美国学生艺术史(英汉双语版)(套装上下册)pdf/txt下载_在线阅读全文

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《美国学生艺术史》专为美国学校4-8年级孩子们而编写，出版后也深受成人读者的喜爱，是一本了解和欣赏世界艺术的经典读本。《美国学生艺术史》是一本生动而吸引孩子们学习艺术史的读本，完全脱离了那种传统教材的编写模式，让孩子们一点也不觉得陈旧乏味……
　　——《纽约时报》书评
　　《美国学生艺术史》是极其少见的优秀课本，清晰而引人入胜的内容、精致的艺术图片，使其不同于其他关于艺术史的教材。
　　——《哈珀》杂志

内容简介

　　《美国学生艺术史》由卡尔佛特学校前校长维吉尔?M?希利尔构思、设计并编写，也是他生前为孩子们写作的最后一本教材。《美国学生艺术史》共分三个部分：绘画、雕刻和建筑，共91章，收录了200多幅人类文明*有代表性的艺术之作，包括古埃及、古希腊、意大利、德国、荷兰、西班牙、法国、英国、美国等名家作品。希利尔先生亲自编写，并在课堂上进行试讲，不断修订。

作者简介

　　维吉尔·Ｍ·希利尔（Virgil Mores Hillyer，1875-1931）1875年出生于美国马萨诸塞州韦茅斯，他在华盛顿特区的“国会山”度过其童年，毕业于美国哈佛大学。他是美国著名教育家、卡尔佛特学校首任校长、美国家庭学校（HOMESCHOOL）课程体系创建者。作为一位教育革新者，希利尔在美国国内和国际上获得了广泛声誉和影响力。他从事教育工作的同时，亲自为孩子们编写教材，在课堂上试讲并修订，受到学校和学生们的赞誉，不少教材至今仍被学校使用。如《美国学生世界地理》、《美国学生世界历史》、《美国学生艺术史》等。他一直探索家庭学校教育理念并设计其课程体系，写作了一本家庭学校教育手册——《在家教出好孩子》，成为父母教育孩子的指南。

目　　录

PART I PAINTING · 绘画
01 THE OLDEST PICTURES IN THE WORLD ◆ 世界上最古老的画
02 WHAT’S WRONG WITH THIS PICTURE ◆ 这画有毛病吗
03 PALACE PICTURE PUZZLES ◆ 王宫拼图
04 APRIL FOOL PICTURES ◆ 愚人画
05 JARS AND JUGS ◆ 瓶罐上的画
06 PICTURES OF CHRIST AND CHRISTIANS ◆ 基督画像和基督徒的画
07 THE SHEPHERD BOY PAINTER ◆ 牧童画家
08 THE ANGEL-LIKE BROTHER ◆ 天使般的弟兄
09 BORN AGAIN PAINTERS ◆ 再生的画家
10 SINS AND SERMONS ◆ 罪恶与布道
11 A GREAT TEACHER AND A “GREATEST” PUPIL ◆ 伟大导师和“最伟大”学生
12 THE SCULPTOR WHO PAINTED PICTURES ◆ 画画的雕刻家
13 LEONARDO DA VINCI ◆ 列奥纳多· 达· 芬奇

