British pop was less cynical（愤世嫉俗的） than its German counterpart, and artists such as Eduardo Paolozzi, Peter Blake and to a certain extent David Hockney, celebrated the new flood of imagery from America. Hockney's faux-naïve style of painting at this time had a flavour of Freud's early works; by the 1960s Freud, in contrast, had begun to build up his portraits with faces chiselled into faceted planes. Both Hockney and Freud have been preoccupied（迷住、吸引） by the figure throughout their careers, and their work, both historic and recent, continues to exert a strong influence on a range of artists from Elizabeth Peyton to Ridley Howard.
英国的波普艺术没有德国的波普艺术那样愤世嫉俗，艺术家们，比如Eduardo Paolozzi，Peter Blake，在某种程度上也包括David Hockney，他们都支持（赞美）来自美国的图片的新浪潮（new flood of imagery）。这时Hockney的faux-naïve画风有Freud早期作品的味道；与此相反，到60年代，Freud开始用faces chiselled into faceted planes来创作他的肖像画。Hockney和Freud在他们的生涯中都被figure深深吸引，他们的作品，包括过去和最近的作品，仍对很多艺术家发挥强烈的影响，从Elizabeth Peyton到Ridley Howard。
里面提到了David Hockney's faux-naïve style of painting，我不知道怎么说。
还有一个问题：faces chiselled into faceted planes，对弗洛伊德的一个描述，我不理解。
Painters such as Gary Hume and Marcus Harvey, Chris Ofili and Jenny Saville were also included in the seminal YBA group shows of 1995-97 that took YBA art to Minneapolis ('Brilliant's at the Walker Arts Center), Venice (General Release's as part of the Venice Biennale), as well as Houston, Sydney, Copenhagen, Johannesberg and back to London ('Sensation's at the Royal Academy), but the overriding memory of the YBA decade is one of three dimensions, not two.
Low art is an advertisement for the artists ego,
High art is a gift from the artist to humankind.
Low art looks to shock, because it craves attention,
High art looks with fresh eyes, and sincerity.
Low art is easy to comprehend,
High art may challenge your thinking.
Low art is bought to impress others or because it matches the sofa,
High art stands alone, and requires something from the viewer.