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許淵沖譯唐詩三百首:漢文·英語
寫給學生的藝術史(英文版) A CHILDS HISTORY OF ART 版權信息
- ISBN：9787201139401
- 條形碼：9787201139401 ; 978-7-201-13940-1
- 裝幀：一般純質紙
- 冊數：暫無
- 重量：暫無
- 所屬分類：>>
寫給學生的藝術史(英文版) A CHILDS HISTORY OF ART 本書特色
《寫給學生的藝術史》由卡爾佛特學校前校長維吉爾·M·希利爾構思、設計并編寫，也是其生前為孩子們寫作的*后一本教材。全書共分三個部分：繪畫、雕刻和建筑，共91章，收錄了200多幅人類文明史上極具代表性的藝術之作，包括古埃及、古希臘、意大利、德國、荷蘭、西班牙、法國、英國、美國等名家作品。希利爾先生親自編寫，并在課堂上進行試講，不斷修訂。 本書為精校英文版，同時提供配套英文朗讀免費下載。在品讀精彩故事的同時，亦能提升英語閱讀水平，下載方式詳見圖書封底博客鏈接。
寫給學生的藝術史(英文版) A CHILDS HISTORY OF ART 內容簡介
《寫給學生的藝術史》由卡爾佛特學校前校長維吉爾·M·希利爾構思、設計并編寫，也是其生前為孩子們寫作的很后一本教材。全書共分三個部分：繪畫、雕刻和建筑，共91章，收錄了200多幅人類文明目前很有代表性的藝術之作，包括古埃及、古希臘、意大利、德國、荷蘭、西班牙、法國、英國、美國等名家作品。希利爾先生親自編寫，并在課堂上進行試講，不斷修訂。 本書為精校英文版，同時提供配套英文朗讀免費下載。在品讀精彩故事的同時，亦能提升英語閱讀水平，下載方式詳見圖書封底博客鏈接。
寫給學生的藝術史(英文版) A CHILDS HISTORY OF ART 目錄
PART I PAINTING
01 THE OLDEST PICTURES IN THE WORLD
02 WHAT'S WRONG WITH THIS PICTURE
03 PALACE PICTURE PUZZLES ./13
04 APRIL FOOL PICTURES /18
05 JARS AND JUGS /23
06 PICTURES OF CHRIST AND CHRISTIANS /26
07 THE SHEPHERD BOY PAINTER /30
08 THE ANGEL-LIKE BROTHER /35
09 BORN AGAIN PAINTERS /39
10 SINS AND SERMONS /43
11 A GREAT TEACHER AND A "GREATEST" PUPIL. /50
12 THE SCULPTOR WHO PAINTED PICTURES /55
13 LEONARDO DA VINCI /60
14 SIX VENETIANS /66
15 A TAILOR'S SON AND A MASTER OF LIGHT /72
16 FLEMINGS /78
17 TWO DUTCHMEN /84
18 ? AND JR. /90
19 FORGOTTEN AND DISCOVERED /95
20 SPEAKING OF SPANIARDS. /98
21 LANDSCAPES AND SIGN-BOARDS /105
22 STIRRING TIMES /110
23 A LATE START /116
24 THREE ENGLISHMEN WHO WERE DIFFERENT /123
25 SOME VERY POOR PAINTERS . /129
26 THE MOST IMPORTANT PERSON. /134
27 POST-IMPRESSIONISM /139
28 EARLY AMERICANS /144
29 MORE AMERICANS . /149
30 TWO EUROPEAN AMERICANS /154
31 REAL-MEN ARTISTS /158
PART II SCULPTURE
32 THE FIRST SCULPTURE /166
33 GIANTS AND PYGMIES. /171
34 CHERUBS AND KINGS /176
35 MARBLES /181
36 STANDING NATURALLY /186
37 THE GREATEST GREEK SCULPTOR /190
38 AFTER PHIDIAS /196
39 PLASTER CASTS /201
40 TINY TREASURES /206
41 BAKED EARTH SCULPTURE /210
42 BUSTS AND RELIEFS /213
43 STORIES IN STONES /217
44 THE GATES OF PARADISE /221
45 A TREASURE HUNTER AND A SECRET /225
46 NEXT BEST AND BEST /231
47 FOUR IN ONE /235
48 CELLINI MAKES HIS PERSEUS /239
49 A.M. - OR AFTER MICHELANGELO /243
50 AN ITALIAN AND A DANE /247
51 ON A POSTAGE STAMP /250
52 A LION, A SAINT, AND AN EMPEROR /254
53 A HANDSOME PRESENT /258
54 THOUGHTS FOR THINKERS /261
55 OUR OWN SCULPTURE /264
56 OUR BEST /270
57 DANIEL CHESTER FRENCH /275
58 WOMEN'S WORK. /278
59 THE END OF THE TRAIL /282
PART III ARCHITECTURE
60 THE OLDEST HOUSE /288
61 HOUSES FOR GODS /295
62 MUD PIE PALACES AND TEMPLES /299
63 THE PERFECT BUILDING /305
64 WOMAN'S STYLE BUILDING /311
65 NEW STYLES IN BUILDINGS /314
66 ROME WAS NOT BUILT IN A DAY /320
67 TRIMMINGS /327
68 EARLY CHRISTIAN /334
69 EASTERN EARLY CHRISTIANS /339
70 LIGHTS IN THE DARK /347
71 ROUND ARCHES /351
72 CASTLES /357
73 POINTING TOWARD HEAVEN /361
74 IN PRAISE OF MARY /365
75 COUNTRY CATHEDRALS /371
76 HERE AND THERE /376
77 OPEN SESAME /382
78 DOME TROUBLE /389
79 BACKWARD AND FORWARD /394
80 THE HOMES OF ENGLAND /399
81 TRADE-MARKS /404
82 BREAKING RULES /411
83 THE ENGLISH RENAISSANCE /416
84 FROM HUTS TO HOUSES /421
85 AL AND OL /428
86 RAINBOWS AND GRAPE-VINES /433
87 THE SCRAPERS OF THE SKY /441
88 NEW IDEAS /447
89 NONS AND SURS /454
90 MORE MODERN PAINTERS /460
91 MODERN SCULPTURE /468
展開全部
寫給學生的藝術史(英文版) A CHILDS HISTORY OF ART 節選
