Alice Neel托福聽(tīng)力原文翻譯及問(wèn)題答案

Alice Neel托福聽(tīng)力原文翻譯及問(wèn)題答案

一、Alice Neel托福聽(tīng)力原文：

NARRATOR:Listen to part of a lecture in an art history class.MALE PROFESSOR:Alright,uh...so today we're moving on to Alice Neel,N-E-E-L.Uh,Alice Neel painted portraits,um,she was born in Pennsylvania and she lived from 1900 to 1984.And I guess you might say she experienced difficulties as an artist.She was in her 70s before she had her first major solo exhibition.Um,and this is due at least in part to,uh?er,because of photography.After photography became regarded as an art form,portrait painting became less prestigious,um,less respected as an art form and well...art photography kind of took its place.So you can imagine that a portrait artist would've had a hard time finding acceptance.

Uh,but the real reason I want to look at Neel is that I really find her style,um,she had interesting ways of portraying people.She combined some elements of Realism?What's Realism.Alison?FEMALE STUDENT:It's like,painting something exactly how it is,so an artist would try to make it as accurate,um,and objective as possible.Painting stuff just how it appears on the surface.MALE PROFESSOR:OK,good.So,Neel combined Realism with...well,actually,with Expressionism. And that is...um,we-we just covered this...FEMALE STUDENT:Um,it's into emotion,like artists are trying to,well,express themselves through the painting.Right?MALE PROFESSOR:Yep,the artist is depicting subjective emotions—showing the inner reality as interpreted by the artist,rather than the outward form,so the image itself might be distorted or exaggerated in some way.The expression overrides objective,uh,representation. OK,so.Alice Neel combined these two uh,styles.Yes?FEMALE STUDENT:Um,how is that even possible? How can you portray something exactly as it is,and at the same time,distort it with emotions?I don't get it.MALE PROFESSOR:Alright,good question.It's actually a good lead-in to some of the techniques that Neel used—that she employed to bridge that contradiction.In a minute I'll show you some of her portraits,and I'll want you to notice a few things about them.

First,Neel's use of bold color,alright?You'll see she uses color to convey emotion and feeling?Like,the subjects?clothing,for instance—it appears brighter than it really is.And the subjects,the people being portrayed—Neel paid special attention to faces...the way she paints the eyes,an-and how the faces are portrayed—these are quite realistic,like the realists?work.But another thing Neel did was use elongated,sort of stretchy figures.MALE STUDENT:But didn't a lot of Expressionist painters do that?So really you're saying that Neel's techniques were similar to what other artists were doing.What was it that she did that was,like,all her own?MALE PROFESSOR:OK,well,I think it has to do,partly,with the way she combined these techniques.So,for example those realistic faces and eyes but bright,distorted figures—It is a mix.You'll see that her portraits do reflect reality,um,the people that were actually sitting there.Realism was important in the sense that she wanted to show people as they really were—much like a photographer would.Uh,but Neel wasn't satisfied with photo-like realism.She went beyond that?and this is where Expressionism comes in.

She believed in capturing the whole person—not just what was on the surface.That's where the Expressionist distortion is important,in an attempt to reveal the subjects?character or personality.But Neel's paintings are distinctive for her time in part because they are portraits.Remember I said that photography,and art photography,had largely taken the place of portraiture,to the extent that some critics had declared the genre of portraiture to be dead.

But Neel felt that painting should reflect reality—a real realist's stance,you could say—and to her,individuals—people—best reflect the reality of their time—of the age that they live in.So she painted portraits.An-and if you look at her work—we're talking in the vicinity of 3,000 paintings?if you look at them,it's like this gallery of the whole century...an enormous range of subjects—families,women,children,artists,people in poverty...these paintings really spanned class,age,and gender.It's like she transformed the genre—it's not just formal depictions of,uh,presidents and ancestors anymore.But keep in mind that she was doing this when abstract art dominated the art scene.Representations of people weren't fashionable in the art world,and it wasn't until fairly late in the century that critics recognized the power of what she did.