PART I PAINTING · 绘 画 
01 THE OLDEST PICTURES IN THE WORLD ◆ 世界上最古老的画 
02 WHAT’S WRONG WITH THIS PICTURE ◆ 这画有毛病吗 
03 PALACE PICTURE PUZZLES ◆ 王宫拼图 
04 APRIL FOOL PICTURES ◆ 愚人画 
05 JARS AND JUGS ◆ 瓶罐上的画 
06 PICTURES OF CHRIST AND CHRISTIANS ◆ 基督画像和基督徒的画 
07 THE SHEPHERD BOY PAINTER ◆ 牧童画家 
08 THE ANGEL-LIKE BROTHER ◆ 天使般的弟兄 
09 BORN AGAIN PAINTERS ◆ 再生的画家 
10 SINS AND SERMONS ◆ 罪恶与布道 
11 A GREAT TEACHER AND A “GREATEST” PUPIL ◆ 伟大导师和“最伟大”学生 
12 THE SCULPTOR WHO PAINTED PICTURES ◆ 画画的雕刻家 
13 LEONARDO DA VINCI ◆ 列奥纳多· 达· 芬奇 
14 SIX VENETIANS ◆ 六个威尼斯人 
15 A TAILOR’S SON AND A MASTER OF LIGHT ◆ 裁缝之子和光影大师 
16 FLEMINGS ◆ 佛兰德斯人 
17 TWO DUTCHMEN ◆ 两个荷兰人 
18 ü AND JR. ◆ 丢勒和小霍尔拜因 
19 FORGOTTEN AND DISCOVERED ◆ 遗忘与发现 
20 SPEAKING OF SPANIARDS ◆ 话说西班牙画家 
21 LANDSCAPES AND SIGN-BOARDS ◆ 风景画和广告牌 
22 STIRRING TIMES ◆ 动荡的年代 
23 A LATE START ◆ 后来居上 
24 THREE ENGLISHMEN WHO WERE DIFFERENT ◆ 三个不同的英国人 
25 SOME VERY POOR PAINTERS ◆ 几位非常贫穷的画家 
26 THE MOST IMPORTANT PERSON ◆ 最重要的角色 
27 POST-IMPRESSIONISM ◆ 后印象主义 
28 EARLY AMERICANS ◆ 早期美国画家 
29 MORE AMERICANS ◆ 更多的美国画家 
30 TWO EUROPEAN AMERICANS ◆ 两个欧洲美国人 
31 REAL-MEN ARTISTS ◆ 真正的男子汉画家 
PART II SCULPTURE · 雕 刻 
32 THE FIRST SCULPTURE ◆ 最初的雕刻 
33 GIANTS AND PYGMIES ◆ 巨像和小雕 
34 CHERUBS AND KINGS ◆ 基路伯和国王 
35 MARBLES ◆ 大理石雕像 
36 STANDING NATURALLY ◆ 自然的站姿 
37 THE GREATEST GREEK SCULPTOR ◆ 古希腊最伟大的雕刻家 
38 AFTER PHIDIAS ◆ 菲迪亚斯之后 
39 PLASTER CASTS ◆ 石膏摹制品 
40 TINY TREASURES ◆ 宝石小雕 
41 BAKED EARTH SCULPTURE ◆ 陶土雕刻 
42 BUSTS AND RELIEFS ◆ 半身像和浮雕 
43 STORIES IN STONES ◆ 石头里的故事 
44 THE GATES OF PARADISE ◆ 天国之门 
45 A TREASURE HUNTER AND A SECRET ◆ 寻宝人和秘密 
46 NEXT BEST AND BEST ◆ 最优秀和第二优秀的骑马雕像 
47 FOUR IN ONE ◆ 四合一 
48 CELLINI MAKES HIS PERSEUS ◆ 切利尼铸造帕尔修斯铜像 
49 A.M. OR AFTER MICHELANGELO ◆ 米开朗基罗前后 
50 AN ITALIAN AND A DANE ◆ 一个意大利人和一个丹麦人 
51 ON A POSTAGE STAMP ◆ 邮票上的雕像 
52 A LION, A SAINT, AND AN EMPEROR ◆ 狮子、圣人和国王 
53 A HANDSOME PRESENT ◆ 精美的礼物 
54 THOUGHTS FOR THINKERS ◆ 思想者的思想 
55 OUR OWN SCULPTURE ◆ 美国的雕刻 
56 OUR BEST ◆ 美国最棒的雕刻家 
57 DANIEL CHESTER FRENCH ◆ 丹尼尔· 切斯特· 佛兰奇 
58 WOMEN’S WORK ◆ 女雕刻家的作品 
59 THE END OF THE TRAIL ◆ 路的尽头 
PART III ARCHITECTURE · 建 筑 
60 THE OLDEST HOUSE ◆ 最古老的房子 
61 HOUSES FOR GODS ◆ 神 庙 
62 MUD PIE PALACES AND TEMPLES ◆ 土饼宫殿和神庙 
63 THE PERFECT BUILDING ◆ 完美的建筑 
64 WOMAN’S STYLE BUILDING ◆ 女性风格的建筑 
65 NEW STYLES IN BUILDINGS ◆ 建筑新风格 
66 ROME WAS NOT BUILT IN A DAY ◆ 罗马非一日所建 
67 TRIMMINGS ◆ 装饰物 
68 EARLY CHRISTIAN ◆ 早期基督教建筑 
69 EASTERN EARLY CHRISTIANS ◆ 早期东方基督教建筑 
70 LIGHTS IN THE DARK ◆ 黑暗中的亮光 
71 ROUND ARCHES ◆ 圆 拱 
72 CASTLES ◆ 城 堡 
73 POINTING TOWARD HEAVEN ◆ 直入云霄的建筑物 
74 IN PRAISE OF MARY ◆ 赞美玛利亚的建筑物 
75 COUNTRY CATHEDRALS ◆ 乡村大教堂 
76 HERE AND THERE ◆ 欧洲各地 
77 OPEN SESAME ◆ 芝麻开门 
78 DOME TROUBLE ◆ 麻烦的圆顶 
79 BACKWARD AND FORWARD ◆ 回顾过去，展望未来 
80 THE HOMES OF ENGLAND ◆ 英国式住宅 
81 TRADE-MARKS ◆ 有标记图案的建筑物 
82 BREAKING RULES ◆ 打破陈规 
83 THE ENGLISH RENAISSANCE ◆ 英国文艺复兴式建筑 
84 FROM HUTS TO HOUSES ◆ 从茅屋到房屋 
85 AL AND OL ◆ 首都和国会大厦 
86 RAINBOWS AND GRAPE-VINES ◆ 彩虹和葡萄酒 
87 THE SCRAPERS OF THE SKY ◆ 摩天大厦 
88 NEW IDEAS ◆ 新思维 
89 NONS AND SURS ◆ 非写实和超现实 
90 MORE MODERN PAINTERS ◆ 更多现代画家 
91 MODERN SCULPTURE ◆ 现代雕刻