THE OLDEST PICTURES IN THE WORLD I WAS listening to the teacher, but I had my pencil in my hand. There were two little dots about an inch apart on my desk lid. Absent-mindedly I twisted my pencil point into one dot and then into the other. The two dots became two little eyes. I drew a circle around each eye, then I joined the two circles with a half-circle that made a pair of spectacles. The next day I made a nose and a mouth to go with the eye and spectacles. The next day I finished the face and added ears and some hair. The next day I added a hat. The next day I added a body, with arms, legs, and feet. The next day I went over the drawing again, bearing heavily on my pencil. Over and over again I followed the lines till they became deep grooves in my desk lid. The next day my teacher caught me and I caught it! The next day my father got a bill for a new desk and I got- Well, never mind what I got. "Perhaps he's going to be an artist," said my mother. "Heaven forbid!" said my father. "That would cost me much more than a new desk." And heaven did forbid. I know of a school that has a large wooden tablet in the hall for its pupils to draw upon. At the top of the tablet is printed: IF YOU JUST MUST DRAW, DON'T DRAW ON YOUR DESK, DRAW ON THIS TABLET. If you put a pencil in any one's hand, he just must draw something. Whether he is listening to a lesson or telephoning, he draws circles and faces or triangles and squares over the pad-if there is a pad. Otherwise he draws on the desk top or the wall, for he just must draw something. Have you ever seen any telephone pad that was not scribbled upon? We say that's human nature. It shows you are a human being. Now, animals can learn to do a good many things that human beings can do, but one thing an animal can't learn is to draw. Dogs can learn to walk on two legs and fetch the newspaper. Bears can learn to dance. Horses can learn to count. Monkeys can learn to drink out of a cup. Parrots can learn to speak. But human beings are the only animals that can learn to draw. Every boy and girl who has ever lived has drawn something at some time. Haven't you? You have drawn, perhaps, a horse or a house, a ship or an automobile, a dog or a cat. The dog may have looked just like a cat or a cat-erpillar, but even this is more than any animal can do. Even wild men who lived so long ago that there were no houses. only caves, to live in-men who were almost like wild animals, with long hair all over their bodies-could draw. There were no paper or pencils then. Men drew pictures on the walls of their caves. The pictures were not framed and hung on the walls. They were drawn right on the walls of the cave and on the ceiling too. Sometimes the pictures were just scratched or cut into the wall and sometimes they were painted in afterward. The paints those men used were made of a colored clay mixed with grease, usually simply red or yellow. Or perhaps the paint was just blood, which was red at first and then turned almost black. Some of the pictures look as if they had been made with the end of a burned stick as you might make a black mark with the end of a burned match. Other pictures were cut into bone-on the horns of deer or on ivory tusks. Now, what do you suppose these cave men drew pictures of? Suppose I asked you to draw a picture of anything-just anything. Try it. What you have drawn is probably one of five things. A cat is my first