美国历史作业代写 加农炮和火炮
Keywords:美国历史作业代写 加农炮和火炮
加强在1729年的百科全书，也被称为一个通用的艺术和科学字典。综合表包括墙外的元素- petard，加农炮和火炮，mantlet, cheval de fries“弗里斯兰马”。虽然堡垒的几何结构被清楚地展示出来，但这张桌子的目的并不是描绘战场的全景。相反，这些插图被系统地组合在一起，扩大了战场的范围。我想说的是，他们的意图是将防御系统进一步扩展，超越堡垒本身，延伸到边远地区以及与早期现代战争相关的其他工作领域。另一个接受图形化描述的重要领域是非战斗人物和军事生活场景。J.R.黑尔在他的《文艺复兴时期的艺术家与战争》一书中研究了一组图像，试图将战争艺术与战争艺术家联系起来。黑尔精心策划了这些插图，以强调对士兵的局外人形象的同情。他们在人群中被单独呈现，作为单独的人物，毫无疑问与一幅大规模的防御工事图形成对比(图2)。这些人的服装都画得很细致:缝合在一起的胸衣的布料上的裂缝，受伤腿上的绷带，所有这些都加强了对战争个人层面的关注。同样重要的是，艺术家和被画人物都是荷兰人。战争和战场通常不被艺术家认为在低土地[3]。范莱顿对个别士兵的描写确实为军事斗争的现实提供了独特的视角。
美国历史作业代写 加农炮和火炮
Fortification in the 1729 Cyclopaedia, also known as An Universal Dictionary of Arts and Science. The comprehensive table includes elements beyond the wall itself – petard, cannon ball and gunnery, mantlet, cheval de fries “Frisian Horses”. While the geometry of the bastions are clearly on display, the purpose of the table isn’t portraying a total panoramic view of the battlefield. Rather, the illustrations were assembled systematically to extend the scope of the battlefield. I wish to argue for an intent to expand the defensive system further and beyond the fortress itself, into the outlying areas as well as other lines of work that were becoming associated with the evolving early modern warfare.Another important area that received graphical depictions is the non-combat figures and scenes of military life. J.R. Hale, in his Artists and Warfare in the Renaissance, studies an ensemble of images in attempting to link the art of war and the artists of war. Hale carefully curated the illustrations to emphasize an empathy towards the outsider image of the soldiers. They were represented in isolation of the crowd, as individual figures, no doubt contrasting the massive scale of a fortification drawing (fig.2). The apparel of the subjects were drawn in details: the rips in the fabric of the sewn-together chest piece, the bandage around the wounded leg, all of which reinforcing a concentration on the personal level of the war. It is also important to note both the artist and the painted figure are Dutch. Battles and battlefields weren’t commonly regarded by artists in the Low Land[3]. Van Leyden’s representation of the individual soldier indeed offers a distinctive perspective in the realities of military campaigns.
