美国代写论文：艺术家的简史

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美国代写论文：艺术家的简史
如果没有创作者的背景，一幅画是不完整的，所以我们需要看看他们对艺术的态度，实际上他们对被描绘者的感受。
1）Robert Feke
首先我们来看看Robert Feke。罗伯特·费克是美国的社会主义者，画家和艺术家。费克以他在世界各地的肖像而闻名，他的作品在欣赏艺术和绘画的人中享有盛誉。许多艺术史学家和研究人员认为，费克是一位技艺娴熟，聪明的画家，他运用他的技巧，让观众了解国内的普遍情况。 Feke出生在纽约长岛，是一个殖民时期的见证人。因此，他的绘画是这种情况的结果，他用绘画作为谈话的媒介，运用他的技巧，以提醒后代关于旧时代。为了欣赏Feke的作品，Richard Saunders评论道：“Feke对殖民地绘画发展的影响是巨大的，他的照片为下一代有抱负的殖民地艺术家的作品设定了一个新的标准。所以，我们可以看出，费克的作品受到了多少人的赞赏，有多少人受到他的画作和思想的影响。 Feke的绘画似乎给观众留下了一个信息，似乎Feke一再成功地这样做。他所有的工作都有其中的几个含义，本文所讨论的也有同样的质量。这个女人没有被描绘成一幅纯粹的肖像，而是将那个时代的完整故事写入了肖像。

美国代写论文：艺术家的简史
A painting is incomplete without the background of its creator and therefore we need to take a look at their approach towards art and in fact their feelings for the person being painted.
1) Robert Feke
To start with we will take a look at Robert Feke. Robert Feke was an American socialist, painter and artist. Feke was famous for his portrait across the world and his work is renowned among people who admire art and painting. Many art historians and researcher believe that Feke was a skilled and smart painter who applied his skills in order to give viewers a sight of the prevalent situation of the country. Feke was born in Long Island, New York and was a witness was of the colonial era. As a consequence his paintings are a result of the this situation and it appears that he used painting as a medium of conversation and applied his skills in order to remind the following generations about the old days. To appreciate Feke’s work, Richard Saunders commented that, “Feke’s impact on the development of Colonial painting was substantial, and his pictures set a new standard by which the work of the next generation of aspiring Colonial artists was judged”. So, we can see that how much Feke’s work was admired and how much people were influenced by his paintings and ideas. Feke’s paintings seem to give out a message to the viewers and it appears that Feke has repeatedly succeeded in doing so. All his work has incorporated several meanings in it and the one being discussed in this paper also has the same quality. The woman is not depicted as a mere portrait and in that portrait is incorporated the complete story of that time period.

论文代写：家具的风格

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论文代写：家具的风格

虽然每个阶段都有很多不同的风格，但实际上所有阶段都是在更广泛的分类下进行分类的。因此，在研究每个阶段的风格之前，解释法国家具的两个基本定义非常重要：“Menuisrie”和“Ebenisterie”。在谈到一件法国古董家具时，经销商和收藏家通常首先将其分为两类之一。这是一个更广泛的分类。十六世纪的家具与餐厅的分部有明显的联系。菜单是一个与实木工作的人。虽然菜单可以直译为木匠，但这个人实际上不仅仅是一个木匠。这是一个处理皇家家具中使用的镶嵌复杂技术的人。然而从十六世纪走向十七世纪和十八世纪的家具，还有许多元素被添加。特别是17世纪是巴洛克时代。这是当更复杂的技术来使用。饰面和镶嵌被看作是取代较简单的技术。当时的菜单被称为电子书。 “ebenistes”一词的直译意为“橱柜制造者”。这又不是完整的翻译，因为所谓的橱柜制造商负责创造座椅，座椅家具，自助餐和衣橱，装饰板（比如用于墙壁的装饰板），以及窗户等等。 Ebenistes被称为是因为他们制造的家具不是来自当地常见的木材。他们从乌木制造家具。乌木或者ebene在16世纪在法国首次使用，但是它被用作一种非常专业的木材。由于皇室需要更多这样的产品，工匠更专注于其创作。使用乌木来制作艺术家具的工匠最初被称为enbene菜单。

