艺术是一个开放的、流动的体系,艺术的含义是变化的,没有固定不变的艺术规则。在英语中也有许多关于写艺术的作文题材，那你想知道写艺术的英语作文怎么写吗?下面是小编收集整理的一些写艺术的英语作文，大家一起来看看吧!
写艺术的英语作文1：
生活的艺术The art of living is to know when to hold fast and when to let go.For life is a paradox: it enjoins us to cling to its many gifts even while it ordains their eventual relinquishment. The rabbis of old put it this way:”A man comes to this world with his fist clenched, but when he dies, his hand is open. ”
Surely we ought to hold fast to lift, for it is wondrous, and full of a beauty that breaks through every pore of God’s own earth. We know that this is so,but all too often we recognize this truth only in our backward glance when we remember what was and then suddenly realize that it is no more.
We remember a beauty that faded, a love that waned. But we remember with far greater pain that we did not see that beauty when it flowered, that we failed to respond with love when it was tendered.
Hold fast to life but not so fast that you cannot let go. This is the second side of life’s coin, the opposite pole of its paradox: we must accept our losses, and learn how to let go.
译文：
生活的艺术在于懂得什么时候追求，什么时候放弃。因为生活就是一个矛盾体：它要我们紧紧抓住它赐予我们的生命之礼，然后最终又让它们从我们手中跑掉。老先生们说：“人们紧握着拳头来到这个世界上，离开这个世界时却摊开了双手。”
当然我们应该紧紧把握生活，因为它美妙得不可思议，充满了从上帝的每个毛孔里蹦出来的美。我们都清楚这一点，但我们常常只有在回首往事时才会想去过去，才会突然意识到过去永远地消逝了，才会承认这个道理。
我们都记得美的褪去，爱的老去。但我们更痛苦地记得美正艳时，我们却没有发现，爱正浓时，我们却没有回应。
写艺术的英语作文2：
Noninvasive Technique Gauges Art Canvas Health
非破坏性的技术检验艺术作品画布健康状况
Iconic works of art get exhibited worldwide. But as those paintings age, they can become too fragile to withstand travel around the globe. The paint can be visually examined to gauge its integrity. But the only way to check the canvas had been to remove a piece destructively.
标志性的艺术作品在世界各地展出。但是随着这些画年岁的增长，它们可能经不起世界各地的旅行了。可以通过观察检验画作的完整性。但是检验画布的方法只能是破坏性的扯下一块。
So a team of researchers in Europe devised a new method for diagnosing the health of old paintings similar to testing blood sugar without using a needle.
因此，一个欧洲的研究团队发明了一种新方法，这种新方法可以检查古画的健康状况，类似于无针监测血糖。
The scientists took samples from nearly 200 old canvases or canvas linings from the 19th and 20th centuries. They shined infrared light on the fabric to assess the type of fibers and their relative fragility. With those results as a reference, the scientists then scanned 12 paintings by Salvador Dalí.
科学家从19和20世纪将近200块古画布或者帆布衬里取样。他们用红外线照射这些布料，从而评估不同的纤维以及它们的脆弱程度。用这些结果作为参考，科学家接着扫描了萨尔瓦多达利的十二幅作品。
Luckily, all 12 are still in stable traveling condition. But they found that the oldest Dalís are starting to weaken. The research is in the journal Analytical Methods.
幸运的是，这十二幅作品还都适合旅行展出。但是他们发现达利最老的作品有些开始变差了。这项研究发表在《分析方法》杂志上
The scientists stress that the technique has only been validated for 19th- and 20th-century canvases with no synthetic fibers. But Dalí would have appreciated this marriage of science and art. After all, one of his works is called Homage to Crick and Watson.
科学家强调，这项技术只适合分析没有合成纤维的19到20世纪的作品。但是达利应该会对这次科学和艺术的结合很高兴。毕竟，他的一幅作品叫做参拜克里克和沃森。
写艺术的英语作文3：
中国古代建筑艺术
Chinese architecture is an independent art featuring wooden structures. It consists of various roof molding, upturned eaves and wings, dougong with paintings, vermilion pillars and golden roofs, ornament gates and gardening. All of these embody the maturity and artistic appeal of Chinese architecture. 7000 years ago, mortise and tenon and tongue-and-groove were used in Hemudu. The buildings of Banpo village had the division of antechamber and back rooms. Great palaces were built in Shangyin period. Bricks and tiles were used and the layout of Siheyuan emerged in the Western Zhou. There are even building drawings in Spring and Autumn and the Warring States periods passed down.
