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1 artistic photography
Большой англо-русский и русско-английский словарь > artistic photography
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2 artistic photography
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3 artistic photography
Техника: художественная фотография -
4 artistic photography
English-Russian scientific dictionary > artistic photography
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5 photography
1) фотография
2) светопись
– aerial photography
– applied photography
– artistic photography
– black-and-white photography
– color photography
– composite photography
– documentary photography
– half-tone photography
– high-speed photography
– instantaneous photography
– lensless photography
– pictorial photography
– shadow photography
– single-frame photography
– snapshot photography
– time-lapse photography
– underwater photography
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6 photography
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7 artistic
ɑ:ˈtɪstɪk прил.
1) артистический
2) художественный artistic photography ≈ художественная фотография Syn: tasteful Ant: displeasing, distasteful, gaudy, inartistic, shoddy, tasteless, anaestheticартистический - * temperament артистический темперамент художественный - * skill художественное мастерство артистичный;
любящий и понимающий искусство - she is very * она очень артистична;
она разбирается в искусстве эстетический - * principles эстетические приципы мастерской;
высокопрофессиональный - * handling of a delicate situation профессиональный выход к решению щекотливого вопросаartistic артистический ~ художественныйБольшой англо-русский и русско-английский словарь > artistic
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8 artistic
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9 artistic
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10 художественная фотография
Большой англо-русский и русско-английский словарь > художественная фотография
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11 Art
Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome. -
12 Cros, Hortensius Emile Charles
[br]b. 1 October 1842 Fabrezan (Aude), Franced. 9 August 1888 Paris, France[br]French inventor of chromolithography and the principles of reproducible sound recording.[br]He received no formal education, but was brought up by his father, a distinguished teacher and philosopher. He dabbled in diverse subjects (modern and ancient languages, mathematics, drawing) in 1856–60 when he became an instructor at the institute of the Deaf-Mute at Paris. He became a prolific inventor and poet and took part in artistic life in Paris. In the 1867 Exposition Universelle in Paris, Cros contributed a facsimile telegraph; he deposited with the Académie des Sciences a sealed text on photography which was not opened until 1876. In the meantime he published a small text on a general solution of the problem of colour photography which appeared almost simultaneously with a similar publication by Louis Ducos du Hauron and which gave rise to bitter discussions over priority. He deposited a sealed paper on 18 April 1877 concerning his concept of apparatus for recording and reproduction of sound which he called the paléophone. When it was opened on 3 December 1877 it was not known that T.A. Edison was already active in this field: Cros is considered the conceptual founder of reproducible sound, whereas Edison was the first "to reduce to practice", which is one of the US criteria for patentability.[br]BibliographyFrench patent no. 124, 213 (filed 1 May and 2 August 1878).Further ReadingLouis Forestier, 1969, Charles Cros: L'Homme et l'oeuvre, Paris: Seghers.GB-NBiographical history of technology > Cros, Hortensius Emile Charles
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13 Cousteau, Jacques-Yves
SUBJECT AREA: Ports and shipping[br]b. 11 June 1910 Saint-André-de-Cubzac, France[br]French marine explorer who invented the aqualung.[br]He was the son of a country lawyer who became legal advisor and travelling companion to certain rich Americans. At an early age Cousteau acquired a love of travel, of the sea and of cinematography: he made his first film at the age of 13. After an interrupted education he nevertheless passed the difficult entrance examination to the Ecole Navale in Brest, but his naval career was cut short in 1936 by injuries received in a serious motor accident. For his long recuperation he was drafted to Toulon. There he met Philippe Tailliez, a fellow naval officer, and Frédéric Dumas, a champion spearfisher, with whom he formed a long association and began to develop his underwater swimming and photography. He apparently took little part in the Second World War, but under cover he applied his photographic skills to espionage, for which he was awarded the Légion d'honneur after the war.Cousteau sought greater freedom of movement underwater and, with Emile Gagnan, who worked in the laboratory of Air Liquide, he began experimenting to improve portable underwater breathing apparatus. As a result, in 1943 they invented the aqualung. Its simple design and robust construction provided a reliable and low-cost unit and revolutionized scientific and recreational diving. Gagnan shunned publicity, but Cousteau revelled in the new freedom to explore and photograph underwater and exploited the publicity potential to the full.The Undersea Research Group was set up by the French Navy in 1944 and, based in Toulon, it provided Cousteau with the Opportunity to develop underwater exploration