關(guān)于美術(shù)的英語文章閱讀
校外美術(shù)教育作為一種社會(huì)教育活動(dòng)由來已久,隨著我們國家對(duì)素質(zhì)教育的大力支持與提倡,校外少兒美術(shù)教育也已經(jīng)逐步得到了廣大學(xué)生和家長(zhǎng)的接受和認(rèn)可,成為了當(dāng)今一種別具一格的社會(huì)教育文化新象。下面是學(xué)習(xí)啦小編帶來的關(guān)于美術(shù)的英語文章閱讀，歡迎閱讀!
關(guān)于美術(shù)的英語文章閱讀篇一
英國畫家勞里的工業(yè)英國畫作
British artist LS Lowry's paintings of industrial, working-class Britain brought him popular famein the UK. Yet his works have never been the subject of a solo exhibition abroad - until now.
英國畫家LS 勞里的畫作描述了工業(yè)時(shí)代下的、工人階級(jí)的英國，因此在英國名聲大噪。然而，他的畫作從來沒有單獨(dú)在國外展覽，但如今不是了。
LS Lowry, with his depictions of everyday northern life, is one of Britain's best loved painters.Popular he may be, but since his death in 1976, there have been accusations that the British artestablishment has turned its back on him, finding his subject matter too working class.
LS 勞里的畫作描述了北方民眾的日常生活，他因此成為英國最受追捧的畫家之一。盡管他為人喜愛，但在1976年去世后，就有傳言稱英國畫界把他拋在腦后，稱他的作品的“工人階級(jí)”味道過了頭。
There's been public pressure for major galleries to do more to celebrate him and last year theTate Britain put on a Lowry show. But remarkably, for such an icon of modern British art, nosolo exhibition of his work has ever been held outside the UK. Until now. A collection ofLowry paintings is being shown at an exhibition in Nanjing in eastern China.
大型美術(shù)館若想慶祝他的作品，是要頂著公眾的壓力的，泰特博物館去年辦了一場(chǎng)勞里的美術(shù)展。但值得注意的是，即使對(duì)于這樣一個(gè)現(xiàn)代英國藝術(shù)的標(biāo)志性人物，他的個(gè)人展出也僅限于英國國內(nèi)。但如今不是了。在中國東部的城市南京，勞里的組畫正在展覽進(jìn)行時(shí)。
Lowry's canvases depict a side of British life that's now gone. The one above, Mill Scene, from1965, is reminiscent of many of his paintings, with its smoke stacks and hurrying crowds ofworkers.
勞里的畫作里所描述的那些英國人的生活景象已經(jīng)遠(yuǎn)去。上邊的一張圖是米爾辛1965年的作品，讓人想起了他許多的舊作，里邊畫著林立的煙囪和疾行的工人們。
Lowry's subject matter may now be Britain's past but it is, of course, very much a part ofChina's present day. This is a photograph of one of Beijing's train stations ahead of ChineseNew Year when millions of migrant workers flock away from their factory production lines andhead home.
如今看來，勞里的主題描述的是英國的過去，然而，當(dāng)然了，很大程度上是中國的現(xiàn)在。這張圖展示的是北京站以及成百萬的外來務(wù)工人員在農(nóng)歷春節(jié)返鄉(xiāng)的景象，他們從工廠的生產(chǎn)線里解放了，返鄉(xiāng)了。
The exhibition came about following the chance meeting of Xiao Lang, a Chinese artconsultant, and Andrew Kalman.
中國美術(shù)顧問的小浪和安德魯卡曼偶遇使得畫展得以成行。
Kalman's father, Andras, was a private gallery owner in Manchester and a close personal friendof Lowry. He agitated for British art institutions to promote Lowry's work overseas, but nosolo exhibition was ever held outside the UK in either his or the painter's lifetime.
卡曼的父親安德拉斯是曼徹斯特的一家私人美術(shù)館館主，和勞里的私交甚好。他呼吁英國美術(shù)界向海外推廣勞里的畫作，但是在安德拉斯或是勞里的有生之年，勞里的個(gè)人畫作始終未在英國以外的地方展出。
The curators hope Lowry's paintings will resonate with Chinese audiences because they will seeechoes of their own economic development and the problems it causes.