二、Alice Neel托福聽(tīng)力中文翻譯：

旁白：在藝術(shù)史課上聽(tīng)一節(jié)課的一部分。男教授：好吧，呃。。。所以今天我們將繼續(xù)討論Alice Neel，N-E-E-L。呃，Alice Neel畫(huà)肖像畫(huà)，嗯，她出生在賓夕法尼亞州，生活在1900年至1984年。我想你可能會(huì)說(shuō)她作為一名藝術(shù)家經(jīng)歷了很多困難。她在70多歲時(shí)才舉辦了第一次大型個(gè)展。嗯，這至少部分是因?yàn)椋?？呃，因?yàn)閿z影。在攝影被視為一種藝術(shù)形式之后，肖像畫(huà)就不再那么有威望了，嗯，作為一種藝術(shù)形式，也不再那么受人尊敬了。。。藝術(shù)攝影取而代之。所以你可以想象一個(gè)肖像畫(huà)家很難被接受。

呃，但我想看看尼爾的真正原因是，我真的找到了她的風(fēng)格，嗯，她刻畫(huà)人的方式很有趣。她結(jié)合了一些現(xiàn)實(shí)主義元素？什么是現(xiàn)實(shí)主義。艾莉森？女學(xué)生：這就像是，畫(huà)出某樣?xùn)|西的本來(lái)面目，所以藝術(shù)家會(huì)盡量做到準(zhǔn)確、嗯、客觀。把東西畫(huà)在表面上。男教授：好的，很好。所以，尼爾把現(xiàn)實(shí)主義和。。。實(shí)際上，是表現(xiàn)主義；那就是。。。嗯，我們剛剛報(bào)道了這個(gè)。。。女生：嗯，這是一種情感，就像藝術(shù)家試圖通過(guò)繪畫(huà)來(lái)表達(dá)自己一樣。正當(dāng)男教授：是的，藝術(shù)家描繪的是主觀情感，表現(xiàn)的是藝術(shù)家所詮釋的內(nèi)在現(xiàn)實(shí)，而不是外在形式，因此圖像本身可能會(huì)以某種方式被扭曲或夸大。表達(dá)式覆蓋了目標(biāo)，呃，表示&nbsp；好吧，那么。Alice Neel將這兩種風(fēng)格結(jié)合在一起。對(duì)女生：嗯，這怎么可能呢；你如何準(zhǔn)確地描述事物的本質(zhì)，同時(shí)又用情感扭曲它？我不明白。男教授：好的，好問(wèn)題。這實(shí)際上是尼爾用來(lái)彌合矛盾的一些技巧的一個(gè)很好的引子。等一下，我會(huì)給你看一些她的肖像，我想讓你注意一些關(guān)于它們的事情。

首先，尼爾使用了大膽的顏色，好嗎？你會(huì)看到她用顏色來(lái)表達(dá)情感？比如，主題？比如說(shuō)，衣服看起來(lái)比實(shí)際要亮。而被刻畫(huà)的人物尼爾特別注意面部表情。。。她畫(huà)眼睛的方式，以及臉是如何被描繪的這些都很現(xiàn)實(shí)，就像現(xiàn)實(shí)主義者一樣？工作但尼爾做的另一件事是使用拉長(zhǎng)的、有彈性的人物。男學(xué)生：但是很多表現(xiàn)主義畫(huà)家不是這樣做的嗎？所以你真的是說(shuō)尼爾的技巧和其他藝術(shù)家的相似。她是怎么做的，就像她自己做的一樣？男教授：好吧，我認(rèn)為部分原因在于她結(jié)合這些技術(shù)的方式。所以，舉例來(lái)說(shuō)，那些真實(shí)的面孔和眼睛，但明亮、扭曲的人物，這是一種混合。你會(huì)看到她的肖像確實(shí)反映了現(xiàn)實(shí)，嗯，實(shí)際上坐在那里的人?，F(xiàn)實(shí)主義很重要，因?yàn)樗胂蛉藗冋故舅麄冋嬲駭z影師一樣的樣子。呃，但尼爾對(duì)照片般的寫(xiě)實(shí)主義并不滿意。她超越了那個(gè)？這就是表現(xiàn)主義的用武之地。