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在线试读部分章节

　　 THE OLDEST PICTURES IN THE WORLD
　　世界上最古老的画
　　 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 Itwisted my pencil point
　　 into one dot and then into the other. The two dots became twolittle eyes. I drew a circle around each eye， then I joined the twocircles 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 andspectacles.
　　 The next day I finished the face and added ears and somehair.
　　 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 onmy pencil. Over and
　　 over again I followed the lines till they became deep grooves inmy 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 morethan a new desk.”
　　 And heaven did forbid.
　　 I know of a school that has a large wooden tablet in the hallfor its pupils to draw
　　 upon. At the top of the tablet is printed：

THE OLDEST PICTURES IN THE WORLD 
　　 世界上最古老的画 
　　 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？ 
　　 【中文阅读】 
　　 我正在听老师讲课，可手里在玩铅笔。 
　　 我课桌的桌面上有两个相距约一英寸的小点。 
　　我心不在焉地转动手中的铅笔，用笔尖在一个点上戳了一下，又在另一个点上戳了一下。两个小点变成了一双小眼睛。我在每只眼睛旁边画了个圈，又画了个半圈，把两个圆圈连起来，这就画出了一副眼镜。 
　　 第二天，我画了鼻子和嘴巴，配合那双眼睛和眼镜。 
　　 第三天，我画完了脸，还补充了耳朵和头发。 
　　 第四天，我又加了一顶帽子。 
　　 第五天，我添上了身体部分：胳膊、腿和脚。 
　　 第六天，我还是拿铅笔用力地画着。我一遍又一遍地描着线直到把它们深深地印在我的课桌上。 
　　 第七天，我被老师逮个正着，但我也画完了。 
　　 第八天，我爸收到了一张新课桌的账单，而我却得到了-- 算了，甭提我得到了什么吧。 
　　 “他可能会成为画家。”母亲说。 
　　 “但愿不会！”父亲答道，“那要花掉我比一张新课桌多得多的钱。”好在上帝拦阻了。 
　　 据我所知，某所学校在大厅里放置了一块大木牌，专供学生涂鸦。木牌上方刻着这样一句话： 
　　 如果你想画画，就在这块牌子上画吧， 
　　 只是不要在课桌上画。 
　　如果把铅笔放在某人手中，他就一定会画点什么。他不管是在听课还是在接电话，只要手头有本便签簿，他就会在上面画些圈圈啦，脸蛋啊，或者是三角形和正方形什么的。要不他就会在课桌或墙壁上涂画，因为他总得要画点什么。你看见过没有被乱涂乱画的电话簿吗？这就是人的本性。这表明你是一个真正的人。 
