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III VISION
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It is necessary to say something about Vision in the first place, if we are to have any grasp of the idea of form.
An act of vision is not so simple a matter as the student who asked her master if she should "paint nature as she saw nature" would seem to have thought. And his answer, "Yes, madam, provided you don't see nature as you paint nature," expressed the first difficulty the student of painting has to face: the difficulty of learning to see.
Let us roughly examine what we know of vision. Science tells us that all objects are made visible to us by means of light; and that white light, by which we see things in what may be called their normal aspect, is composed of all the colours of the solar spectrum1, as may be seen in a rainbow; a phenomenon caused, as everybody knows, by the sun's rays being split up into their component2 parts.
This light travels in straight lines and, striking objects before us, is reflected in all directions. Some of these rays passing through a point situated3 behind the lenses of the eye, strike the retina. The multiplication4 of these rays on the retina produces a picture of whatever is before the eye, such as can be seen on the ground glass at the back of a 39photographer's camera, or on the table of a camera obscura, both of which instruments are constructed roughly on the same principle as the human eye.
These rays of light when reflected from an object, and again when passing through the atmosphere, undergo certain modifications6. Should the object be a red one, the yellow, green, and blue rays, all, in fact, except the red rays, are absorbed by the object, while the red is allowed to escape. These red rays striking the retina produce certain effects which convey to our consciousness the sensation of red, and we say "That is a red object." But there may be particles of moisture or dust in the air that will modify the red rays so that by the time they reach the eye they may be somewhat different. This modification5 is naturally most effective when a large amount of atmosphere has to be passed through, and in things very distant the colour of the natural object is often
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1
spectrum
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n.谱,光谱,频谱;范围,幅度,系列 | |
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component
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n.组成部分,成分,元件;adj.组成的,合成的 | |
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situated
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adj.坐落在...的,处于某种境地的 | |
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multiplication
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n.增加,增多,倍增;增殖,繁殖;乘法 | |
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modification
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n.修改,改进,缓和,减轻 | |
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modifications
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n.缓和( modification的名词复数 );限制;更改;改变 | |
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entirely
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ad.全部地,完整地;完全地,彻底地 | |
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atmospheric
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adj.大气的,空气的;大气层的;大气所引起的 | |
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perfectly
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adv.完美地,无可非议地,彻底地 | |
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complexity
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n.复杂(性),复杂的事物 | |
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possessed
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adj.疯狂的;拥有的,占有的 | |
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perennial
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adj.终年的;长久的 | |
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touching
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adj.动人的,使人感伤的 | |
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precipice
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n.悬崖,危急的处境 | |
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cone
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n.圆锥体,圆锥形东西,球果 | |
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beholder
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n.观看者,旁观者 | |
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purely
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adv.纯粹地,完全地 | |
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instinctively
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adv.本能地 | |
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scribbling
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n.乱涂[写]胡[乱]写的文章[作品]v.潦草的书写( scribble的现在分词 );乱画;草草地写;匆匆记下 | |
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savage
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adj.野蛮的;凶恶的,残暴的;n.未开化的人 | |
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remarkable
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adj.显著的,异常的,非凡的,值得注意的 | |
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pointed
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adj.尖的,直截了当的 | |
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elevations
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(水平或数量)提高( elevation的名词复数 ); 高地; 海拔; 提升 | |
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projections
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预测( projection的名词复数 ); 投影; 投掷; 突起物 | |
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relegated
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v.使降级( relegate的过去式和过去分词 );使降职;转移;把…归类 | |
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brotherhood
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n.兄弟般的关系,手中情谊 | |
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poetic
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adj.富有诗意的,有诗人气质的,善于抒情的 | |
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artistic
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adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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fiery
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adj.燃烧着的,火红的;暴躁的;激烈的 | |
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intensity
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n.强烈,剧烈;强度;烈度 | |
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symbolic
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adj.象征性的,符号的,象征主义的 | |
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deplored
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v.悲叹,痛惜,强烈反对( deplore的过去式和过去分词 ) | |
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faculty
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n.才能;学院,系;(学院或系的)全体教学人员 | |
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utilitarian
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adj.实用的,功利的 | |
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enjoyment
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n.乐趣;享有;享用 | |
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inverted
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adj.反向的,倒转的v.使倒置,使反转( invert的过去式和过去分词 ) | |
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rambling
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adj.[建]凌乱的,杂乱的 | |
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apprehended
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逮捕,拘押( apprehend的过去式和过去分词 ); 理解 | |
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derived
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vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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primitive
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adj.原始的;简单的;n.原(始)人,原始事物 | |
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secondly
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adv.第二,其次 | |
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mosaic
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n./adj.镶嵌细工的,镶嵌工艺品的,嵌花式的 | |
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inversely
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adj.相反的 | |
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portrayed
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v.画像( portray的过去式和过去分词 );描述;描绘;描画 | |
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expressive
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adj.表现的,表达…的,富于表情的 | |
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II DRAWING
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IV LINE DRAWING
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