用英语回答什么是新古典主义
Neoclassicism is the name given to quite distinct movements in the decorative and visual arts, literature, theatre, music, and architecture that draw upon Western classical art and culture (usually that of Ancient Greece or Ancient Rome). These movements were dominant during the mid 18th to the end of the 19th century
新古典主义是一种新的复古运动。兴起于18世纪的罗马，并迅速在欧美地区扩展的艺术运动，影响了装饰艺术、建筑、绘画、文学、戏剧和音乐等（主要是古希腊和古罗马文化）。 这些运动在十八世纪中期到十九世纪结束占据了统治地位。
英语话题作文见过的难以置信的建筑
.The features of a city are its buildings. As a factor most reflecting the times, society and nation,the buildings give overall and int360问答egrated expression to the national tradition, regional features spirit of the times and 鸡体the social value. When you walk along t黑频有节父散齐似过示he financial str程息证未坚轻城程eet of the Bund and the commercia较规善村细银员与电l street of East Nanjing Roa龙测田部无后他策减d and among the villas and gardens of Xujiahui, you can f究就燃科觉蒸eel the history of prosperity of Shanghai. In the past 150 years since its opening in 1843, Shanghai has gradually developed into an international metropolis as well as an imp待数细日有宽兵步功ortant economic, trade financial and cul-tural center of China. The special development op-portunities have mad准经e the western culture, local Shanghai culture and regional cultures o翻措f China collide, co-exist and become integrated and thus make Shanghai integrate the essenc信识城刻e of the Chin值力侵谈形拿雨ese and Foreign cultures块选拿够宗只早的. In this way, Shanghai has become the place of origin for the modern Chinese con-struction culture and has a unique history of con-s机换安一弦万收功吗事群truction culture.
The m针督odern buildings of Shangha物八抓说百革好i are rich in styles, almost covering those of almost all the
periods of the world constructi硫响医不火理移on history. It 亚海探换血十杨效校助米can be said that they constitute a living world construction history. You can see the new classicism buildings, Gothic building and compromise buildings, to the modernism buildings popular in Europe and America, decoration and art buildings and the new classicism Chinese buildings. The number of the styles, the complexity of the types and the grand scale of those builds are beyond match in this world. They give a comprehensive reflection of the evolution of the modern society and cities and also provide a key to learn the culture of Shanghai and the history of modern China.
漫步街头,寻找城市的足迹,最显而易见的是城市的建筑.建筑是文化领域中最具有时代性、社会性和民族性的因素,整体而又集中地体现了民族传统、地域特性、时代精神和社会的价值取向.徜徉外滩金融街.南京东路商业街、徐汇区的花园别墅群间,看到的是上海兴盛的历史.自1843年开埠以后,上海在150年中,逐渐发展成为一个国际化的大都市,成为中国重要的经济中心、贸易中心、金融中心和文化中心.特殊的发展际遇,使西方文化、上海本地文化和中国不同地域文化在此相互间冲撞、并存,融合,糅合了古今中外文化的精粹,令上海成为中国现代建筑文化的策源地,拥有独特的建筑文化历史.
上海的近代建筑有着十分丰富的内涵,在近百年的建筑中,几乎囊括了世界建筑各个时期的各种风格,简直就是一部活生生的世界建筑史.从新古典主义,哥特复兴式、折衷主义到盛行欧美的现代主义建筑、装饰艺术派建筑.复兴中国传统建筑艺术的中国新古典建筑等,各种风格数量之多、种类之繁杂、规模之宏大在世界上也是罕见的.它综合反映了近代社会和城市演变的历程,是解读上海文化、研究近代中国的一把钥匙.
求~“新古典主义”~美术方面的 英文介绍 急用 2天内~
NEOCLASSICISM
Neoclassicism was a widespread and influential movement in painting and
the other visual arts that began in the 1760s, reached its height in the
1780s and '90s, and lasted until the 1840s and '50s. In painting it
generally took the form of an emphasis on austere linear design in the
depiction of classical themes and subject matter, using archaeologically
correct settings and costumes.
Neoclassicism arose partly as a reaction against the sensuous and
frivolously decorative Rococo style that had dominated European art
from the 1720s on. But an even more profound stimulus was the new and
more scientific interest in classical antiquity that arose in the 18th century.
Neoclassicism was given great impetus by new archaeological
discoveries, particularly the exploration and excavation of the buried
Roman cities of Herculaneum and Pompeii (the excavations of which
began in 1738 and 1748, respectively). And from the second decade of
the 18th century on, a number of influential publications by Bernard de
Montfaucon, Giovanni Battista Piranesi, the Comte de Caylus, and
Robert Wood provided engraved views of Roman monuments and other
antiquities and further quickened interest in the classical past. The new
understanding distilled from these discoveries and publications in turn
enabled European scholars for the first time to discern separate and
distinct chronological periods in Greco-Roman art, and this new sense of
a plurality of ancient styles replaced the older, unqualified veneration of
Roman art and encouraged a dawning interest in purely Greek antiquities.
The German scholar Johann Joachim Winckelmann's writings and
sophisticated theorizings were especially influential in this regard.
Winckelmann saw in Greek sculpture "a noble simplicity and quiet
grandeur" and called for artists to imitate Greek art. He claimed that in
doing so such artists would obtain idealized depictions of natural forms
that had been stripped of all transitory and individualistic aspects, and
their images would thus attain a universal and archetypal significance.
