美國學生藝術史》由卡爾佛特學校前校長維吉爾?M?希利爾構思、設計并編寫,也是他生前為孩子們寫作的一本教材。《美國學生藝術史》共分三個部分:繪畫、雕刻和建筑,共91章,收錄了200多幅人類文明有代表性的藝術之作,包括古埃及、古希臘、意大利、德國、荷蘭、西班牙、法國、英國、美國等名家作品。希利爾先生親自編寫,并在課堂上進行試講,不斷修訂。
維吉爾 M 希利爾(Virgil Mores Hillyer,1875-1931)1875年出生于美國馬薩諸塞州韋茅斯,他在華盛頓特區的“國會山”度過其童年,畢業于美國哈佛大學。他是美國著名教育家、卡爾佛特學校首任校長、美國家庭學校(HOMESCHOOL)課程體系創建者。作為一位教育革新者,希利爾在美國國內和國際上獲得了廣泛聲譽和影響力。他從事教育工作的同時,親自為孩子們編寫教材,在課堂上試講并修訂,受到學校和學生們的贊譽,不少教材至今仍被學校使用。如《美國學生世界地理》、《美國學生世界歷史》、《美國學生藝術史》等。他一直探索家庭學校教育理念并設計其課程體系,寫作了一本家庭學校教育手冊——《在家教出好孩子》,成為父母教育孩子的指南。
PART I PAINTING 繪 畫
01 THE OLDEST PICTURES IN THE WORLD 世界上最古老的畫
02 WHAT’S WRONG WITH THIS PICTURE 這畫有毛病嗎
03 PALACE PICTURE PUZZLES 王宮拼圖
04 APRIL FOOL PICTURES 愚人畫
05 JARS AND JUGS 瓶罐上的畫
06 PICTURES OF CHRIST AND CHRISTIANS 基督畫像和基督徒的畫
07 THE SHEPHERD BOY PAINTER 牧童畫家
08 THE ANGEL-LIKE BROTHER 天使般的弟兄
09 BORN AGAIN PAINTERS 再生的畫家
10 SINS AND SERMONS 罪惡與布道
11 A GREAT TEACHER AND A “GREATEST” PUPIL 偉大導師和“最偉大”學生
12 THE SCULPTOR WHO PAINTED PICTURES 畫畫的雕刻家
13 LEONARDO DA VINCI 列奧納多 達 芬奇
14 SIX VENETIANS 六個威尼斯人
15 A TAILOR’S SON AND A MASTER OF LIGHT 裁縫之子和光影大師
16 FLEMINGS 佛蘭德斯人
17 TWO DUTCHMEN 兩個荷蘭人
18 ü AND JR. 丟勒和小霍爾拜因
19 FORGOTTEN AND DISCOVERED 遺忘與發現
20 SPEAKING OF SPANIARDS 話說西班牙畫家
21 LANDSCAPES AND SIGN-BOARDS 風景畫和廣告牌
22 STIRRING TIMES 動蕩的年代
23 A LATE START 后來居上
24 THREE ENGLISHMEN WHO WERE DIFFERENT 三個不同的英國人
25 SOME VERY POOR PAINTERS 幾位非常貧窮的畫家
26 THE MOST IMPORTANT PERSON 最重要的角色
27 POST-IMPRESSIONISM 后印象主義
28 EARLY AMERICANS 早期美國畫家
29 MORE AMERICANS 更多的美國畫家
30 TWO EUROPEAN AMERICANS 兩個歐洲美國人
31 REAL-MEN ARTISTS 真正的男子漢畫家
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 基路伯和國王
35 MARBLES 大理石雕像
36 STANDING NATURALLY 自然的站姿
37 THE GREATEST GREEK SCULPTOR 古希臘最偉大的雕刻家
38 AFTER PHIDIAS 菲迪亞斯之后