美術(shù)館長(zhǎng)們希望勞里的畫作可以讓中國的觀賞者產(chǎn)生共鳴，因?yàn)樗麄兛梢栽谶@些畫里看到自家的經(jīng)濟(jì)發(fā)展及其帶來的問題。
Lowry was not a political painter and this is not socialist art. He was, after all, for most of hisworking life, a rent collector.
勞里不是一個(gè)有政治傾向的畫家，這些畫作也與社會(huì)主義無關(guān)。畢竟，他的一生中，大多出時(shí)間都用來收房租。
But there is great affection for his subject matter and his very painting of it suggests a deeprespect for the working communities that he was surrounded by.
然而，他的題材仍受到廣泛的喜愛，他的最好的畫作傳達(dá)出對(duì)身邊的工人群體的濃濃的敬意。
Rising Street, undatedThe people Lowry painted, like so many Chinese migrants today, weredoing hard work for little pay.
勞里畫筆下的人們就像是許多如今的中國外來務(wù)工者，做著苦工，掙著小錢。
Cai Su Yun, a street cleaner in Nanjing stands in front of her favourite picture in the exhibition- Rising Street. She likes the dogs. "It's nice that he painted working people," she tells me. "Doyou feel a connection?" I ask. "Everywhere, we're all the same," she says.
蔡素云，南京的一名道路清潔工，站在他最喜歡的展畫——萊辛大街前。她喜歡狗，“他畫了工作的人們，畫的真好。”她對(duì)我說。“你感覺到自己和畫的關(guān)聯(lián)嗎?”我問，“關(guān)聯(lián)到處都在，我們簡(jiǎn)直是一模一樣。”她說。
Some see in Lowry's decades of work, not a depiction of industrial strength, but a bleakportrayal of long industrial decline. Alongside the parallels with the present, Chinese audiencesmay well find hints and warnings about the future.
勞里的幾十年間的畫作，在一些人看來，描述的并不是工業(yè)盛世，而是黯淡而長(zhǎng)期的工業(yè)蕭條。今日與昨日相比，中國的觀眾也許很容易找到未來的跡象和啟示。
關(guān)于美術(shù)的英語文章閱讀篇二
當(dāng)藝術(shù)杰作遇上參觀者大潮
PARIS — One cloudy afternoon this month, the line to enter the Louvre stretched around theentrance pyramid, across one long courtyard and into the next. Inside the museum, a crowdmore than a dozen deep faced the Mona Lisa, most taking cellphone pictures and selfies. Nearthe "Winged Victory of Samothrace," Jean-Michel Borda, visiting from Madrid, paused amid thecrush. "It's like the Métro early in the morning," he said.
巴黎——本月的一個(gè)多云的下午，等待進(jìn)入盧浮宮的長(zhǎng)隊(duì)在金字塔入口繞了一圈，穿過長(zhǎng)長(zhǎng)的天井，排到了下一個(gè)入口處。在博物館里，幾十個(gè)人面對(duì)著《蒙娜麗莎》(Mona Lisa)，大多在用手機(jī)拍照或自拍。在《薩莫色雷斯的勝利女神》(Winged Victory of Samothrace)附近，來自馬德里的讓-米切爾·博爾達(dá)(Jean-MichelBorda)在擁擠的人群中停下了。“這像是早高峰時(shí)的地鐵，”他說。
It is the height of summer, and millions of visitors are flocking to the Louvre — the busiest artmuseum in the world, with 9.3 million visitors last year — and to other great museums acrossEurope. Every year the numbers grow as new middle classes emerge, especially in Asia andEastern Europe. Last summer the British Museum had record attendance, and for 2013 as awhole it had 6.7 million visitors, making it the world's second-most-visited art museum,according to The Art Newspaper. Attendance at the Uffizi in Florence for the first half of the yearis up almost 5 percent over last year.
這是夏季的高峰期，成百上千萬游客涌入盧浮宮和歐洲的其他著名博物館。盧浮宮是世界上最繁忙的藝術(shù)博物館，去年接待游客930萬人次。隨著新中產(chǎn)階級(jí)的涌現(xiàn)——特別是在亞洲和東歐——游客人數(shù)每年都在增加。據(jù)《藝術(shù)報(bào)》(The Art Newspaper)說，去年夏天大英博物館(British Museum)的游客人數(shù)打破了記錄，2013年全年接待游客670萬人次，成為世界上第二大被參觀最多的藝術(shù)博物館。佛羅倫薩的烏菲齊美術(shù)館(Uffizi)今年上半年的參觀人數(shù)比去年增長(zhǎng)了差不多5%。
Seeing masterpieces may be a soul-nourishing cultural rite of passage, but soaring attendancehas turned many museums into crowded, sauna-like spaces, forcing institutions to debate howto balance accessibility with art preservation.
