his free time working on his novel
（他是一个有志成为作家的人，所有空闲时间都在写小说。）
3、语法详解：
an aspiring artist中，an是不定冠词，用于修饰后面的单数可数名词artist。
aspiring是形容词，用于修饰名词artist。
4、具体用法：
- She's an aspiring singer who dreams of performing on Broadway
（她是一个有志成为歌手的人，梦想登上百老汇的舞台。）
- He's an aspiring filmmaker who's already made several short films
（他是一个有志成为**制片人的人，已经拍摄了几部短片。）
- She's an aspiring painter who's been studying art history for years
（她是一个有志成为画家的人，已经学习了多年的艺术史。）
- He's an aspiring chef who's working his way up in a top restaurant
（他是一个有志成为厨师的人，在一家顶级餐厅里努力工作。）
- She's an aspiring fashion designer who's just launched her own clothing line
（她是一个有志成为时装设计师的人，刚刚推出了自己的服装系列。）
翻译技巧和步骤：
1、首先确定句子的主语、谓语和宾语，理解句子的基本意思；
2、查找句子中的难词或不熟悉的词汇，理解其含义和用法；
3、根据句子的语法结构，确定每个单词的词性和作用；
4、根据上下文和语境，理解句子的具体含义；
5、根据英语语法和中文表达习惯，进行翻译，并注意语序和语气的转换；
6、最后进行润色和修饰，使翻译更加准确、流畅和自然。
注意事项：
1、尽可能理解句子的语境和背景，避免死板翻译；
2、注意英语和中文的语法差异，避免直译和语法错误；
3、注意单词的多义性和语境的影响，选择最合适的翻译；
4、尽可能使用简洁、准确和自然的词语和表达方式，避免过度修饰和繁琐的句式。
an aspiring artist指的是一个有志成为艺术家的人。在翻译时，需要注意理解句子的语境和背景，根据英语语法和中文表达习惯进行翻译，避免直译和语法错误。
When sir Winston Churchill, the great British Prime Minister, reached his eightieth birthday in November, 1954,he was presented with his portrait (肖像) by a well-known modern artist, Graham Sutherland The painting had been ordered and paid for by the members of Parliament (国会) who wanted to honor the Grand Old Man of World War II
1954年11月，当英国首相温斯顿·丘吉尔八十岁生日时，他收到一幅由著名的现代艺术家格拉汉姆·萨特兰为他画的肖像。这幅画由国会定制和偿付，用来表彰二战中的伟人。
Sir Winston and lady Churchill were deeply moved by this mark of respect Neither of them, of course, allowed the donors (捐赠人)to see how much they both disliked the portrait “It makes me look stupid-which I am not!” said Churchill in private Publicly He only remarked that it was “a fine example of modern art” His friends smiled; it was well known that Sir Winston didn’t care for modern art
温斯顿和夫人都为这幅画寄予的尊敬感到深深地感动。但当然，他们都没有让捐赠人知道他们都不喜欢这幅肖像画。“这让我看起来很傻，其实我不是！”丘吉尔私下里说。公众场合，他只说这幅肖像画是“现在艺术的很好的例子”。他的朋友们心领神会，众所周知温斯顿先生不喜欢现代艺术。