39 PLASTER CASTS 石膏摹制品
40 TINY TREASURES 寶石小雕
41 BAKED EARTH SCULPTURE 陶土雕刻
42 BUSTS AND RELIEFS 半身像和浮雕
43 STORIES IN STONES 石頭里的故事
44 THE GATES OF PARADISE 天國之門
45 A TREASURE HUNTER AND A SECRET 尋寶人和秘密
46 NEXT BEST AND BEST 最和第二的騎馬雕像
47 FOUR IN ONE 四合
48 CELLINI MAKES HIS PERSEUS 切利尼鑄造帕爾修斯銅像
49 A.M. OR AFTER MICHELANGELO 米開朗基羅前后
50 AN ITALIAN AND A DANE 一個意大利人和一個丹麥人
51 ON A POSTAGE STAMP 郵票上的雕像
52 A LION, A SAINT, AND AN EMPEROR 獅子、圣人和國王
53 A HANDSOME PRESENT 精美的禮物
54 THOUGHTS FOR THINKERS 思想者的思想
55 OUR OWN SCULPTURE 美國的雕刻
56 OUR BEST 美國最棒的雕刻家
57 DANIEL CHESTER FRENCH 丹尼爾 切斯特 佛蘭奇
58 WOMEN’S WORK 女雕刻家的作品
59 THE END OF THE TRAIL 路的盡頭
PART III ARCHITECTURE 建 筑
60 THE OLDEST HOUSE 最古老的房子
61 HOUSES FOR GODS 神 廟
62 MUD PIE PALACES AND TEMPLES 土餅宮殿和神廟
63 THE PERFECT BUILDING 的建筑
64 WOMAN’S STYLE BUILDING 女性風格的建筑
65 NEW STYLES IN BUILDINGS 建筑新風格
66 ROME WAS NOT BUILT IN A DAY 羅馬非一日所建
67 TRIMMINGS 裝飾物
68 EARLY CHRISTIAN 早期基督教建筑
69 EASTERN EARLY CHRISTIANS 早期東方基督教建筑
70 LIGHTS IN THE DARK 黑暗中的亮光
71 ROUND ARCHES 圓 拱
72 CASTLES 城 堡
73 POINTING TOWARD HEAVEN 直入云霄的建筑物
74 IN PRAISE OF MARY 贊美瑪利亞的建筑物
75 COUNTRY CATHEDRALS 鄉村大教堂
76 HERE AND THERE 歐洲各地
77 OPEN SESAME 芝麻開門
78 DOME TROUBLE 麻煩的圓頂
79 BACKWARD AND FORWARD 回顧過去,展望未來
80 THE HOMES OF ENGLAND 英國式住宅
81 TRADE-MARKS 有標記圖案的建筑物
82 BREAKING RULES 打破陳規
83 THE ENGLISH RENAISSANCE 英國文藝復興式建筑
84 FROM HUTS TO HOUSES 從茅屋到房屋
85 AL AND OL 首都和國會大廈
86 RAINBOWS AND GRAPE-VINES 彩虹和葡萄酒
87 THE SCRAPERS OF THE SKY 摩天大廈
88 NEW IDEAS 新思維
89 NONS AND SURS 非寫實和超現實
90 MORE MODERN PAINTERS 更多現代畫家
91 MODERN SCULPTURE 現代雕刻
THE OLDEST PICTURES IN THE WORLD
世界上最古老的畫
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?
中文閱讀]
我正在聽老師講課,可手里在玩鉛筆。
我課桌的桌面上有兩個相距約一英寸的小點。