and filming techniques and equipment. Its first aims were minesweeping and exploration, but in 1948 Cousteau pioneered an extension to marine archaeology. In 1950 he raised the funds to acquire a surplus US-built minesweeper, which he fitted out to further his quest for exploration and adventure and named Calypso. Cousteau also sought and achieved public acclaim with the publication in 1953 of The Silent World, an account of his submarine observations, illustrated by his own brilliant photography. The book was an immediate success and was translated into twenty-two languages. In 1955 Calypso sailed through the Red Sea and the western Indian Ocean, and the outcome was a film bearing the same title as the book: it won an Oscar and the Palme d'Or at the Cannes film festival. This was his favoured medium for the expression of his ideas and observations, and a stream of films on the same theme kept his name before the public.Cousteau's fame earned him appointment by Prince Rainier as Director of the Oceanographie Institute in Monaco in 1957, a post he held until 1988. With its museum and research centre, it offered Cousteau a useful base for his worldwide activities.In the 1980s Cousteau turned again to technological development. Like others before him, he was concerned to reduce ships' fuel consumption by harnessing wind power. True to form, he raised grants from various sources to fund research and enlisted technical help, namely Lucien Malavard, Professor of Aerodynamics at the Sorbonne. Malavard designed a 44 ft (13.4 m) high non-rotating cylinder, which was fitted onto a catamaran hull, christened Moulin à vent. It was intended that its maiden Atlantic crossing in 1983 should herald a new age in ship propulsion, with large royalties to Cousteau. Unfortunately the vessel was damaged in a storm and limped to the USA under diesel power. A more robust vessel, the Alcyone, was fitted with two "Turbosails" in 1985 and proved successful, with a 40 per cent reduction in fuel consumption. However, oil prices fell, removing the incentive to fit the new device; the lucrative sales did not materialize and Alcyone remained the only vessel with Turbosails, sharing with Calypso Cousteau's voyages of adventure and exploration. In September 1995, Cousteau was among the critics of the decision by the French President Jacques Chirac to resume testing of nuclear explosive devices under the Mururoa atoll in the South Pacific.[br]Principal Honours and DistinctionsLégion d'honneur. Croix de Guerre with Palm. Officier du Mérite Maritime and numerous scientific and artistic awards listed in such directories as Who's Who.Bibliography1953, The Silent World.1972, The Ocean World of Jacques Cousteau, 21 vols.Further ReadingR.Munson, 1991, Cousteau, the Captain and His World, London: Robert Hale (published in the USA 1989).LRD -
14 Klic, Karol (Klietsch, Karl)
[br]b. 31 May 1841 Arnau, Bohemia (now Czech Republic)d. 16 November 1826 Vienna, Austria[br]Czech inventor of photogravure and rotogravure.[br]Klic, sometimes known by the germanized form of his name Karl Klietsch, gained a knowledge of chemistry from his chemist father. However, he inclined towards the arts, preferring to mix paints rather than chemicals, and he trained in art at the Academy of Painting in Prague. His father thought to combine the chemical with the artistic by setting up his son in a photographic studio in Brno, but the arts won and in 1867 Klic moved to Vienna to practise as an illustrator and caricaturist. He also acquired skill as an etcher, and this led him to print works of art reproduced by photography by means of an intaglio process. He perfected the process c.1878 and, through it, Vienna became for a while the world centre for high-quality art reproductions. The prints were made by hand from flat plates, but Klic then proposed that the images should be etched onto power-driven cylinders. He found little support for rotary gravure, or rotogravure, on the European continent, but learning that Storey Brothers, textile printers of Lancaster, England, were working in a similar direction, he went there in 1890 to perfect his idea. Rotogravure printing on textiles began in 1893. They then turned to printing art reproductions on paper by rotogravure and in 1895 formed the Rembrandt Intaglio Printing Company. Their photogra-vures attracted worldwide attention when they appeared in the Magazine of Art. Klic saw photogravure as a small-scale medium for the art lover and not for mass-circulation publications, so he did not patent his invention and thought to control it by secrecy. That had the usual result, however, and knowledge of the process leaked out from Storey's, spreading to other countries in Europe and, from 1903, to the USA. Klic lived on in a modest way in Vienna, his later years troubled by failing sight. He hardly earned the credit for the invention, let alone the fortune reaped by others who used, and still use, photogravure for printing long runs of copy such as newspaper colour supplements.[br]Further ReadingObituary, 1927, Inland Printer (January): 614.Karol Klic. vynálezu hlubotisku, 1957, Prague (the only full-length biography; in Czech, with an introduction in English, French and German).S.H.Horgan, 1925, "The invention of photogravure", Inland Printer (April): 64 (contains brief details of his life and works).G.Wakeman, 1973, Victorian Book Illustration, Newton Abbot: David \& Charles, pp. 126–8.LRDBiographical history of technology > Klic, Karol (Klietsch, Karl)
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15 director
dɪˈrektə сущ.