Churchill was so unhappy about the portrait that finally his wife had it destroyed Churchill died at ninety in January, 1965 Lady Churchill followed him in 1977 Shortly after her death, the public learned what had happened to Sutherland’s painting, and heated argument broke out The painter was understandably sad The artistic community, shocked and angry, claimed (声称) that the destruction(破坏) of the picture had been a crime Historians said that they regretted the disappearance of a historical document(资格) All agreed that the Churchills didn’t have the right to do what they had done
丘吉尔非常不喜欢这幅肖像以至于最后他的妻子不得不把它销毁。丘吉尔于1965年1月去世，享年90岁。丘吉尔夫人1977年跟随他而去。她死后不久，公众知道了关于萨特兰的肖像画的故事，激烈的舆论爆发了。这位画家自然很难过。艺术家群体又惊讶又愤怒，声称破坏这幅画是犯罪。历史学家说，他们为一件历史档案的消失而惋惜。所有人都认为丘吉尔夫妇没有权利那么做。
Well did they A good part of the public felt that the subject(and owner)of a portrait had the right to get rid of it if it made him so unhappy The question, however, has been raised many times before: who has the right to a work of art the sitter, the owner, the donor, or the artist who painted it And when the painting is the portrait of a historical figure, should the right of posterity(后裔) be considered, as the historians claimed
但他们真的没有权利么？很大一部分公众认为肖像画的主题（和所有者）有处理掉画的权利，如果这幅画让他觉得很不高兴。但是这个问题以前就被提出很多次了：谁拥有处理一幅画的权利？模特，所有者，捐赠者，还是画家？还有，如历史学家们声称的一样，如果是一位历史人物的肖像画，他的后裔的权利也要考虑进去么？
Another question comes to mind: who is qualified(有资格的) to judge a portrait Graham Sutherland had told Sir Winston that he would paint him “as he saw him”, Churchill never had a chance to see the work in progress since the painter refused to show it to him He found out only when he received his present that Sutherland had seen him as a heavy,sick, tired old man
另外一个问题让人思考：谁有评判一幅画的权利？格拉汉姆·萨特兰告诉温斯顿先生他会“如他所见”地为他画肖像，在作画过程中丘吉尔从来没有机会看一下画，因为画家拒绝向他展示。丘吉尔一直到收到肖像画作为礼物时才发现萨特兰眼中的他是一个沉重，病态，疲惫的老人。
Since he hated old age, he was naturally hurt But was the portrait a good one , as many(including the painter) said Or was it bad as others(and the sitter)thought Who is to judgedIt is well known that we never see ourselves as others see us; but do we see ourselves better than they do
None of these questions have been answered yet to everybody’s satisfaction
因为他讨厌年迈，他自然地感到受了伤害。但是，这幅肖像是一副好的作品么，像许多人（包括画家自己）认为的一样？或者是一副失败的作品，像另一些人（包括被肖像者）认为的一样？谁有资格去评判？我们都知道我们眼中的自己和别人眼中的不一样。但我们觉得自己比在别人眼中更好么？
这些问题从来没有得到让所有人满意的答案。
泰勒斯威夫特在2022年荣获纽约大学博士学位的英文翻译为：Taylor Swift receives honorary degree from NYU, delivers address to Class of 2022。