中国建筑体系是以木结构为特色阳的建筑艺术。传统建筑叫种屋顶造型、飞檐翼角、斗拱彩画、朱柱金顶、内外装修门及园林景物等，充分体现出中国建筑艺术的纯熟和感染力。七千年前河姆渡文化中即有桦卵和企口做法。半坡村已有前堂后室之分。商殷时已出现高大宫室。西周时已使用砖瓦并有四合院布局。春秋战国时期更有建筑图传世。京邑台栅宫室内外梁柱、斗拱上均作装饰，墙壁上饰以壁画。
In Qin and Han, wooden building tended to be mature gradually. Complex buildings, like Epang Palace, were constructed. Temples and pagodas developed rapidly in the period of Weijin and Southern and Northern dynasties. Glass tiles used in Sui and Tang made the building more glorious. The city construction in the period of Five dynasties and Song was booming. Luxury restaurants and shops with lofts and railings were very beautiful. Many palaces and private gardens built in Ming and Qing are reserved today, which are more magnificent and stately than that of the Song Dynasty.
秦汉时期木构建筑日趋成熟，建筑宏伟壮观，装饰丰富，舒展优美，出现了阿房宫等庞大的建筑组群。魏晋南北朝时期佛寺、佛塔迅速发展。隋唐时期建筑采用琉璃瓦，更是富丽堂皇。五代、两宋都市建筑兴22，商业繁荣，豪华的酒楼、商店各有飞阁栏槛，风格秀丽。明清时代的宫殿苑固和私家园林保存至今者尚多，建筑亦较宋代华丽繁琐、威严自在。
写艺术的英语作文4：
科学与艺术
I beg leave to thank you for the extremely kind and apprieciative manner in which you have received the toast of science.It is the more grateful to me to hear that toast proposed in an assembly of this kind. Because I have noticed of late years a great and growing tendency among those who were once jestingly said to have been born pre-scientific age to look upon science as an invading and aggressive force, which of it had find its own way, it would oust from the universe all other pursuits. I think there are many persons wholook upon the new birth of our times as a sort of monster rising out of the sea of modern thought with thepurpose of devouring the Andromeda of art.And now and then a Perseus, equipped with the shoes of swiftnessof the ready writer, and with the cap of invisibility of the editorial article,and it may be with the Medusa head of vituperation, shows herself ready to try conclusions with the scientific dragon. Sir, I hope that Perseus should think better of it. First, for the sake of his own, because the creature is hard of head,strong of jaw,for some time past has shown a great capacity for going over and through whatever comes in his way; and secondly, for the sake of justice, for I assure you, of my own personal knowledge if left alone, the creature is a very debonair and gentle monster.As for the Andromeda of art, the creature has the tenderest respect for the lady, and desires nothing more than to see her happily settled and annually pruducing a flock of such charming children as those we see about us.
But putting parables aside, I am unable to understand how any one with a knowledge of mankind can imagine that the growth of science can threaten the development of art in any of its forms. If I understand the matter of all, science and art are the obverse and reverse of the Nature's medal; the one expressing the external order of things, in terms of feeling, and the other in terms of thought. When men no longer love norhate; when suffering causes no pity, and the tale of great deeds ceases to thrill. when the lily of the field shall seem no longer more beautifully arrayed than the Solomon in all his glory, and the owe has vanished from the snow-capped peak and deep ravine, and indeed the science may have the world to itself, but itwill not be because the monster has devoured the art, but because one side of human nature is dead, and because men have lost half of their ancient and present attributes.
请允许我为你们如此友善和赞赏地为科学干杯而深表感谢。我尤其感激在这般友善的大会上来为科学祝酒。因为事实上近些年我确实发现有些戏称自己是在前科学时代出生的人，正在酝酿一股很强大而且日渐强大的倾向，将科学视为入侵和占领的势力，而且若假以时日，必将我们宇宙其他的事物驱逐出去。我想有很多人认为我们的时代是从现代头脑中爆发的怪物，目的就是要吞噬掉艺术的安德洛默达。时不时的，还有一位珀尔修斯，脚蹬写作快手之超速鞋，头戴社论文章之阴形帽，或许还安着充斥漫骂之词的“美杜沙之脑”威风凛凛，大有与科学之龙一比高下的气势。但是，各位绅士，我劝这位珀尔修斯先生三思而行。首先，为了他自己的安全着想，因为这怪物脑壳坚硬，口鄂强壮，从它过往的经历可以看出它所到之处，势如破竹，所向披靡，无人能拦，实不易对付。再者，为正义说句话，我可以向你们保证，以我愚见，只要放任不管，它还是一个温而文雅，无比绅士的怪物。至于艺术的安德洛默达，此怪物穷其所有的敬仰，别无他求，只希望看到她能够安居乐业，每年都能生一大群如我们所见的快乐迷人的小孩子。
不过撇去那些比喻，我实在不能理解那些有一点人文知识的人为什么会担心科学的进步怎么就会威胁到艺术的发展。依我所见，科学和艺术实乃大自然这枚圣牌的正反两面，一个以情感的方式表达了事物的外在规律，而另外一个则是一理性的方式。当人类不再爱，也不再恨;当苦难不再引起怜悯;当壮举不再让人激动，当山野的百合花还比不上所罗门的荣光，当雪山之巅和万丈深渊不再博得敬畏，那么科学是真的统治了这个世界。但是那不是因为怪物吞噬了艺术，而是因为人性的另一面已经死亡，而是因为人类已经失去了他们从古到今的天性。
写艺术的英语作文5：
英国画家劳里的工业英国画作
British artist LS Lowry's paintings of industrial, working-class Britain brought him popular famein the UK. Yet his works have never been the subject of a solo exhibition abroad - until now.