欣賞名作也許是能滋養(yǎng)靈魂的文化行為，但是急劇上漲的參觀人數(shù)把很多博物館變成了擁擠的、桑拿室般的地方，迫使博物館開始討論如何在保證游客參觀與保護(hù)藝術(shù)品之間達(dá)到平衡。
In recent years, museums have started doing more to manage the crowds. Most offer timedtickets. Others are extending their hours. To protect the art, some are putting in new air-conditioning systems. Still, some critics say that they're not doing enough.
近些年，博物館開始更加注意控制游客人數(shù)。大多是發(fā)放限時(shí)門票。也有的是延長(zhǎng)開放時(shí)間。為了保護(hù)藝術(shù)品，有些博物館安裝了新的空調(diào)系統(tǒng)。不過，有些批評(píng)家說他們做得還不夠。
Last year, the Vatican Museums had a record 5.5 million visitors. This year, thanks to thepopularity of Pope Francis, officials expect that to rise to 6 million. The Vatican is installing anew climate-control system in the Sistine Chapel to help spare Michelangelo's frescoes thehumidity generated by the 2,000 people who fill the space at any given time, recently as manyas 22,000 a day. The Vatican hopes to have it finished by October.
去年，梵蒂岡博物館(Vatican Museums)接待游客550萬人次，打破了自己的記錄。今年，由于方濟(jì)各教皇(Pope Francis)很受歡迎，官方預(yù)測(cè)游客人數(shù)將上升至600萬人次。梵蒂岡正在西斯廷教堂(Sistine Chapel)安裝一個(gè)新的氣候控制系統(tǒng)，以幫助化解游客帶來的濕度，保護(hù)米開朗基羅(Michelangelo)的壁畫。該教堂開放期間每時(shí)每刻都擠滿了2000名游客，最近每天的游客達(dá)22000名。梵蒂岡希望能在10月底前完成這一系統(tǒng)的安裝。
In a telephone interview, Antonio Paolucci, the director of the Vatican Museums, said hisinstitution was in a bind: To safeguard the frescoes, attendance should not be allowed toincrease, he said, but "the Sistine Chapel has a symbolic, religious value for Catholics and wecan't set a cap."
在電話采訪中，梵蒂岡博物館的館長(zhǎng)安東尼奧·帕魯奇(Antonio Paolucci)說他的機(jī)構(gòu)陷入了兩難境地：為了保護(hù)壁畫，不能再增加參觀人數(shù)了，但是“西斯廷教堂對(duì)天主教徒來說具有象征性的宗教意義，我們也不能設(shè)上限。”
Museums generally don't like keeping a lid on attendance. At the Hermitage, which had 3.1million visitors last year, the only cap on the number of visitors is "the physical limitations of thespace itself, or the number of hangers in the coat room during the winter," said Nina V.Silanteva, the head of the museum's visitor services department.
博物館一般不喜歡給參觀人數(shù)設(shè)立上限。埃米塔日博物館(Hermitage)去年的參觀人數(shù)達(dá)310萬人次。該博物館游客服務(wù)部的主管尼娜·V·斯蘭特瓦(Nina V. Silanteva)說，對(duì)游客人數(shù)的唯一限制是“博物館本身的空間或冬天衣帽間里衣架的個(gè)數(shù)”。
Ms. Silanteva said the goal was to make the museum accessible to as many people as possible,but she conceded that the crowds pose problems. "Such a colossal number of simultaneousviewers isn't good for the art, and it can be uncomfortable and overwhelming for those whocome to see the art," she said. "Thankfully nothing bad has happened, and God has saved usfrom any mishaps."
斯蘭特瓦說目標(biāo)是讓盡可能多的人能參觀博物館，但是她承認(rèn)人多確實(shí)帶來了一些問題。“這么多人同時(shí)參觀不利于藝術(shù)品，來觀看藝術(shù)品的人也會(huì)感覺不舒服，受不了，”她說，“幸好沒發(fā)生什么糟糕的事情，上帝保佑我們免于災(zāi)禍。”
Sometimes, mishaps do occur. Because of crowds, the Townley Venus in the British Museum, afirst- to second-century Roman statue with an outstretched arm, has had its fingers knockedoff a few times in recent years.
