Εισάγετε μια λέξη ή φράση σε οποιαδήποτε γλώσσα 👆
Γλώσσα:
Μετάφραση και ανάλυση λέξεων από την τεχνητή νοημοσύνη ChatGPT
Σε αυτήν τη σελίδα μπορείτε να λάβετε μια λεπτομερή ανάλυση μιας λέξης ή μιας φράσης, η οποία δημιουργήθηκε χρησιμοποιώντας το ChatGPT, την καλύτερη τεχνολογία τεχνητής νοημοσύνης μέχρι σήμερα:
- πώς χρησιμοποιείται η λέξη
- συχνότητα χρήσης
- χρησιμοποιείται πιο συχνά στον προφορικό ή γραπτό λόγο
- επιλογές μετάφρασης λέξεων
- παραδείγματα χρήσης (πολλές φράσεις με μετάφραση)
- ετυμολογία
objective attitude - translation to ελληνικό
1945 FILM BY RAOUL WALSH
Objective, Burma; Objective Burma; Objective Burma!
![[[Errol Flynn]] playing Captain Nelson, the group's heroic leader.](https://commons.wikimedia.org/wiki/Special:FilePath/Errol Flynn in Operation Burma.jpg?width=200 "[[Errol Flynn]] playing Captain Nelson, the group's heroic leader.")
objective attitude
αντικειμενική στάση
αντικειμενική στάση
objective attitude
nonobjective art
![Black Square]]'', 1923, [[The Russian Museum]]](https://commons.wikimedia.org/wiki/Special:FilePath/Black Square.jpg?width=200 "Black Square]]'', 1923, [[The Russian Museum]]")
![[[Kurt Schwitters]], ''Das Undbild'', 1919, [[Staatsgalerie Stuttgart]]](https://commons.wikimedia.org/wiki/Special:FilePath/DasUndbild.jpg?width=200 "[[Kurt Schwitters]], ''Das Undbild'', 1919, [[Staatsgalerie Stuttgart]]")
![[[František Kupka]], ''Amorpha, Fugue en deux couleurs'' (''Fugue in Two Colors''), 1912, oil on canvas, 210 x 200 cm, Narodni Galerie, Prague. Published in ''Au Salon d'Automne "Les Indépendants"'' 1912, Exhibited at the 1912 Salon d'Automne, Paris.](https://commons.wikimedia.org/wiki/Special:FilePath/František Kupka, 1912, Amorpha, fugue en deux couleurs (Fugue in Two Colors), 210 x 200 cm, Narodni Galerie, Prague.jpg?width=200 "[[František Kupka]], ''Amorpha, Fugue en deux couleurs'' (''Fugue in Two Colors''), 1912, oil on canvas, 210 x 200 cm, Narodni Galerie, Prague. Published in ''Au Salon d'Automne \"Les Indépendants\"'' 1912, Exhibited at the 1912 Salon d'Automne, Paris.")
![date=2012-01-12}}, retrieved April 12, 2009</ref> [[Detroit Institute of Arts]]](https://commons.wikimedia.org/wiki/Special:FilePath/James Abbot McNeill Whistler 012.jpg?width=200 "date=2012-01-12}}, retrieved April 12, 2009</ref> [[Detroit Institute of Arts]]")
![A 1939–1942 oil on canvas painting by [[Piet Mondrian]] titled ''Composition No. 10''. Responding to it, fellow [[De Stijl]] artist [[Theo van Doesburg]] suggested a link between non-representational works of art and ideals of peace and spirituality.<ref>Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond; Christina Lodder, Maria Kokkori, Maria Mileeva; BRILL, Oct 24, 2013 "Van Doesburg stated that the purpose of art was to imbue man with those positive spiritual qualities that were needed in order to overcome the dominance of the physical and create the conditions for putting an end to wars. In an enthusiastic essay on Wassily Kandinsky he had written about the dialogue between the artist and the viewer, and the role of art as 'the educator of our inner life, the educator of our hearts and minds'. Van Doesburg subsequently adopted the view that the spiritual in man is nurtured specifically by abstract art, which he later described as 'pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships, and abstract lines'. In his response to Piet Mondrian's ''Composition 10'', Van Doesburg linked peace and the spiritual to a non-representational work of art, asserting that 'it produces a most spiritual impression...the impression of repose: the repose of the soul'."</ref>](https://commons.wikimedia.org/wiki/Special:FilePath/Piet Mondriaan, 1939-1942 - Composition 10.jpg?width=200 "A 1939–1942 oil on canvas painting by [[Piet Mondrian]] titled ''Composition No. 10''. Responding to it, fellow [[De Stijl]] artist [[Theo van Doesburg]] suggested a link between non-representational works of art and ideals of peace and spirituality.<ref>Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond; Christina Lodder, Maria Kokkori, Maria Mileeva; BRILL, Oct 24, 2013 \"Van Doesburg stated that the purpose of art was to imbue man with those positive spiritual qualities that were needed in order to overcome the dominance of the physical and create the conditions for putting an end to wars. In an enthusiastic essay on Wassily Kandinsky he had written about the dialogue between the artist and the viewer, and the role of art as 'the educator of our inner life, the educator of our hearts and minds'. Van Doesburg subsequently adopted the view that the spiritual in man is nurtured specifically by abstract art, which he later described as 'pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships, and abstract lines'. In his response to Piet Mondrian's ''Composition 10'', Van Doesburg linked peace and the spiritual to a non-representational work of art, asserting that 'it produces a most spiritual impression...the impression of repose: the repose of the soul'.\"</ref>")
![A ''[[hilya]]'', a decorated description of [[Muhammad]]’s physical appearance, dating to the 19th century.](https://commons.wikimedia.org/wiki/Special:FilePath/Signed Abdülkadir Şükri Efendi - Hilye-i Şerif (written portrait of the Prophet) - Google Art Project.jpg?width=200 "A ''[[hilya]]'', a decorated description of [[Muhammad]]’s physical appearance, dating to the 19th century.")
