Sta znaci na Engleskom VELASKEZ - prevod na Енглеском

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Примери коришћења Velaskez на Српском и њихови преводи на Енглески

To je Velaskez.
It is a Velázquez.

Velaskez je prva klasa;
Velázquez first class;

Je l' ovo Velaskez?
Is that a Velazquez?

Velaskez… i mašta.
Velazquez… and imagination.

Da je samo Velaskez.
Yeah, if it were only Velázquez.

Dijego Velaskez i Roni Sems.
Diego Velasquez and Ronnie Samms.

Kažete da je to Velaskez?
And you say it is a Velázquez?

G-din Velaskez ne može da vas primi.
Mr. Velazquez cannot see you.

Ko je do djavola Migel Velaskez?
Who the hell is Miguel Velasquez?

Pedesetih godina XVII veka, Velaskez je bio cenjen širom Španije kao vrsni poznavalac umetnosti.
By the early 1650s, Velázquez was widely respected in Spain as a connoisseur.

Na Portretu Arnolfinijevih( 1434.) Jan van Ajk koristi odraz u ogledalu slično kao Velaskez na Las meninas.[ 1].
In the Arnolfini Portrait(1434), Jan van Eyck uses an image reflected in a mirror in a manner similar to Velázquez in Las Meninas.[1].

Velaskez je želeo da ogledalo zavisi od upotrebljivog[ sic] oslikanog platna za njegov prikaz.
Velázquez wanted the mirror to depend upon the useable(sic) painted canvas for its image.

Kao što je obično činio, Velaskez je i sebe stavio u sliku.
As he often did, Velázquez put himself in this painting too.

Lizi Velaskez je kada je imala 17 godina pronašla je snimak na kome je opisana kao‘ najružnija žena na svetu'.
When Lizzie Velasquez was 17 she came across a YouTube video entitled“The World's Ugliest Woman”.

Uvećani deo slike na kome je prikazan don Hose Nijeto Velaskez koji stoji na vratima u pozadini.
Detail showing Don José Nieto Velázquez at the door in the background of the painting.

Lizi Velaskez je kada je imala 17 godina pronašla je snimak na kome je opisana kao‘ najružnija žena na svetu'.
Lizzie Velasquez was thrust in the spotlight at 17 years old when a YouTube video labeled her the“world's ugliest woman.”.

Stajao sam tamo i gledao u nju, kada sam shvatio da Velaskez gleda u mene i tada sam pomislio.
I was standing there looking at it, and I realized that Velázquez was looking at me, and I thought.

Velaskez koristi ovu svetlost ne samo da doda volumen i definiciju svakom obliku, već i da definiše fokalne tačke slike.
Velázquez uses this light not only to add volume and definition to each form but also to define the focal points of the painting.

Ričard Sara: Stajao sam tamo i gledao u nju, kada sam shvatio da Velaskez gleda u mene i tada sam pomislio:" Ja sam subjekat slike.".
Richard Serra: I was standing there looking at it, and I realized that Velázquez was looking at me, and I thought,"Oh. I'm the subject of the painting.".

Velaskez dalje naglašava infantkinju pomoću pozicioniranja i osvetljavanja njenih sluškinja, koje postavlja jednu naspram druge: levo i desno, ispred i iza infantkinje.
Velázquez further emphasises the Infanta by his positioning and lighting of her maids of honour, whom he sets opposing one another: to left and right, before and behind the Infanta.

S obzirom da su reči vladara zapovest, tako možda ovo remek-delo dugujemo jednoj nehajno izrečenoj želji koju je samo Velaskez mogao da pretvori u realnost.".
The words spoken by the sovereign are always treated as a command and so we may owe this masterpiece to a passing wish which only Velazquez was able to turn into reality.".

Tokom 40-ih i 50-ih godina XVII veka Velaskez je bio dvorski slikar, kao i kustos Filipa IV, proširivši u tom svojstvu zbirku evropske umetnosti.
During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art.

Velaskez je naslikao portrete Marijane i njene dece[ 2], i, mada je Filip odbijao portretisanje u starosti, dozvolio je Velaskezu da ga naslika na Las meninas.
Velázquez painted portraits of Mariana and her children,[2] and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas.