有時(shí)的確發(fā)生了災(zāi)禍。因?yàn)槿硕?，大英博物館的湯利維納斯(Townley Venus)的手指最近幾年被撞掉了好幾次。湯利維納斯是1世紀(jì)至2世紀(jì)的羅馬雕塑，有伸出來的手臂。
Even when the art is secure, the experience can become irksome. Patricia Rucidlo, a guide inFlorence for Context Travel, said that visiting the Accademia, famous for Michelangelo's "David,"had become "a nightmare" this year because visitors are now allowed to take photos. "Peoplenow swarm the paintings, step on anyone to get to them, push, shove, snap a photo, andmove quickly on without looking at the painting," she wrote in an email message.
即使藝術(shù)品沒有遭到破壞，參觀體驗(yàn)也變得令人厭煩。帕特麗夏·盧西德羅(Patricia Rucidlo)是佛羅倫薩環(huán)境旅行社(Context Travel)的導(dǎo)游，她說今年參觀學(xué)院美術(shù)館(Accademia)簡(jiǎn)直是“做噩夢(mèng)”，因?yàn)楝F(xiàn)在游客被允許拍照。該博物館因米開朗基羅的《大衛(wèi)》(David)而聞名。“人們現(xiàn)在擠到所有繪畫周圍，不管踩著什么人都要往前擠，推推搡搡，拍一張照片，趕緊往前走，看都沒看畫作一眼，”她在電子郵件中說。
Lines outside the Uffizi in Florence, which had 1.9 million visitors last year, are famed for theirlength, and the courtyard is filled with people scalping timed tickets. (A private companyhandles ticketing at the Uffizi and keeps 14 percent of the ticket price.) The museum says thatit caps the number of visitors at 980 people at a time, to meet fire codes.
佛羅倫薩烏菲齊美術(shù)館去年接待游客190萬人次，博物館外的隊(duì)伍長(zhǎng)得出了名，院子里擠滿了倒賣限時(shí)門票的人(一家私人公司負(fù)責(zé)烏菲齊的票務(wù)，賺取門票費(fèi)的14%)。博物館說為了達(dá)到防火規(guī)定，它限制同時(shí)參觀的游客人數(shù)不超過980人。
But earlier this year, some staff members warned that the museum had been letting in far morepeople than allowed, putting the artwork at risk. Tomaso Montanari, an art historian in Florenceand professor at the Federico II University in Naples, has been strongly critical of crowding atthe Uffizi, which is considerably smaller than other major museums. "It seems like a tropicalgreenhouse — you can't breathe," he said in a telephone interview. "If a cinema has 100places, you can't let in 300 people. If there's a fire, it's a tragedy."
但是今年早些時(shí)候，一些員工警告說，該博物館允許進(jìn)入的游客人數(shù)遠(yuǎn)遠(yuǎn)超過了這個(gè)數(shù)字，置藝術(shù)品于險(xiǎn)境。該博物館比其他主要博物館要小得多。佛羅倫薩的藝術(shù)史學(xué)家、那不勒斯費(fèi)德里科二世大學(xué)(Federico IIUniversity)的教授托馬索·蒙塔納里(Tomaso Montanari)對(duì)烏菲齊博物館的擁擠強(qiáng)烈不滿。“它像個(gè)熱帶溫室——你在里面無法呼吸，”他在電話采訪中說，“如果一個(gè)影院有100個(gè)座位，你就不應(yīng)該讓300個(gè)人進(jìn)來。如果失火了，那就是災(zāi)難。”
Marco Ferri, a spokesman for the Uffizi, said the museum has been under renovation since 2006but that some rooms have not yet been upgraded with climate control. "In the next two years,everything will be modernized," he said.
烏菲齊博物館的發(fā)言人馬爾科·費(fèi)里(Marco Ferri)說該博物館從2006年開始整修，但是有些房間沒有升級(jí)安裝氣候控制系統(tǒng)。“未來兩年，一切都將現(xiàn)代化，”他說。
The Louvre, Uffizi, Vatican, Rijksmuseum in Amsterdam and Prado in Madrid all offer timedtickets for sale, allowing visitors to avoid lines. Even museums that don't charge admission totheir permanent collections, like the British Museum and the National Gallery in London, havespecial exhibitions that require paying tickets. During the National Gallery's Leonardo da Vinciblockbuster in 2011, websites were reselling tickets for as much as 0.
