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英语的单词是什么
英语的单词是：English。
English
英 ['ɪŋɡlɪʃ] 美 ['ɪŋɡlɪʃ]
n. 英语；英国人。
adj. 英语的；英国人的；英国的。
It is important for us to learn English.
学习英语对我们来讲是很重要的。
The English are often regarded as being cold and reserved.
人们往往认为英国人冷漠且保守。
近义词：
side
英 [saɪd] 美 [saɪd]
n. 边；侧；边缘；侧面；(多边形的)边；(立体的)面；一方；方面；旁边；家族。
adj. 旁的；次要的。
v. 站在…的一边；支持。
She always sided with my brother.
她总是带在我哥哥那边。
Why do you always side against me ?
你为什么总站在我的对立面?
为什么是an english不是a english
原因：English在表示英国人时是表示全体英国人，所以不能加表示个体的an，确实要表示个体，就只能用Englishman。句意：我是英国人。
English
一、含义：
n. 英语；英国人。
adj. 英语的；英国人的；英国的。
二、用法：
直接源自古英语的Englisc；最初源自该语的Engle，意为盎格鲁人，传说这个称呼的来由是：当年这群人原来居住在一个叫Angul的岛上，这个岛状似鱼钩。
english的含义非常多，作为形容词，english的含义有英格兰（人）的，英国（人）的，英语的等；作为名词，其含义为英语，英文。而the English可以用来指英格兰人。
He spares no efforts to study English.
他不辞劳苦地学习英语。
近义词：
side
一、含义：
n. 边；侧；边缘；侧面；(多边形的)边；(立体的)面；一方；方面；旁边；家族。
adj. 旁的；次要的。
v. 站在…的一边；支持。
二、用法：
side用作名词的基本意思是“面”,通常可以指固体或平的或近似平的面,也可指不包括顶面和底面的或不包括顶面、底面、前面和后面的“侧面”,还可指组成三角形、矩形等平面图形的“边”。
side也可指“边缘或边界(的地方)”,如床边的桌子(by the side of one's bed); 还可指平而薄的东西(如纸、布、金属片两面之一)的“面”。
My house is the ninth on the right side.
我的房子是右边第九幢。
三维立体画用英语怎么说呢
3D(3-dimension) stereograph
那就是3D pictures或painting就行....:)
毕加索立体主义介绍
刚为一位朋友翻译了关于Junan Gris的论文介绍，以下内容是网上资料供参考。
Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music and literature. The first branch of cubism, known as "Analytic Cubism", was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, Synthetic Cubism, (using synthetic materials in the art) the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity.
English art historian Douglas Cooper describes three phases of Cubism in his seminal book "The Cubist Epoch". According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.[1]
In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics.
During the late 19th and early 20th centuries, the European cultural elite were discovering African, Micronesian and Native American art for the first time. Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism.
Some believe that the roots of cubism are to be found in the two distinct tendencies of Paul Cézanne's later work: firstly to break the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and secondly his interest in the simplification of natural forms into cylinders, spheres, and cones.
However, the cubists explored this concept further than Cézanne; they represented all the surfaces of depicted objects in a single picture plane, as if the objects had had all their faces visible at the same time. This new kind of depiction revolutionized the way in which objects could be visualized in painting and art.
The invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris. These artists were the movement's main innovators. A later active participant was the Spaniard Juan Gris. After meeting in 1907 Braque and Picasso in particular began working on the development of Cubism. Picasso was initially the force and influence that persuaded Braque by 1908 to move away from Fauvism. The two artists began working closely together in late 1908–early 1909 until the outbreak of World War I in 1914. The movement spread quickly throughout Paris and Europe.
French art critic Louis Vauxcelles first used the term "cubism", or "bizarre cubiques", in 1908 after seeing a picture by Braque. He described it as "full of little cubes", after which the term quickly gained wide use although the two creators did not initially adopt it. Art historian Ernst Gombrich described cubism as "the most radical attempt to stamp out ambiguity and to enforce one reading of the picture - that of a man-made construction, a coloured canvas."[2]
Juan Gris, Portrait of Picasso, 1912, oil on canvasCubism was taken up by many artists in Montparnasse and promoted by art dealer Daniel-Henry Kahnweiler, becoming popular so quickly that by 1911 critics were referring to a "cubist school" of artists. However, many of the artists who thought of themselves as cubists went in directions quite different from Braque and Picasso. The Puteaux Group was a significant offshoot of the Cubist movement; it included Guillaume Apollinaire, Robert Delaunay, Marcel Duchamp, his brothers Raymond Duchamp-Villon and Jacques Villon, and Fernand Léger, and Francis Picabia. Other important artists associated with cubism include: Albert Gleizes, Jean Metzinger, Marie Laurencin, Max Weber, Diego Rivera, Marie Vorobieff, Louis Marcoussis, Jeanne Rij-Rousseau, Roger de La Fresnaye, Henri Le Fauconnier, Alexander Archipenko, František Kupka, Amédée Ozenfant, Léopold Survage, Patrick Henry Bruce among others. Section d'Or is another name for a related group of many of the same artists associated with cubism and orphism.
In 1913 the United States was exposed to cubism and modern European art when Jacques Villon exhibited seven important and large drypoints at the famous Armory Show in New York City. Braque and Picasso themselves went through several distinct phases before 1920, and some of these works had been seen in New York prior to the Armory Show, at Alfred Stieglitz's "291" gallery. Czech artists who realized the epochal significance of cubism of Picasso and Braque attempted to extract its components for their own work in all branches of artistic creativity—especially painting and architecture. This developed into Czech Cubism which was an avant-garde art movement of Czech proponents of cubism active mostly in Prague from 1910 to 1914.
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