　　如今，动物可以学做许多人类能做的事情，但有一件事动物学不会，那就是画画。狗能用两条腿学走路，甚至帮人取报纸；熊能学会跳舞；马能学会数数；猴子可以学用杯子喝水；鹦鹉可以学舌；但是只有人类才能学会画画。 
　　每一个男孩或女孩都在童年时代的某个时候画过些什么。难道不是吗？你或许画过马或房子，船或汽车，狗或猫。这狗被你画得就像猫，或像一条毛毛虫，但即便如此，你还是比任何动物都强。 
　　甚至生活在很久以前的原始人也能画画。那时还没有房屋，他们全身长着长长的毛发，只住在洞穴里过着几乎和野兽一样的生活。那时候没有纸和笔。他们在穴壁上画画。这些图画没有装裱悬挂在墙上，而是直接画在洞壁和洞顶上。 
　　这些图画有的只是涂鸦或刻在洞壁上，有的是后来才画上去的。当时人们所用的颜料是由一种掺杂着动物油脂的有色粘土混合制成的，通常只有红黄色，或者就用鲜血做颜料，开始是红色，后来几乎就变成了黑色。有些图画看起来就像是用一根烧焦的木棒头画的，就像我们用一根烧过的火柴头画一个黑色标志。还有些图画是刻在骨头上的，比如鹿角或象牙。 
　　现在来猜想一下这些穴居人画的是什么？如果让你随意画幅画--也就是画什么都行。试试看吧。你画的可能是以下五种事物中的一种。我首先猜的是猫，第二次猜了帆船或汽车，第三次猜的是房子，第四次猜的是树或花，最后才猜了人。还会猜出其他什么呢？ 
　　其实，穴居人只画了一种东西。不是男人，不是女人，不是树、不是花，也不是风景。他们主要画的是动物。你认为他们画的是哪种动物呢？狗？不，不是狗。马？不，不是马。狮子？不，也不是狮子。他们通常画的是一些大型和奇特的动物。但这些动物都画得栩栩如生，这使我们知道这些动物的长相。下图是一个几千年前的穴居人画的画。 
　　我们看得出这画的是某种动物，但不是猫，也不是毛毛虫。那是他们那个时代特有的某种动物。它看起来像一头象，而它的确就是象的一种--巨象。它的耳朵没有我们现在的象那么大，还长着长长的毛发。现在的象有兽皮或毛皮，但几乎没有毛发。我们把图上的动物称为猛犸（又名毛象）。毛象的毛发很长，因为那时候天气寒冷，而长毛可以保暖。但它比我们现在的象大很多很多。 
　　如今猛犸早已绝种，但人类已经找到了它们的骨头，并把它们放在一起拼成了一个大型骨架。我们现在仍将庞然大物称作“猛犸”。你可能听说过肯塔基州的猛犸洞穴。它被称作猛犸洞并不是因为猛犸在这洞里住过，实际并没住过，而仅仅因为这是一个非常大的洞穴。 
　　 除了猛犸，穴居人还画过其他动物。其中有种野牛，就是水牛。水牛的图片可以在美国的5
分硬币上看到。它看起来像一头公牛。在西班牙，有个小女孩曾和她的父亲一起走进一个洞穴，他们按着箭头，爸爸在地上寻找，小女孩却盯着洞顶打量。她看见洞顶上画了一群她以为是公牛的动物。她大喊一声，“看，公牛！”她爸爸还以为她看见了真的公牛，喊道：“在哪？在哪？” 
　　 他们画的其他动物和我们今天有的这些动物差不多--驯鹿、长角鹿，还有熊和狼。 
　　穴居人画画的穴洞十分昏暗，因为那儿根本就没开窗。唯一的光亮就是某种壁灯发出的昏暗的光。那他们干吗要画画呢？这些图画不可能仅仅只是为了装饰洞壁，就像我们在墙上挂画一样，因为洞穴里实在是太暗了。我们认为穴居人画画是为了祈求好运，就像人们把马蹄铁放在门头上企盼吉祥是一样的。或者他们是要讲述一个故事或就是记下捕杀的某种动物。或许他们不得不画画，就像现在的孩子们在小木屋，甚至有时候在自家的墙上画画一样，或干脆就在课桌上画。 
　　 这些原始人--多须长毛的穴居人--
画的是世界上最古老的画。但这些艺术家早在几千年前就去世了。你认为你所制作的任何东西能像那些画一样持久吗？ 
　　 ……

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美国学生艺术史(英汉双语版)(套装上下册)下载

美国学生艺术史(英汉双语版)(套装上下册)

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