Slikarstvo se smatralo zanatom, a ne umetnošću poput poezije ili muzike.[ 1] Ipak, Velaskez se svojim radom probio na društvenoj lestvici na dvoru Filipa IV, a februara 1651. postavljen je za dvorskog komornika( aposentador mayor del palacio).
Painting was regarded as a craft, not an art such as poetry or music.[7] Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain(aposentador mayor del palacio).

Porodica Velaskez je podnela zahtev za azil i prvi razgovor dobiće krajem maja, ne u Kaleksiku, u Kaliforniji, koji je preko puta Meksikalija, već u dve stotine kilometara udaljenom San Dijegu.
Family Velasquez has applied for asylum, the first hearing is at the end of may- not in the U.S. location Calexico, on the other side of Mexicali, but in the 200 km away in San Diego.

Prema kritičarki Siri Dambe," aspekti reprezentacije i moći obrađeni su na ovoj slici na načine koji su blisko povezani sa njihovim tretmanom na Las meninas".[ 1] U nizu portreta sa kraja 30-tih i 40-tih godina XVII veka- svi se sada nalaze u Pradu- Velaskez je naslikao klovnove i druge članove kraljevskog domaćinstva koji su predstavljeni kao bogovi, heroji i filozofi; namera je svakako delimično komična, barem za one koji su upućeni, ali na krajnje dvosmislen način.[ 2].
According to the critic Sira Dambe,"aspects of representation and power are addressed in this painting in ways closely connected with their treatment in Las Meninas".[1] In a series of portraits of the late 1630s and 1640s- all now in the Prado- Velázquez painted clowns and other members of the royal household posing as gods, heroes, and philosophers; the intention is certainly partly comic, at least for those in the know, but in a highly ambiguous way.[75].

Pravo ime mu je Milton Velaskez, ali ga niko ne zove tako. Svi ga zovu Spermić, zato što je to ime… Moj brat ga je tako nazvao i tako su ga svi upoznali, pošto smo ga upoznali još ranije.
He's, his real name is Milton Velasquez but nobody calls him that, they call him Spermball'cause he gets that name, my brother gave him that name, and he tell everybody that name,'cause we met him before.

Njihovi pogledi, zajedno sa odrazom kralja i kraljice, potvrđuju prisustvo kraljevskog para izvan prostora slike.[ 1] Prema drugoj teoriji, istoričari umetnosti H. V. Janson i Džoel Snajder smatraju da slika kralja i kraljice predstavlja odraz sa Velaskezovog platna, čija je prednja strana sakrivena od gledaoca.[ 2][ 3] Drugi autori kažu da je platno na kom slika Velaskez neuobičajeno veliko za portret Velaskeza i da je otprilike iste veličine kao Las meninas.
Their glances, along with the king and queen's reflection, affirm the royal couple's presence outside the painted space.[1] Alternatively, art historians H. W. Janson and Joel Snyder suggest that the image of the king and queen is a reflection from Velázquez's canvas, the front of which is obscured from the viewer.[34][35] Other writers say the canvas Velázquez is painting is unusually large for a portrait by Velázquez, and is about the same size as Las Meninas.

Prema Lopez-Reju, ni na jednoj drugoj kompoziciji Velaskez ne usmerava u tako dramatičnoj meri pogled posmatrača ka prostorima koji se ne vide: platno na kome slika i prostor izvan kadra u kome se nalaze kralj i kraljica mogu se samo zamisliti.[ 1] Goli tamni plafon, zadnja strana Velaskezovog platna i stroga geometrija uramljenih slika stoje u kontrastu sa animiranom, jarko osvetljenom i raskošnim bojama oslikanom pratnjom iz prvog plana.[ 2] Stoun piše.
According to López-Rey, in no other composition did Velázquez so dramatically lead the eye to areas beyond the viewer's sight: both the canvas he is seen painting, and the space beyond the frame where the king and queen stand can only be imagined.[49] The bareness of the dark ceiling, the back of Velázquez's canvas, and the strict geometry of framed paintings contrast with the animated, brilliantly lit and sumptuously painted foreground entourage.[50] Stone writes.

U pozadini i malo udesno stoji don Hose Nijeto Velaskez( 8)- kraljičin komornik pedesetih godina XVII veka i šef radova na kraljevskim tapiserijama- koji je možda bio slikarev rođak.
To the rear and at right stands Don José Nieto Velázquez(8)- the queen's chamberlain during the 1650s, and head of the royal tapestry works- who may have been a relative of the artist.