![[[Albert Gleizes]], 1910–1912, ''Les Arbres (The Trees)'', oil on canvas, 41 × 27 cm. Reproduced in ''[[Du "Cubisme"]]'', 1912](https://commons.wikimedia.org/wiki/Special:FilePath/Albert Gleizes, 1910-12, Les Arbres, oil on canvas, 41 x 27 cm. Reproduced in Du "Cubisme", 1912.jpg?width=200 "[[Albert Gleizes]], 1910–1912, ''Les Arbres (The Trees)'', oil on canvas, 41 × 27 cm. Reproduced in ''[[Du \"Cubisme\"]]'', 1912")
![[[Arthur Dove]], 1911–12, ''Based on Leaf Forms and Spaces'', pastel on unidentified support. Now lost](https://commons.wikimedia.org/wiki/Special:FilePath/Arthur Dove, 1911-12, Based on Leaf Forms and Spaces, pastel on unidentified support. Now lost.jpg?width=200 "[[Arthur Dove]], 1911–12, ''Based on Leaf Forms and Spaces'', pastel on unidentified support. Now lost")
![[[Francis Picabia]], 1912, ''Tarentelle'', oil on canvas, 73.6 × 92.1 cm, [[Museum of Modern Art]], New York. Reproduced in ''[[Du "Cubisme"]]''](https://commons.wikimedia.org/wiki/Special:FilePath/Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg?width=200 "[[Francis Picabia]], 1912, ''Tarentelle'', oil on canvas, 73.6 × 92.1 cm, [[Museum of Modern Art]], New York. Reproduced in ''[[Du \"Cubisme\"]]''")
![[[Wassily Kandinsky]], 1912, ''Improvisation 27'' (''Garden of Love'' II), oil on canvas, 120.3 × 140.3 cm, The [[Metropolitan Museum of Art]], New York. Exhibited at the 1913 [[Armory Show]]](https://commons.wikimedia.org/wiki/Special:FilePath/Vassily Kandinsky, 1912 - Improvisation 27, Garden of Love II.jpg?width=200 "[[Wassily Kandinsky]], 1912, ''Improvisation 27'' (''Garden of Love'' II), oil on canvas, 120.3 × 140.3 cm, The [[Metropolitan Museum of Art]], New York. Exhibited at the 1913 [[Armory Show]]")
![[[Pablo Picasso]], 1913–14, ''Head'' (''Tête''), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 × 33 cm, [[Scottish National Gallery of Modern Art]], Edinburgh](https://commons.wikimedia.org/wiki/Special:FilePath/Pablo Picasso, 1913-14, Head (Tête), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 x 33 cm, Scottish National Gallery of Modern Art, Edinburgh.jpg?width=200 "[[Pablo Picasso]], 1913–14, ''Head'' (''Tête''), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 × 33 cm, [[Scottish National Gallery of Modern Art]], Edinburgh")
![[[Henri Matisse]], 1914, ''French Window at Collioure'', [[Centre Georges Pompidou]], Paris](https://commons.wikimedia.org/wiki/Special:FilePath/Porte-Fenetre a Collioure 1914.jpg?width=200 "[[Henri Matisse]], 1914, ''French Window at Collioure'', [[Centre Georges Pompidou]], Paris")
![[[Hilma af Klint]], ''Svanen'' (''The Swan''), No. 17, Group IX, Series SUW, October 1914–March 1915. This abstract work was never exhibited during af Klint's lifetime.](https://commons.wikimedia.org/wiki/Special:FilePath/Hilma af Klint Svanen.jpg?width=200 "[[Hilma af Klint]], ''Svanen'' (''The Swan''), No. 17, Group IX, Series SUW, October 1914–March 1915. This abstract work was never exhibited during af Klint's lifetime.")