我心不在焉地轉動手中的鉛筆,用筆尖在一個點上戳了一下,又在另一個點上戳了一下。兩個小點變成了一雙小眼睛。我在每只眼睛旁邊畫了個圈,又畫了個半圈,把兩個圓圈連起來,這就畫出了一副眼鏡。
第二天,我畫了鼻子和嘴巴,配合那雙眼睛和眼鏡。
第三天,我畫完了臉,還補充了耳朵和頭發。
第四天,我又加了一頂帽子。
第五天,我添上了身體部分:胳膊、腿和腳。
第六天,我還是拿鉛筆用力地畫著。我一遍又一遍地描著線直到把它們深深地印在我的課桌上。
第七天,我被老師逮個正著,但我也畫完了。
第八天,我爸收到了一張新課桌的賬單,而我卻得到了-- 算了,甭提我得到了什么吧。
“他可能會成為畫家。”母親說。
“但愿不會!”父親答道,“那要花掉我比一張新課桌多得多的錢。”好在上帝攔阻了。
據我所知,某所學校在大廳里放置了一塊大木牌,專供學生涂鴉。木牌上方刻著這樣一句話:
如果你想畫畫,就在這塊牌子上畫吧,
只是不要在課桌上畫。
如果把鉛筆放在某人手中,他就一定會畫點什么。他不管是在聽課還是在接電話,只要手頭有本便簽簿,他就會在上面畫些圈圈啦,臉蛋啊,或者是三角形和正方形什么的。要不他就會在課桌或墻壁上涂畫,因為他總得要畫點什么。你看見過沒有被亂涂亂畫的電話簿嗎?這就是人的本性。這表明你是一個真正的人。
如今,動物可以學做許多人類能做的事情,但有一件事動物學不會,那就是畫畫。狗能用兩條腿學走路,甚至幫人取報紙;熊能學會跳舞;馬能學會數數;猴子可以學用杯子喝水;鸚鵡可以學舌;但是只有人類才能學會畫畫。
每一個男孩或女孩都在童年時代的某個時候畫過些什么。難道不是嗎?你或許畫過馬或房子,船或汽車,狗或貓。這狗被你畫得就像貓,或像一條毛毛蟲,但即便如此,你還是比任何動物都強。
甚至生活在很久以前的原始人也能畫畫。那時還沒有房屋,他們全身長著長長的毛發,只住在洞穴里過著幾乎和野獸一樣的生活。那時候沒有紙和筆。他們在穴壁上畫畫。這些圖畫沒有裝裱懸掛在墻上,而是直接畫在洞壁和洞頂上。
這些圖畫有的只是涂鴉或刻在洞壁上,有的是后來才畫上去的。當時人們所用的顏料是由一種摻雜著動物油脂的有色粘土混合制成的,通常只有紅黃色,或者就用鮮血做顏料,開始是紅色,后來幾乎就變成了黑色。有些圖畫看起來就像是用一根燒焦的木棒頭畫的,就像我們用一根燒過的火柴頭畫一個黑色標志。還有些圖畫是刻在骨頭上的,比如鹿角或象牙。
現在來猜想一下這些穴居人畫的是什么?如果讓你隨意畫幅畫--也就是畫什么都行。試試看吧。你畫的可能是以下五種事物中的一種。我首先猜的是貓,第二次猜了帆船或汽車,第三次猜的是房子,第四次猜的是樹或花,才猜了人。還會猜出其他什么呢?
其實,穴居人只畫了一種東西。不是男人,不是女人,不是樹、不是花,也不是風景。他們主要畫的是動物。你認為他們畫的是哪種動物呢?狗?不,不是狗。馬?不,不是馬。獅子?不,也不是獅子。他們通常畫的是一些大型和奇特的動物。但這些動物都畫得栩栩如生,這使我們知道這些動物的長相。下圖是一個幾千年前的穴居人畫的畫。
我們看得出這畫的是某種動物,但不是貓,也不是毛毛蟲。那是他們那個時代特有的某種動物。它看起來像一頭象,而它的確就是象的一種--巨象。它的耳朵沒有我們現在的象那么大,還長著長長的毛發。現在的象有獸皮或毛皮,但幾乎沒有毛發。我們把圖上的動物稱為猛犸(又名毛象)。毛象的毛發很長,因為那時候天氣寒冷,而長毛可以保暖。但它比我們現在的象大很多很多。
如今猛犸早已絕種,但人類已經找到了它們的骨頭,并把它們放在一起拼成了一個大型骨架。我們現在仍將龐然大物稱作“猛犸”。你可能聽說過肯塔基州的猛犸洞穴。它被稱作猛犸洞并不是因為猛犸在這洞里住過,實際并沒住過,而僅僅因為這是一個非常大的洞穴。
除了猛犸,穴居人還畫過其他動物。其中有種野牛,就是水牛。水牛的圖片可以在美國的5 分硬幣上看到。它看起來像一頭公牛。在西班牙,有個小女孩曾和她的父親一起走進一個洞穴,他們按著箭頭,爸爸在地上尋找,小女孩卻盯著洞頂打量。她看見洞頂上畫了一群她以為是公牛的動物。她大喊一聲,“看,公牛!”她爸爸還以為她看見了真的公牛,喊道:“在哪?在哪?”