盧浮宮、烏菲齊博物館、梵蒂岡博物館、阿姆斯特丹國立博物館(Rijksmuseum)和馬德里的普拉多博物館(Prado)都銷售限時(shí)門票，讓游客可以免于排隊(duì)。甚至連那些對(duì)自己的永久藏品不收門票的博物館，比如大英博物館和倫敦的國家美術(shù)館(National Gallery)，也開設(shè)需要支付門票的特別展覽。2011年倫敦國家美術(shù)館舉辦轟動(dòng)的萊昂納多·達(dá)芬奇(Leonardo da Vinci)展期間，有人在網(wǎng)上以400美元的價(jià)格轉(zhuǎn)售25美元的門票。
While most museums are closed at least one day a week, in 2012 the Prado moved to a seven-day-a-week schedule and extended its hours until 8 p.m. on weekdays. That followed aredesign in 2007 by the architect Rafael Moneo that improved the circulation at the museum,making it easier to see masterpieces by Velázquez and Goya.
大多數(shù)博物館每周至少閉館一天，但是普拉多博物館2012年起改為一周開放七天，工作日的開放時(shí)間延長(zhǎng)至晚上8點(diǎn)。2007年建筑師拉斐爾·莫尼奧(Rafael Moneo)重新設(shè)計(jì)了該博物館，提高了人群的流動(dòng)性，讓人們更容易看到委拉斯開茲(Velázquez)和戈雅(Goya)的杰作。
At every museum, people do find ways to circumvent the lines, going to the Louvre onWednesday and Friday evenings when the museum is open until 9:45 p.m., finding less-trafficked entrances or even paying for an annual membership that allows priority access.
在每個(gè)博物館，人們確實(shí)也找到一些避開長(zhǎng)隊(duì)的方法，例如，在周三和周五晚上去盧浮宮，因?yàn)槟莾商觳┪镳^開放至晚上9點(diǎn)45分;尋找人不太多的入口;甚至購買年度會(huì)員卡，以獲得優(yōu)先進(jìn)入權(quán)。
Last fall the Louvre closed for a day after guards went on strike to protest increasinglyaggressive gangs of pickpockets in the galleries. Since then security has been increased andthe number of pickpocketing incidents has dropped 75 percent, a museum spokeswoman said.
去年秋天，盧浮宮閉館一天，因?yàn)楸０矀兞T工抗議展館內(nèi)越來越猖狂的扒竊團(tuán)伙。該博物館的一位發(fā)言人說，從那以后，安保措施加強(qiáng)了，扒竊案件降低了75%。
Standing in a long line next to I. M. Pei's entrance pyramid, Manu Srivastan, 46, from Jabalpur,India, said he had come with his wife, father and daughters. They had been waiting for about 45minutes, with 15 more to go, but they didn't mind. "It's a wonderful learning experience," hesaid of the Louvre. "You're always left wanting more."
來自印度賈巴爾普爾的46歲的馬努·斯里瓦斯坦(Manu Srivastan)站在貝聿銘設(shè)計(jì)的金字塔入口的長(zhǎng)隊(duì)中，說他是和妻子、父親和女兒們一起來的。他們已經(jīng)等了大約45分鐘，還得再等15分鐘，但是他們不介意。“它是絕妙的學(xué)習(xí)體驗(yàn)，”他提到盧浮宮時(shí)說，“你總是想學(xué)習(xí)更多。”
關(guān)于美術(shù)的英語文章閱讀篇三
亞洲買家搶購印象派繪畫
Asian buyers snapped up Impressionist paintings at Sotheby’s spring auction in New York, buying three of the sale’s top five lots, including a Vincent Van Gogh landscape, and making up about one-third of the 8.3m raised.
亞洲買家在紐約的蘇富比(Sotheby’s)春季拍賣會(huì)上搶購印象派繪畫，買下五大頂級(jí)拍品中的三件，包括一幅梵高(Vincent Van Gogh)的風(fēng)景畫，并在3.683億美元的拍賣總額中占到大約三分之一。
Art collecting has soared in Asia in recent years, mainly led by a new breed of ultra-wealthy Chinese collecting both classical and contemporary pieces and building private galleries in China.