论文代写：家具的风格

While there are many different styles within each stage, all stages are actually classified under much broader classifications also. Hence before the study of the styles of each stage, it is very important to explain two basic definition of French furniture: “Menuisrie” and “Ebenisterie”. When talking about a piece of French antique furniture, dealers and collectors usually first classify it into one of these two sorts. This is a broader classification. The 16 century furniture was connected distinctly to the divisions of the menuisier. The menusier is one who worked with that of solid wood. While a menusier can be called a carpenter in literal translation, the person is actually more than a carpenter. This is a person that dealt with the intricate techniques of inlays that was used in the royal furniture. However moving from the sixteenth century towards the seventeenth and eighteenth century furniture’s, there were many elements that were added on. The 17th century in particular was the age of the baroque. This was when more sophisticated techniques came to be used. Veneering and marquetry was seen to replace the simpler techniques. The menuisiers at this time were referred to as the ebenistes. A literal translation of the term ebenistes means ‘cabinet-maker’. This is again not the complete translation as the so called cabinet maker was responsible for creating seat’s, seat furniture, buffets and armoires, decorative paneling such as for the walls called the boiseries, and windows and more. The Ebenistes were so called because the furniture they made was not from the normal, locally found wood. They made furniture from Ebony. The ebony or the ebene was first used in France in the 16th century but it was used rather sparingly being a very specialized form of woods. As royalty demanded more of such products, the craftsmen focused on its creation more. The craftsmen that used the Ebony to create artistic furniture were called the menuisiers en ebene initially.

美国论文代写：雕塑艺术

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美国论文代写：雕塑艺术

除了Laocoon和他的儿子的灵感，Botha的“Prism 10”也让我想起了意大利未来主义者翁贝托·博乔尼（Umberto Boccioni）的作品，这是20世纪初期的令人印象深刻的雕塑作品：独特的宇宙连续形式。与两个雕塑相比，它们与被数字运动所排挤的空气相似，它们的形式与实际的形体没有什么不同。例如，看到波塔和波乔尼雕塑中的波浪状或火焰状的形状从小牛开始，并显示空气从运动中的身体旋转。然而，Botha和Boccioni之间的区别在于，Botha的雕塑运动自然而然地靠重力而不是像Boccioni的雕塑运动那样上升。其次，Boccioni的身体数字是非常立体的数量，而不是Botha的身体数字 – 线性依赖。当我离开博塔的雕像时，我的思绪伴随着贝多芬的和弦，伴随着风暴的轰鸣，以及来自板块冲突的隆隆声。乍得罗索看到博塔的棱镜10（死拉奥孔）后说了一句话：“你还怎么介绍一个如此与崇高沐浴的演出？
蒂姆·格里芬（Tim Griffin）在文章“世界的分离：当代艺术，全球化和双年展的兴起”中指出：“全球化是理解体制框架如何塑造当代艺术的基础”。
当然，随着国际双年展的兴起，全球化在二十世纪九十年代中期开始受到欢迎。许多策展人，评论家和艺术家都相信在间隙空间工作的潜力，以及他们之间往来旅途的潜力。这些乐观的态度随着千禧年的变化而变化，当全球化成为积极对抗艺术和写作的东西时，从扁平化到跨国公司漠视人的主权和环境责任。“

美国论文代写：雕塑艺术

Beside the inspiration from Laocoon and His Sons, Botha’s “Prism 10” also reminded me of the work of the Italian Futurist Umberto Boccioni, the impressive early 20th century sculpture: Unique Forms of Continuity in Space. Compare to both the sculptures, they are similar with the air displaced by the figures’ movement and they are rendered in forms no different than those of the actual bodies. See, for example, the wave-like or flame-like shapes in Botha and Boccioni’s sculptures are begin at the calves and show the air swirling away from the bodies in motion. However, the difference between Botha and Boccioni are, the movements in Botha’s sculpture are naturally going away by gravity instead of going up like Boccioni’s sculpture movement. Secondly, Boccioni’s body figures are very cubically volume instead of Botha’s bodies’ figures – linearly dependent. As I walk away from the Botha’s statue, my mind rings up with the Beethoven’s chord along with the roar of the storm and the rumblings from the clash of tectonic plates. Chad Rossouw gave his words after seeing the Botha’s Prism 10 (Dead Laocoon): “How else do you introduce a show so bathed with the sublime?”
In the essay “Worlds Apart: Contemporary Art, Globalization, and the Rise of Biennials”, Tim Griffin stated that,“Globalization is fundamental for understanding how institutional frameworks now shape contemporary art”.
Certainly, globalization was celebrated in the early to mid-1990s in conjunction with the rise of international biennials. Many curators, critics, and artists believed in the potential of working in interstitial spaces and traveling to and among the, These optimistic attitudes changed with the turn of the millennium, when globalization became something actively to counter both in art and in writing, for reasons ranging from its flattening of difference to multinational corporations’ disregard for human sovereignty and environmental responsibility.”