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Leonardo相关的网络例句

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与 Leonardo 相关的网络例句 [注:此内容来源于网络,仅供参考]

He saw this system as a continuation of the long tradition of Vitruvius , Leonardo da Vinci 's " Vitruvian Man ", the work of Leon Battista Alberti , and others who used the proportions of the human body to improve the appearance and function of architecture .

他认为这一系统作为一个持续的悠久传统维特鲁威,达芬奇的"维特鲁威人"的工作莱昂巴蒂斯阿尔伯提,和其他人谁使用的比例,以改善人体的外观和功能结构。

He saw this system as a continuation of the long tradition of Vitruvius, Leonardo da Vinci's "Vitruvian Man", the work of Leon Battista Alberti, and others who used the proportions of the human body to improve the appearance and function of architecture.

他视这一体系为自维特鲁威开始的历史传统的延续:莱昂纳多达芬奇的"维特鲁威人"、阿尔伯蒂的作品,以及应用这一人体比例改善建筑的外表和功能的其他建筑师。

As it invariably happens, history and memory can prove helpful: Leonardo's Vitruvian man is "the measure of all things", while the Renaissance man expands the static point of view of the project anticipating the crucial theme of individual well-being (as Leon Battista Alberti put it in his De re aedificatoria ,"In the choice of the environment it is best to mind that it is welcome by its inhabitants from every point of view").

要设计一项围绕人的实际需求的建筑项目同样意味着创新、价值与激情的构思与应用。创新乃为满足动态参考条件;价值乃为适应社会潜在的经济和结构的变化;激情乃为对于所有参与者以及他们的实际需求的关注。能够证明有效性的永远都是历史与记忆:莱昂纳多·达芬奇的维特鲁威人是"万物的尺度",同时文艺复兴时期的人发展了项目的静态观点,期望一个非常现代的焦点对象:即个人的康乐。("在选择环境之时,最好能确保它的方方面面都受到居住者的欢迎",阿尔贝蒂的《建筑学十书》)。

Biro believed the fingerprint, which was found near the top left corner of the work, was "highly comparable" to a fingerprint on Leonardo's St Jerome in the Vatican, the Antiques Trade Gazette reported.

据《英国古董报》报道,比罗认为这枚在该幅画的左上角发现的指纹与另一幅收藏在梵蒂冈的达·芬奇画作《圣杰罗米》上的一个达·芬奇指纹"高度吻合"。

In Italy, to see Michelangelo's "Last Judgment," Leonardo's "Last Supper" and Botticelli's "Birth of Venus," it will cost you about $50; but in London, seeing the Tate Gallery, British Museum, and National Gallery won't cost you a pence.

在意大利,你可以看到米开朗基罗的"最后的审判",达芬奇的"最后的晚餐"以及波提切利的"维纳斯的诞生",这些会花费你50 美元,可是当伦敦皇家艾伯特音乐厅的坐票卖完了,你可以买站票。

Artistic reasons While in Italy the artists went back to the shape and taste of the classic art, with a strong desire to "break down" with the Middle Age and therefore there was a flourishing of new works in any field (for instance the study on the mathematical perspective and the work of Brunelleschi and Leonardo), in the rest of Europe it continued to dominate the medieval gothic style, that was abandoned very slowly and only thanks to the contribution of the Italian artists, that finally arrived also to the other European courts.

艺术的理由在意大利艺术家回的形状和味道的经典艺术,具有强烈的愿望"崩溃"的中年,因此是一个蓬勃发展的新的作品在任何领域(例如研究数学的角度和工作的布鲁内和莱昂纳多),在欧洲其他地区继续占主导地位的中世纪哥特式建筑,这是被遗弃的非常缓慢,只有感谢贡献的意大利艺术家,终于抵达还向其他欧洲法院审理。

Vasari divides the age into three phases: the first phase contains Cimabue , Giotto , and Arnolfo di Cambio ; the second phase contains Masaccio , Brunelleschi , and Donatello ; the third centers on Leonardo da Vinci and culminates with Michelangelo .

瓦萨利划分年龄分为三个阶段:第一阶段包含契马布埃,乔托,并阿诺尔福娣更改;第二阶段包含马萨乔,布鲁内莱斯基,和多纳特洛;第三中心达芬奇和米开朗基罗推向高潮。

Vasari divides the age into three phases: the first phase contains Cimabue, Giotto, and Arnolfo di Cambio; the second phase contains Masaccio, Brunelleschi, and Donatello; the third centers on Leonardo da Vinci and culminates with Michelangelo.

第一个阶段的代表人物包括:契马布埃,乔托和阿诺尔弗迪坎比奥;第二个阶段的代表人物包括马萨乔,布鲁内勒斯基和多纳泰罗;第三个阶段的代表人物以列奥那多达芬奇为焦点,米开朗基罗则将这一时期艺术作品推向高潮。

The camera obscura is essentially a large pinhole camera, and as long ago as the 15th century, Leonardo Da Vinci was speaking in awe of the simplicity and magnitude of the device.

如果图片是理想的,一块薄膜附在另一端的方块,以捕捉光线来英寸的暗箱本质上是一个大型的针孔摄像头,早在15世纪,达芬奇是发言敬畏的简便性和巨大的装置。

Leonardo da Vinci, who lived in the century before Caravaggio, was familiar with the principles of the "camera obscura" but Mrs. Lapucci believes Caravaggio was the first to use it in paintings.

达芬奇,比卡拉瓦乔还早一个世纪的伟大艺术家,也曾使用过类似于暗房摄影的技术,但Lapucci坚信Lapucci才是将暗影法应用到绘画中的第一人。

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