Caravaggio
英
美
n. 卡拉瓦焦
复数：caravaggios
BNC.41259
双语例句
- Looking at artistic masterpieces by Titian or Caravaggio might help them understand the value of working with a talented team.
观看提香和卡拉瓦吉奥的艺术杰作可以帮助这些人理解到与一个有能力的团队合作的价值。 - Two masterpieces by the Renaissance painter Michelangelo Merisi da Caravaggio will make their debuts in China during the2010 World Expo on the400th anniversary of the artist's death.
意大利展区总代表昆迭里介绍说，意大利文艺复兴时期的著名画家米开朗基罗·达·卡拉瓦乔的两幅杰作《水果篮》和《捧果篮的男孩》将首次亮相中国。 - Chock full of Renaissance cathedrals, museums featuring works by masters like Caravaggio and ancient ruins, Messina is also the gateway to Mount Etna.
不仅如此，这里还有大量文艺复兴时期的大教堂、有珍藏像卡拉瓦乔这样大师级作品的博物馆，还有古遗址博物馆。此外，它还是埃特纳火山的门户。 - Caravaggio is famous for his use of chiaroscuro.
卡拉瓦乔以其对明暗对照法的巧妙运用而出名。 - Rubens and Caravaggio were two of the greatest Baroque painters.
鲁本斯和卡拉瓦乔是两位最伟大的巴洛克艺术风格画家。 - Caravaggio uses the gloomy hues to compare with and set off the matters and he endows the paintings with dramaticism and mysterious feelings.
卡用幽暗的调子来对比衬托事物，使画面更赋予戏剧性和神秘感。 - Different from the sublimity and quietness in the painting The School of Athens, Caravaggio dramatic shading and exaggerative style can also embody this change.
卡拉瓦乔戏剧性的明暗和夸张的姿态与拉斐尔的《雅典学院》的崇高静穆之间做比较也同样能清晰的体现这种转变。 - For example, a lot of factors had affected La Tour, such as: social background of his age, Mannerism, Classicism, Caravaggio, Baroque and religious factor.
多种因素（如：当时的社会背景、风格主义、古典主义、卡拉瓦乔现实主义、巴洛克艺术以及宗教方面的因素）都对拉图尔的艺术产生了一定的影响。 - His style is influenced by Baroque elements and his realistic features are similar to those of Caravaggio, but his presentation of human nature is deeper than Caravaggio's.
他的绘画风格受到巴洛克元素的影响，其现实主义的特征与卡拉瓦乔一脉相承，但就人性精神层面的表现上，伦勃朗比卡拉瓦乔走得更深。 - Caravaggio, Joe, found the light and the source of the light source direction and specific draw the projection place, make the picture with the visual effect of habit.
卡拉瓦乔，找到了光和光源的来源方向并具体的画出了投影的位置，使画面的效果符合了人的视觉习惯。 - Then through the analysis of Cotan and Caravaggio work, The article elaborates the second leap of still life drawing& from thing of being reproduced to the main body demonstration.
然后通过对科坦与卡拉瓦乔作品的分析，论述静物画的第二次飞跃&从再现之物到主体展示。