1) должностное лицо в иерархии таких лиц а) директор, член совета директоров, член правления The theatre was turned permanently into an opera-house. The director was Mr. Frederick Beale. ≈ Театр окончательно стал оперой. Директором был назначен мистер Фредерик Бил. I was hired in the family of an East India director. ≈ Меня наняла семья одного из директоров Ост-Индской компании. managing director acting director director-general б) руководитель, начальник program director в) воен. начальник управления г) ист. директор (одно из высших должностных лиц во Франции при Директории)
2) лицо направляющее а) муз. дирижер Syn: conductor б) режиссер, кинорежиссер, постановщик The director shouts "curtain up". ≈ Режиссер кричит "поднять занавес!". casting director в) церк. духовник (особенно в римско-католической конфессии) ∙ Syn: guide, conductor
3) а) воен. буссоль б) воен. прибор управления артиллерийским огнем в) воен. руль, киль торпеды г) ист. в рукописном деле: маленькая буква или слово, начертанное писцом в первой строке абзаца для дальнейшего использования иллюстратором, который нарисует ее фигурно д) мед. инструмент, направляющий скальпель или ножницы при разрезе е) геом. то же, что directrix director-plane director-circle член правления, директората;
директор - board of *s правление руководитель, начальник - * of public prosecutions главный прокурор - * of studies руководитель исследований - * of photography (кинематографический) главный оператор режиссер, режиссер-постановщик;
продюсер - assistant * помощник режиссера - artistic * художественный руководитель дирижер (церковное) духовный отец, духовник ( специальное) буссоль (американизм) (военное) прибор управления артиллерийским, зенитным огнем (радиотехника) директор (антенна) (техническое) направляющее устройство director: alternate ~ заместитель директора art ~ (AD) руководитель отдела художественного оформления рекламы art ~ руководитель отдела художественного оформления рекламы assistant art ~ заместитель руководителя отдела художественного оформления рекламы associate ~ заместитель директора chief ~ главный директор company ~ директор компании creative ~ рекл. художественный руководитель deputy ~ заместитель директора deputy ~ заместитель руководителя deputy ~ заместитель управляющего deputy managing ~ заместитель директора-распорядителя director воен. буссоль;
прибор управления артиллерийским огнем ~ директор ~ дирижер (оркестра, хора) ~ церк. духовник ~ начальник ~ воен. начальник управления ~ (кино) режиссер ~ руководитель ~ руководитель ~ член правления;
директор;
managing director заместитель директора по административно-хозяйственной части, управляющий ~ член правления Director: Director: ~ of Public Prosecutions (DPP) генеральный прокурор (Великобритания) director: director: alternate ~ заместитель директора executive ~ директор-распорядитель executive ~ исполнительный директор finance ~ заведующий финансовым отделом finance ~ начальник финансового отдела group managing ~ директор-распорядитель группы компаний joint managing ~ содиректор joint managing ~ член правления ~ член правления;
директор;
managing director заместитель директора по административно-хозяйственной части, управляющий director: managing ~ директор-распорядитель managing: ~ руководящий, ведущий;
managing director директор-распорядитель marketing ~ заведующий отделом сбыта nonexecutive ~ член правления park ~ управляющий парком project ~ руководитель проекта sales ~ директор по сбыту stage ~ режиссер, постановщик working ~ представитель трудового коллектива в совете директоровБольшой англо-русский и русско-английский словарь > director
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16 director
[d(a)ıʹrektə] n1. член правления, директората; директор2. руководитель, начальникdirector of photography - кино главный оператор
3. режиссёр, режиссёр-постановщик; продюсер4. дирижёр5. церк. духовный отец, духовник6. 1) спец. буссоль2) амер. воен. прибор управления артиллерийским, зенитным огнём8. тех. направляющее устройство -
17 director
n1) директор; керівник; начальник; управитель2) режисер, режисер-постановник, продюсер3) диригент4) церк. духовний отець, духівник5) військ. бусоль6) амер., військ. прилад управління артилерійським зенітним вогнем7) тех. напрямний пристрій* * *n1) член правління, директорату; директор2) керівник, начальникdirector of photography — кiнo головний оператор
3) режисер, режисер-постановник; продюсер4) диригент5) цepк. духівник6) cпeц. бусоль; aмep.; вiйcьк. прилад керування артилерійським, зенітним вогнем7) paд. директор ( антена)8) тex. напрямний пристрій -
18 director
n1) член правління, директорату; директор2) керівник, начальникdirector of photography — кiнo головний оператор
3) режисер, режисер-постановник; продюсер4) диригент5) цepк. духівник6) cпeц. бусоль; aмep.; вiйcьк. прилад керування артилерійським, зенітним вогнем7) paд. директор ( антена)8) тex. напрямний пристрій
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