英国画家LS 劳里的画作描述了工业时代下的、工人阶级的英国，因此在英国名声大噪。然而，他的画作从来没有单独在国外展览，但如今不是了。
LS Lowry, with his depictions of everyday northern life, is one of Britain's best loved painters.Popular he may be, but since his death in 1976, there have been accusations that the British artestablishment has turned its back on him, finding his subject matter too working class.
LS 劳里的画作描述了北方民众的日常生活，他因此成为英国最受追捧的画家之一。尽管他为人喜爱，但在1976年去世后，就有传言称英国画界把他抛在脑后，称他的作品的“工人阶级”味道过了头。
There's been public pressure for major galleries to do more to celebrate him and last year theTate Britain put on a Lowry show. But remarkably, for such an icon of modern British art, nosolo exhibition of his work has ever been held outside the UK. Until now. A collection ofLowry paintings is being shown at an exhibition in Nanjing in eastern China.
大型美术馆若想庆祝他的作品，是要顶着公众的压力的，泰特博物馆去年办了一场劳里的美术展。但值得注意的是，即使对于这样一个现代英国艺术的标志性人物，他的个人展出也仅限于英国国内。但如今不是了。在中国东部的城市南京，劳里的组画正在展览进行时。
Lowry's canvases depict a side of British life that's now gone. The one above, Mill Scene, from1965, is reminiscent of many of his paintings, with its smoke stacks and hurrying crowds ofworkers.
劳里的画作里所描述的那些英国人的生活景象已经远去。上边的一张图是米尔辛1965年的作品，让人想起了他许多的旧作，里边画着林立的烟囱和疾行的工人们。
Lowry's subject matter may now be Britain's past but it is, of course, very much a part ofChina's present day. This is a photograph of one of Beijing's train stations ahead of ChineseNew Year when millions of migrant workers flock away from their factory production lines andhead home.
如今看来，劳里的主题描述的是英国的过去，然而，当然了，很大程度上是中国的现在。这张图展示的是北京站以及成百万的外来务工人员在农历春节返乡的景象，他们从工厂的生产线里解放了，返乡了。
The exhibition came about following the chance meeting of Xiao Lang, a Chinese artconsultant, and Andrew Kalman.
中国美术顾问的小浪和安德鲁卡曼偶遇使得画展得以成行。
Kalman's father, Andras, was a private gallery owner in Manchester and a close personal friendof Lowry. He agitated for British art institutions to promote Lowry's work overseas, but nosolo exhibition was ever held outside the UK in either his or the painter's lifetime.
卡曼的父亲安德拉斯是曼彻斯特的一家私人美术馆馆主，和劳里的私交甚好。他呼吁英国美术界向海外推广劳里的画作，但是在安德拉斯或是劳里的有生之年，劳里的个人画作始终未在英国以外的地方展出。
The curators hope Lowry's paintings will resonate with Chinese audiences because they will seeechoes of their own economic development and the problems it causes.
美术馆长们希望劳里的画作可以让中国的观赏者产生共鸣，因为他们可以在这些画里看到自家的经济发展及其带来的问题。
Lowry was not a political painter and this is not socialist art. He was, after all, for most of hisworking life, a rent collector.
劳里不是一个有政治倾向的画家，这些画作也与社会主义无关。毕竟，他的一生中，大多出时间都用来收房租。
But there is great affection for his subject matter and his very painting of it suggests a deeprespect for the working communities that he was surrounded by.
然而，他的题材仍受到广泛的喜爱，他的最好的画作传达出对身边的工人群体的浓浓的敬意。
Rising Street, undatedThe people Lowry painted, like so many Chinese migrants today, weredoing hard work for little pay.
劳里画笔下的人们就像是许多如今的中国外来务工者，做着苦工，挣着小钱。
Cai Su Yun, a street cleaner in Nanjing stands in front of her favourite picture in the exhibition- Rising Street. She likes the dogs. "It's nice that he painted working people," she tells me. "Doyou feel a connection?" I ask. "Everywhere, we're all the same," she says.
蔡素云，南京的一名道路清洁工，站在他最喜欢的展画——莱辛大街前。她喜欢狗，“他画了工作的人们，画的真好。”她对我说。“你感觉到自己和画的关联吗?”我问，“关联到处都在，我们简直是一模一样。”她说。
Some see in Lowry's decades of work, not a depiction of industrial strength, but a bleakportrayal of long industrial decline. Alongside the parallels with the present, Chinese audiencesmay well find hints and warnings about the future.
劳里的几十年间的画作，在一些人看来，描述的并不是工业盛世，而是黯淡而长期的工业萧条。今日与昨日相比，中国的观众也许很容易找到未来的迹象和启示。
