vermeer

The Aesthetic Interest in the Public of Hals and Vermeer 's Painting Art

论哈尔斯与维米尔绘画艺术的大众审美趣味

But I 'll tell you one thing , that lost Vermeer painting 's a fake .

但我敢肯定那幅失落的维米尔油画是赝品

The Skopos theory pointed out by Vermeer is the soul of functional theory .

其中venneer提出的目的论是功能翻译理论的灵魂。

And yet , in vermeer , things are rarely as they seem .

然而，在弗米尔的作品中，事情很少是它们看上去的那样。

Silent Space and Poetic Atmosphere & Johannes Vermeer 's Art

静谧的空间，诗一般的意境&维米尔的绘画艺术

Vermeer was a quiet and introverted person immersed in his world of painting .

他性格内向，沉浸在自己的绘画世界里。

Vermeer , who regards translation as a purposeful action , advances three rules of the Skopos Theory .

威密尔把翻译行为看做成一种有目的行为，提出了翻译的三个原则。

Skopos theory of translation strategy depending on purpose of target text is expanded in Reiss and Vermeer .

莱丝和弗米尔的书中阐述了目的论，其基本思想是翻译策略取决于目标文本的目的。

Montias calculates that Vermeer can have sold only two or three paintings a year .

蒙蒂阿斯计算出弗米尔一年只能卖出两三件绘画作品。

They included three paintings by Rembrandt and another by the Dutch master Johannes Vermeer .

包括三件伦勃朗的画，还有荷兰大师维梅尔的作品。

There is no evidence that Vermeer went to italy , and no evidence that he did not ;

没有迹象表明弗米尔去过意大利，也没有迹象表明他没有去过。

Vermeer worked painstakingly , and apparently alone .

弗米尔辛勤地，而且显而易见是一个人单独在工作。

A series of questions occur when one looks at Vermeer 's famous painting " Girl with a Pearl Earring " .

人们欣赏弗米尔的著名画作戴着珍珠耳环的女孩的时候会产生一系列问题。

In his vernacular scenes Vermeer paints mainly women to whom men , IF they are present , play a subsidiary role .

在他画的日常景象中，弗米尔主要描绘女人，如果有男子出现，也只作为陪衬。

Vermeer 's paintings are not mere photographic snapshots : they contain past , present and future just as people do .

弗米尔的绘画不仅仅是真实纪录现实的照片，就像人类一样，包含着过去、现在和将来。

The 17th-century Dutch painter Johannes Vermeer holds an inimitable place among painters .

17世纪荷兰画家约翰尼斯·弗米尔在画家中占有一个无与伦比的地位。

It is fitting that Proust understood Vermeer 's proud statement about Delft .

普鲁斯特能理解弗米尔对代尔夫特自豪的表现是很自然的。

Adopting ordinary drill-head , Vermeer HDD powes the big heating pipeline in soft-rock

威猛定向钻使用普通钻头在软岩中施工

Before the tercentenary exhibition brought him to wider public attention , Vermeer had been drawn from obscurity by two men .

在300周年庆典展览使他为更广泛的公众所关注之前，有两个人使弗米尔的名字为人所知。

The fact that no other painter adopted Vermeer 's style suggests that there was no workshop and no apprentices .

没有别的画家秉承弗米尔的风格这一事实表明，他没有开过教画班，也没有学生。

In vermeer , the enterprise recurs .

在弗米尔身上，这一创举重现了。

Vermeer shared this moral patriotism , as is clear from the bold maps that grace the walls in many of his paintings .

弗米尔也沉浸在这种道义上的爱国主义中，这在他的许多绘画中那些装饰在墙上的醒目的地图可以很清楚地看出来。

A person who had plied at the weaver 's trade for 20 years . Vermeer worked painstakingly , and apparently alone .

一位已辛勤工作二十年的织工弗米尔辛勤地，而且显而易见是一个人单独在工作。

Vermeer lived in the second half of 17th century of Netherlands , he is a prominent artist following Hals , Rembrandt .

维米尔生活在17世纪后半期的荷兰，是继哈尔斯、伦勃朗之后独树一帜的画家。

The Skopos rule , put up by Hans J. Vermeer , is defined the translation as the act and the different texts ask for different translation methods .

弗米尔提出的目的论主张翻译首先是一种有目的的行动，而且文本的多样性决定了翻译的方法也有所不同。

He is known affectionately as " Mr Vermeer ", having worked from 1988 onwards to assemble the paintings in Washington .

因为自1988年起他一直致力于将其作品搜集至华盛顿，人们亲切地称他为弗米尔先生。

Vermeer was painting during the springtime of the Dutch nation , which was born out of a war of independence against Spain .

弗米尔创作时荷兰正处于朝气蓬勃的时期，它刚刚赢得对西班牙的独立战争而获得新生。

All that fills the scales are two drops of light ( how fitting that one of Vermeer 's most metaphysical paintings should involve weighing light ) .

天平盘里只有两点光（弗米尔的最抽象的绘画作品之一涉及称光的重量是再合适不过了）。

According to Vermeer , translation is a communicative activity which is cross-culture and cross-language and it should conform or adapt to expectations or target receivers .

弗米尔认为翻译要对其预期的目标和接受者起作用，是一种跨语言跨文化的交际活动。

Vermeer is a typical genius painter of Holland and also the greatest painter after Rembrandt . His works embody the ordinary people 's life and customary .

维米尔是典型的荷兰风俗画家，也是继伦勃朗之后最伟大的荷兰画家，他的作品表现日常平民的生活与风俗；