她相信要抓住整個(gè)人，而不僅僅是表面上的東西。這就是表現(xiàn)主義扭曲的重要性所在，試圖揭示主題？性格或個(gè)性。但尼爾的繪畫(huà)在她那個(gè)時(shí)代與眾不同，部分原因是因?yàn)樗鼈兪切は癞?huà)。記得我說(shuō)過(guò)，攝影和藝術(shù)攝影在很大程度上已經(jīng)取代了肖像畫(huà)，以至于一些評(píng)論家宣布肖像畫(huà)流派已經(jīng)消亡。

但尼爾認(rèn)為繪畫(huà)應(yīng)該反映現(xiàn)實(shí)——你可以說(shuō)，一個(gè)真正現(xiàn)實(shí)主義者的立場(chǎng)，對(duì)她來(lái)說(shuō)，人們最能反映他們所處時(shí)代的現(xiàn)實(shí)。所以她畫(huà)肖像畫(huà)。如果你看看她的作品，我們談?wù)摰氖?000幅左右的畫(huà)？如果你看看它們，它就像是整個(gè)世紀(jì)的畫(huà)廊。。。范圍廣泛的主題家庭、婦女、兒童、藝術(shù)家、窮人。。。這些畫(huà)跨越了階級(jí)、年齡和性別。這就像她改變了這一類型，不再只是對(duì)總統(tǒng)和祖先的正式描述。但請(qǐng)記住，她是在抽象藝術(shù)主宰藝術(shù)舞臺(tái)的時(shí)候這樣做的。在藝術(shù)界，人物的表現(xiàn)并不流行，直到本世紀(jì)末，評(píng)論家才認(rèn)識(shí)到她所做的事情的力量。

三、Alice Neel托福聽(tīng)力問(wèn)題：

Q1:1.What aspect of Alice Neel's work does the class mainly discuss?

A.The ways that her artistic style developed over time

B.The influence of photography on her portraits

C.The style she used to portray her subjects

D.Criticism of her approach to Realism and Expressionism

Q2:2.What point does the professor make about photography and portraiture in the twentieth century?

A.Painters began to produce more lifelike portraits in imitation of photography.

B.Photography largely replaced the tradition of portrait painting.

C.Photographers followed the style of portrait painters in creating their work.

D.Both photography and portrait painting were considered inferior art.

Q3:3.According to the professor,what two aspects of Neel's work are characteristic of Expressionism?[Click on 2 answers.]

A.The depiction of unusual object

B.The way the subjects'faces are portrayed

C.The shape of the subjects'bodies

D.The use of color in the paintings

Q4:4.According to the professor,why did Neel paint portraits?

A.She felt that it was the best way to represent a time period.

B.She enjoyed the technical challenge of painting portraits.

C.She found that it was too difficult to earn a living painting abstract art.

D.She followed the lead of Expressionist painters who also painted portraits.

Q5:5.Why does the professor discuss the variety of people in Neel's portraits?

A.To explain why it took Neel a long time to find her characteristic style

B.To explain why Neel experimented with genres other than portraiture

C.To identity elements of Realism and Expressionism in Neel's portraits

D.To emphasize a distinctive feature of Neel's body of work

Q6:6.Why does the professor say this:

A.To influence the students'opinion about Alice Neel's work.

B.To suggest that Alice Neel created her best paintings late in her career.

C.To reinforce the fact that Neel's work was not appreciated.

D.To show that Alice Neel's situation was similar to his own.

四、Alice Neel托福聽(tīng)力答案：

A1:正確答案：C

A2:正確答案：B

A3:正確答案：CD

A4:正確答案：A

A5:正確答案：D

A6:正確答案：C

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