近年藝術(shù)收藏在亞洲一下子風(fēng)靡起來，主要受到新一代中國超富裕收藏家的拉動(dòng)，他們收集古典和現(xiàn)代作品，并在中國建立私人畫廊。
According to a report by the European Fine Art Foundation, China was the world’s joint second largest art market in 2014 with a 22 per cent share of sales, alongside the UK.
根據(jù)歐洲藝術(shù)基金會(huì)(European Fine Art Foundation)的一份報(bào)告，中國和英國并列2014年全球第二大藝術(shù)品市場(chǎng)，各占22%的銷售份額。
Sotheby’s sale, which kicked off the spring auctions, saw 69 lots go under the gavel. An unidentified Asian collector paid .3m for Van Gogh’s “L’Allée des Alyscamps” (pictured), a rich-hued depiction of an autumnal scene painted in 1888 shortly before the Dutch artist sliced off his ear.
蘇富比的這場(chǎng)拍賣會(huì)揭開了春季拍賣的序幕，共有69件拍品。一位不愿透露姓名的亞洲收藏家支付6630萬美元買下梵高的《阿里斯康的小路》(L’Allée des Alyscamps，見上圖)，這幅色調(diào)豐富的秋季景象畫于1888年。畫作完成之后不久，這名荷蘭藝術(shù)家割下了自己的耳朵。
The auction, which included five works by Claude Monet, achieved the second-highest result in Sotheby’s history for any auction of impressionist and modern art. The November 2014 New York sale brought in 2.1m.
本次拍賣包括莫奈(Claude Monet)的五件作品，拍賣總額在蘇富比歷屆印象派和現(xiàn)代藝術(shù)拍賣會(huì)上排名第二。2014年11月舉行的紐約拍賣會(huì)達(dá)到4.221億美元的拍賣總額。
The Van Gogh achieved the highest price at auction for a work by the painter since 1998.
上述梵高作品的拍價(jià)是這位畫家的作品自1998年以來在拍賣會(huì)上拍出的最高價(jià)。
Chinese buyers — like the Japanese before in the late 1980s — are proving big fans of the Dutch painter.
中國買家——就像上世紀(jì)80年代末的日本買家那樣——正證明自己是這位荷蘭畫家的忠實(shí)粉絲。
Last November Wang Zhongjun, a Chinese film producer, bought Van Gogh’s “Still Life, Vase with Daisies and Poppies”, for .8m, more than its m-to-m estimate.
去年11月中國電影制片人王中軍以6180萬美元買下梵高的《靜物，插滿雛菊和罌粟花的花瓶》(Still Life, Vase with Daisies and Poppies)，遠(yuǎn)遠(yuǎn)超出3000萬至5000萬美元的估價(jià)。
“L’Allée des Alyscamps” last sold for .8m in 2003. It was first owned by the proprietors of the café where Van Gogh lodged in the city of Arles and was later held in a private collection in Japan.
《阿里斯康的小路》上一次出售是在2003年，成交價(jià)為1180萬美元。這幅畫作最初的主人是梵高在法國南部阿爾勒市(Arles)寄宿的咖啡館的業(yè)主，后來被日本的一個(gè)私人收藏家買下。
For over a third of the works it was the first time they had gone on sale in half a century. Others included one of Claude Monet’s water lilies series of paintings while his 1905 impressionist painting “Nymphéas” sold for m.
超過三分之一的作品是半個(gè)世紀(jì)以來首次拍賣。其它作品包括莫奈的睡蓮系列畫作之一，他的1905年印象派繪畫《睡蓮》(Nymphéas)以5400萬美元落槌。
Pablo Picasso’s “Femme au chignon dans un fauteuil” went for .93m while Marc Chagall’s “Crépuscule ou la maison rouge” was sold for just over m.
畢加索(Pablo Picasso)的《Femme au chignon dans un fauteuil》拍得2993萬美元，而馬克•夏卡爾(Marc Chagall)的《Crépuscule ou la maison rouge》拍得500萬美元多一點(diǎn)。
Other artists whose works were included were Paul Klee, Edgar Degas, Wassily Kandinsky and René Magritte.
其它畫作出自保羅•克利(Paul Klee)、埃德加•德加(Edgar Degas)、瓦西里•康定斯基(Wassily Kandinsky)和勒內(nèi)•馬格利特(René Magritte)等藝術(shù)家之手。
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