泰勒·斯威夫特，1989年12月13日出生于美国宾夕法尼亚州，美国女歌手、词曲作者、音乐制作人、演员。
Taylor Swift被纽约大学授予fine arts艺术荣誉博士学位。Taylor Swift是一位具有开创性的、有巨大影响力的艺术家权益倡导者，也是一位强有力地反对性取向与性别认同歧视的全球倡导者。
这位曾11次获得格莱美奖的音乐人在演讲中直言，自己“从未有过大学生活”。她在二十多分钟的演讲中为大家分享了一些“人生小窍门”，鼓励毕业生“学会与尴尬共存”。
泰勒说，生活是沉重的，尤其是当你试图背负一切的时候。成长并进入人生新篇章的重要一课，即是要拿得起、放得下。
泰勒的第二个小窍门是学会和尴尬并存。她说，感到窘迫是生活中不可避免的事情，所以不要费劲去避免它。
artist，英语单词，名词，意为“艺术家；美术家（尤指画家）；大师”。
十大画家排名如下：
1、毕加索：
巴勃罗·毕加索，全名巴勃罗·迭戈·何塞·弗朗西斯科·狄·保拉·胡安·纳波穆西诺·玛莉亚·狄·洛斯·雷梅迪奥斯·西普里亚诺·狄·拉·圣地西玛·特里尼达·路易斯·毕加索，西班牙画家、雕塑家，法国***党员。是现代艺术的创始人，西方现代派绘画的主要代表。
毕加索是当代西方最有创造性和影响最深远的艺术家，是20世纪最伟大的艺术天才之一。代表作品：《格尔尼卡》《和平鸽》《亚威农少女》《生命》。
2、保罗·塞尚：
保罗·塞尚，法国后印象主义画派画家。
他的作品和理念影响了20世纪许多艺术家和艺术运动，尤其是立体派。在他生前的大多数时间里，他的艺术不为公众所理解和接受。通过他的坚持，最后对19世纪所有常规绘画价值提出了挑战。塞尚的最大成就是对色彩与明暗具有前所未有的精辟分析，颠覆了以往的视觉透视点。
因此，他被誉为“现代艺术之父”。他认为形状和色彩是不可分离的。用几何的笔触在平面上涂色，逐渐形成画的表面。他主张不要用线条、明暗来表现物体，而是用色彩对比。他采用色的团块表现物象的立体和深度，利用色彩的冷暖变化造型，用几何元素构造形象。
3、乔托·迪·邦多纳：
乔托·迪·邦多纳，意大利画家、雕刻家与建筑师，被认定为是意大利文艺复兴时期的开创者，被誉为欧洲绘画之父。在英文称呼就如同中文一样，只称他为Giotto，乔托。艺术史家认为乔托应为他的真名，而非Ambrogio(Ambrogiotto)或Angelo(Angiolotto)的缩写。
4、达·芬奇：
列奥纳多·达·芬奇，意大利文艺复兴时期画家、自然科学家、工程师，与米开朗基罗、拉斐尔并称文艺复兴后三杰（又称美术三杰）。
达·芬奇在少年时已显露艺术天赋，15岁左右到佛罗伦萨拜师学艺，师从韦罗基奥，逐步成长为具有科学素养的画家、雕刻家。同时是军事工程师和建筑师。1482年应聘到米兰公国后，在贵族宫廷中进行创作和研究活动。1513年起漂泊于罗马和佛罗伦萨等地。1516年侨居法国，受法王弗朗索瓦一世礼遇。1519年病逝。
5、米开朗基罗：
米开朗基罗·博那罗蒂，又译米开朗琪罗，意大利文艺复兴时期伟大的绘画家、雕塑家、建筑师和诗人，文艺复兴时期雕塑艺术最高峰的代表，与拉斐尔·桑西和达芬奇并称为文艺复兴三杰。米开朗基罗的代表作有《大卫》《创世纪》等。他于1564年在罗马去世，他的风格影响了几乎三个世纪的艺术家。
6、拉斐尔·桑西：
拉斐尔·桑西，常称为拉斐尔（Raphael），意大利著名画家，也是文艺复兴后三杰中最年轻的一位，代表了文艺复兴时期艺术家从事理想美的事业所能达到的巅峰。他的性情平和、文雅，创作了大量的圣母像，他的作品充分体现了安宁、协调、和谐、对称以及完美和恬静的秩序。
7、提香·韦切利奥：
提香·韦切利奥，又译提齐安诺·维伽略，英语系国家常称呼为提香，他是意大利文艺复兴后期威尼斯画派的代表画家。提香出生于意大利东北部阿尔卑斯山地区的卡多列。10岁时随兄长到威尼斯，在乔凡尼·贝利尼的画室学画，与画家乔尔乔内是同学。
在提香所处的时代，他被称为群星中的太阳，是意大利最有才能的画家之一，兼工肖像、风景及神话、宗教主题绘画。他对色彩的运用不仅影响了文艺复兴时代的意大利画家，更对西方艺术产生了深远的影响。
8、梵高：
文森特·威廉·梵高，荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。
梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。
1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。
9、莫奈：
奥斯卡·克劳德·莫奈，法国画家，被誉为印象派领导者，是印象派代表人物和创始人之一。
莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。
10、保罗·高更：
保罗·高更，法国后印象派画家、雕塑家，代表作品有《我们从何处来？我们是谁？我们向何处去？》《**基督》《游魂》《敬神节》等。
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