他們畫的其他動物和我們今天有的這些動物差不多--馴鹿、長角鹿,還有熊和狼。
穴居人畫畫的穴洞十分昏暗,因為那兒根本就沒開窗。的光亮就是某種壁燈發出的昏暗的光。那他們干嗎要畫畫呢?這些圖畫不可能僅僅只是為了裝飾洞壁,就像我們在墻上掛畫一樣,因為洞穴里實在是太暗了。我們認為穴居人畫畫是為了祈求好運,就像人們把馬蹄鐵放在門頭上企盼吉祥是一樣的。或者他們是要講述一個故事或就是記下捕殺的某種動物。或許他們不得不畫畫,就像現在的孩子們在小木屋,甚至有時候在自家的墻上畫畫一樣,或干脆就在課桌上畫。
這些原始人--多須長毛的穴居人-- 畫的是世界上最古老的畫。但這些藝術家早在幾千年前就去世了。你認為你所制作的任何東西能像那些畫一樣持久嗎?
……
讀了一點,英文的后面是中文翻譯,其他沒有啦,就當欣賞啦!
書寫的淺顯,引人入勝 ,雙語版還可以提高英語水平,
以為講的是對具體繪畫或者建筑之類的分析鑒賞,實際上內容是對某類文化背景的分析。商品描述不符實。全部圖案都是黑白的。
內容很不錯。如果印刷再精美一點就更好了,圖片就可以看得更清楚。
為兒子買的,增加他的英文閱讀,因為是雙語有下載,所以就買了。書的品質很好。
這套書很好,尤其是對準備到國外繼續升學的孩子。
用語簡練幽美,有趣易讀,想一窺西洋藝術又兼顧英文學習,此書絕對是首選。
非常可惜圖片不是彩色的,還算可以吧。喜歡這作者寫的書。
為女兒買的,提高閱讀能力,瞭解美國藝術史
買了這本這套書就齊了。雖然內容只寫了個大概,不詳細,看得吊人胃口。對于擴展知識面來說,適合小學生,但對于練習英語來說,沒過英語四級的都可以看。
這套書非常不錯,對將來想要去留學的孩子是一套不錯的參考學習書。也可以好好學英文。
真心希望當當在圖書包裝上能好一些,發過來包都壓了
我的小學中學的美術課,要么是老師讓學生們在本本上按主題涂鴉,下課前交上去,不知畫作好壞,總之自此不知所蹤;要么就是上自習或是被主課取代。留在印象中的僅剩下課本上一些名畫的外觀,還是由于平時聽到太多關于他們的軼事。相信不止我一個人經歷過這樣的藝術教育,以至于太多的國人去美術館大多只是沖著與名畫合影,留下到此一游的印跡。與周圍恨不得把某幅畫看穿的的西方游客相比,我們腦海里對藝術的解讀只有一幅圖和一個滾瓜爛熟的名字而已。在《美國學生藝術史》這套書里,我看到的是一幅幅畫作后面的故事——關乎于畫家、畫作、繪畫流派風格,通俗易懂、還有…
對于我兒子的年齡來說可能有點早,但我覺得有些東西早接觸些總是好的吧。書本漢英對照,很有利于孩子的英語學習。
品相好內容也不錯。個人覺得值得購買,值得閱讀,值得收藏。要是彩圖就更好!!支持當當!!
學習英文不錯,又學習了藝術史,視角也不同,通過故事娓娓道來.就是插圖是黑白的,本以為是彩色的.
跟想象的不太一樣 不過的確比較便宜 我推薦買電子版
是對藝術史的簡要介紹,遺憾的是這種歐美的書籍介紹面比較窄,常常忽略亞洲
了解一下美國學生對藝術史的學習途徑和教授方法
以為是希利爾寫給兒童的那套的更詳細版,結果發現一摸一樣的雙語版,當學習英語了
綜合價值來講,這是希利爾的書中最有價值的一個版本,雙語分開閱讀,朗讀可以免費下載,廣告頁上有地址*譯文也很準確流暢*性價比很高的一個版本*
趁當當活動收入的書,好書值得收藏、值得推薦!給孩子買的
包裝不錯。講述藝術歷史。感覺很好。學習英語不錯。
寫得很不錯,很地道的英語,能夠通過本書了解國外藝術教學的思路,以及專業英語的表述方法。
翻了下,這種講藝術的書不該買這種版本,一點也不精美,不吸引人。
慢慢看吧。現在的全民英語簡直感覺是賣國賊要逼的我們忘掉自己的文化和文字。作為平民百姓,不從重連個立足之地都沒有。
清晰而引人入勝的內容、精致的藝術圖片,使其不同于其他關于藝術史的教材。
讓我們學習到美國學生如何學習藝術史,從不同文化角度不同的視野去看待藝術,很好