guess, a sail-boat or an automobile is my second, a house is my third guess, a tree or a flower is my fourth, and a person is my fifth. Are there any other kinds? Well, the cave men drew pictures of only one kind of thing. Not men or women or trees or flowers or scenery. They drew chiefly pictures of animals. And what kind of animals, do you suppose? Dogs? No, not dogs. Horses? No, not horses. Lions? No, not lions. They were usually big animals and strange animals. But they were pretty well drawn, so that we know what the animals looked like. Here is a picture a cave man drew thousands of years ago. You know it's a picture of some animal, and it's not a cat or a caterpillar. It is some animal of the kind they had in those days. It looks like an elephant and it was a kind of elephant-a huge elephant. But its ears were not big like our elephants' ears and it had long hair. Elephants now have skin or hide, but hardly any hair. This animal we call a mammoth. It had long hair because the country was cold in those days and the hair kept the animal warm. And it was much, much bigger even than our elephants. There are no mammoths alive now, but men have found their bones and they have put these bones together to form huge skeletons. We still call any very big thing "mammoth." You've probably heard of Mammoth Cave in Kentucky. It was called Mammoth, not because mammoths lived in it, because they didn't, but just because it is such a huge cave. The cave men drew other animals besides the mammoth. One was the bison, a kind of buffalo. You can see a picture of a buffalo on our five-cent piece. It looks something like a bull. A little girl had gone to a cave in Spain with her father, who was searching for arrow-heads. While he was looking on the ground, she was looking at the ceiling of the cave and she saw what she thought was a herd of bulls painted there. She called out, "See the bulls!" and her father, thinking she had seen real bulls, cried: "Where? Where?" Other animals they drew were like those we have now-reindeer, deer with big antlers, and bears and wolves. It was quite dark in the caves where the cave men drew these pictures, for of course there were no windows, and the only light was a smoky flame from a kind of lamp. Why, then, did they make pictures at all? Such pictures couldn't have been just for wall decorations, like those you have on your walls, because it was so dark in the cave. We think the pictures were made just for good luck, as some people put a horseshoe over the door for good luck. Or perhaps they were to tell a story or make a record of some animal the cave man had killed. But perhaps the cave man just had to draw something, as boys and girls nowadays draw pictures on the walls of a shed or even sometimes on the walls of their own houses or, worse yet, on their desk tops. The pictures made by these wild men-bearded and hairy cave men -are the oldest pictures in the world, and the artists who made them have been dead thousands of years. Can you think of anything you might ever make that would last as long as that?
寫給學生的藝術史(英文版) A CHILDS HISTORY OF ART 作者簡介
維吉爾·Ｍ·希利爾（Virgil Mores Hillyer）1875年出生于美國馬薩諸塞州韋茅斯，他在華盛頓特區的"國會山"度過其童年，畢業于美國哈佛大學。他是美國著名教育家、卡爾佛特學校首任校長、美國家庭學校（HOMESCHOOL）課程體系創建者。作為一位教育革新者，希利爾在美國國內和國際上獲得了廣泛聲譽和影響力。他從事教育工作的同時，親自為孩子們編寫教材，在課堂上試講并修訂，受到學校和學生們的贊譽，不少教材至今仍被學校使用。如《寫給學生的世界地理》、《寫給學生的世界歷史》、《寫給學生的藝術史》等。
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