Neoclassicism as manifested in painting was initially not stylistically
distinct from the French Rococo and other styles that had preceded it.
This was partly because, whereas it was possible for architecture and
sculpture to be modeled on prototypes in these media that had actually
survived from classical antiquity, those few classical paintings that had
survived were minor or merely ornamental works–until, that is, the
discoveries made at Herculaneum and Pompeii. The earliest Neoclassical
painters were Joseph-Marie Vien, Anton Raphael Mengs, Pompeo
Batoni, Angelica Kauffmann, and Gavin Hamilton; these artists were
active during the 1750s, '60s, and '70s. Each of these painters, though
they may have used poses and figural arrangements from ancient
sculptures and vase paintings, was strongly influenced by preceding
stylistic trends. An important early Neoclassical work such as Mengs's
"Parnassus" (1761; Villa Albani, Rome) owes much of its inspiration to
17th-century classicism and to Raphael for both the poses of its figures
and its general composition. Many of the early paintings of the
Neoclassical artist Benjamin West derive their compositions from works
by Nicolas Poussin, and Kauffmann's sentimental subjects dressed in
antique garb are basically Rococo in their softened, decorative prettiness.
Mengs's close association with Winckelmann led to his being influenced
by the ideal beauty that the latter so ardently expounded, but the church
and palace ceilings decorated by Mengs owe more to existing Italian
Baroque traditions than to anything Greek or Roman.
"Oath of the Horatii," oil
painting by
Jacques-Louis David,
1784; in the Louvre, Paris
/Art Resource, NY
"The Death of Marat,"
oil painting by
Jacques-Louis David,
1793; in the Musées
Royaux des. . .
/Art Resource, NY
A more rigorously Neoclassical painting style arose in France in the
1780s under the leadership of Jacques-Louis David. He and his
contemporary Jean-François-Pierre Peyron were interested in narrative
painting rather than the ideal grace that fascinated Mengs. Just before and
during the French Revolution, these and other painters adopted stirring
moral subject matter from Roman history and celebrated the values of
simplicity, austerity, heroism, and stoic virtue that were traditionally
associated with the Roman Republic, thus drawing parallels between that
time and the contemporary struggle for liberty in France. David's history
paintings of the "Oath of the Horatii" (1784; Louvre, Paris [see
photograph]) and "Lictors Bringing to Brutus the Bodies of His Sons"
(1789; Louvre) display a gravity and decorum deriving from classical
tragedy, a certain rhetorical quality of gesture, and patterns of drapery
influenced by ancient sculpture. To some extent these elements were
anticipated by British and American artists such as Hamilton and West,
but in David's works the dramatic confrontations of the figures are
starker and in clearer profile on the same plane, the setting is more
monumental, and the diagonal compositional movements, large groupings
of figures, and turbulent draperies of the Baroque have been almost
entirely repudiated (see photograph). This style was ruthlessly austere
and uncompromising, and it is not surprising that it came to be associated
with the French Revolution (in which David actively participated).
Neoclassicism as generally manifested in European painting by the 1790s
emphasized the qualities of outline and linear design over those of colour,
atmosphere, and effects of light. Widely disseminated engravings of
classical sculptures and Greek vase paintings helped determine this bias,
which is clearly seen in the outline illustrations made by the British
sculptor John Flaxman in the 1790s for editions of the works of Homer,
Aeschylus, and Dante. These illustrations are notable for their drastic and
powerful simplification of the human body, their denial of pictorial space,
and their minimal stage setting. This austere linearity when depicting the
human form was adopted by many other British figural artists, including
the Swiss-born Henry Fuseli and William Blake, among others.
Neoclassical painters attached great importance to depicting the
costumes, settings, and details of their classical subject matter with as
much historical accuracy as possible. This worked well enough when
illustrating an incident found in the pages of Homer, but it raised the
question of whether a modern hero or famous person should be
portrayed in classical or contemporary dress. This issue was never
satisfactorily resolved, except perhaps in David's brilliantly evocative
portraits of sitters wearing the then-fashionable antique garb, as in his
"Portrait of Madame Récamier" (1800; Louvre).
Classical history and mythology provided a large part of the subject
matter of Neoclassical works. The poetry of Homer, Virgil, and Ovid,
the plays of Aeschylus, Sophocles, and Euripides, and history recorded
by Pliny, Plutarch, Tacitus, and Livy provided the bulk of classical
sources, but the most important single source was Homer. To this general
literary emphasis was added a growing interest in medieval sources, such
as the pseudo-Celtic poetry of Ossian, as well as incidents from medieval
history, the works of Dante, and an admiration for medieval art itself in
the persons of Giotto, Fra Angelico, and others. Indeed, the
Neoclassicists differed strikingly from their academic predecessors in
their admiration of Gothic and Quattrocento art in general, and they
contributed notably to the positive reevaluation of such art. (see also
Index: classical literature)
Finally, it should be noted that Neoclassicism coexisted throughout much
of its later development with the seemingly obverse and opposite
tendency of Romanticism. But far from being distinct and separate, these
two styles intermingled with each other in complex ways; many ostensibly
Neoclassical paintings show Romantic tendencies, and vice versa. This
contradictory situation is strikingly evident in the works of the last great
Neoclassical painter, Jean-Auguste-Dominique Ingres, who painted
sensuous Romantic female nudes while also turning out precisely linear
and rather lifeless historical paintings in the approved Neoclassical mode
希望能帮到你