![[[Theo van Doesburg]], [[Neo-Plasticism]]: 1917, ''Composition VII'' (''The Three Graces'')](https://commons.wikimedia.org/wiki/Special:FilePath/Theo van Doesburg Composition VII (the three graces).jpg?width=200 "[[Theo van Doesburg]], [[Neo-Plasticism]]: 1917, ''Composition VII'' (''The Three Graces'')")
![[[Fernand Léger]] 1919, ''The Railway Crossing'', oil on canvas, 53.8 × 64.8 cm, [[The Art Institute of Chicago]]](https://commons.wikimedia.org/wiki/Special:FilePath/Leger railway crossing.jpg?width=200 "[[Fernand Léger]] 1919, ''The Railway Crossing'', oil on canvas, 53.8 × 64.8 cm, [[The Art Institute of Chicago]]")
![[[Joseph Csaky]], ''Deux figures'', 1920, relief, limestone, polychrome, 80 cm, [[Kröller-Müller Museum]], Otterlo](https://commons.wikimedia.org/wiki/Special:FilePath/Joseph Csaky, Deux figures, 1920, relief, limestone, polychrome, 80 cm, Kröller-Müller Museum, Otterlo, Holland.jpg?width=200 "[[Joseph Csaky]], ''Deux figures'', 1920, relief, limestone, polychrome, 80 cm, [[Kröller-Müller Museum]], Otterlo")
![[[Albert Gleizes]], 1921, ''Composition bleu et jaune'' (''Composition jaune''), oil on canvas, 200.5 × 110 cm](https://commons.wikimedia.org/wiki/Special:FilePath/Albert Gleizes, 1921, Composition bleu et jaune (Composition jaune), oil on canvas, 200.5 x 110 cm DSC00547.jpg?width=200 "[[Albert Gleizes]], 1921, ''Composition bleu et jaune'' (''Composition jaune''), oil on canvas, 200.5 × 110 cm")
![[[Piet Mondrian]], ''Composition with Yellow, Black, Blue, Red, and Gray'', 1921, [[Art Institute of Chicago]]](https://commons.wikimedia.org/wiki/Special:FilePath/Piet Mondrian - Lozenge Composition with Yellow, Black, Blue, Red, and Gray - 1921 - The Art Institute of Chicago.jpg?width=200 "[[Piet Mondrian]], ''Composition with Yellow, Black, Blue, Red, and Gray'', 1921, [[Art Institute of Chicago]]")
![[[Paul Klee]], ''Fire in the Evening'', 1929](https://commons.wikimedia.org/wiki/Special:FilePath/Fire in the Evening.JPG?width=200 "[[Paul Klee]], ''Fire in the Evening'', 1929")
![[[Otto Gustaf Carlsund]], ''Rapid'' (1930), a [[Concrete Art]] restaurant mural, Stockholm](https://commons.wikimedia.org/wiki/Special:FilePath/Carlsund Rapid (1930).jpg?width=200 "[[Otto Gustaf Carlsund]], ''Rapid'' (1930), a [[Concrete Art]] restaurant mural, Stockholm")
![[[Barnett Newman]], ''Onement 1'', 1948, [[Museum of Modern Art]], New York](https://commons.wikimedia.org/wiki/Special:FilePath/Newman-Onement 1.jpg?width=200 "[[Barnett Newman]], ''Onement 1'', 1948, [[Museum of Modern Art]], New York")
ART WITH A DEGREE OF INDEPENDENCE FROM VISUAL REFERENCES IN THE WORLD
Abstract Art; Abstract painting; Abstract painter; Abstract imagery; Abstracionismo; Art Abstraction; Abstractionist; Non-figurative; Non-objective art; Abstract artist; Abstract artwork; Non-objective artist; Non-objective artists; Non-objective artwork; Non-objective artworks; Nonobjective art; Nonobjective artist; Nonobjective artists; Nonobjective artwork; Nonobjective artworks; Abstract design; Abstract paintings; Abstract (art); Nonfigurative; Non figurative; Non-figurative art; Nonfigurative art; Non figurative art; Abstractism; Non-representational art; Abstract artworks
αφηρημένη τέχνη
Βικιπαίδεια
Objective, Burma!
Objective, Burma! is a 1945 American war film that is loosely based on the six-month raid by Merrill's Marauders in the Burma Campaign during the Second World War. Directed by Raoul Walsh and starring Errol Flynn, the film was made by Warner Bros. immediately after the raid.
Παραδείγματα από το σώμα κειμένου για objective attitude
1. Loretta Sanchez has never had an objective attitude or really cared for the promotion of Vietnam–U.S. relations,‘‘ Foreign Ministry spokesman Le Dung said in a statement.
2. He went on to say that, "Vietnam is ready for dialogue with the US on a number of issues, including democracy, human rights and religion." The US Senators committed themselves to expressing their objective attitude towards the bill when it is presented to the Senate. (VNA)