Official 48 Set 2

纠错
  • Q1
  • Q2
  • Q3
  • Q4
  • Q5
  • Q6
置顶

20th Century Photography in the USA

纠错
  • Q1
  • Q2
  • Q3
  • Q4
  • Q5
  • Q6
What aspect of Georgia O’Keeffe’s work do the speakers mainly discuss?
  • A. The kinds of objects that she selected for her paintings

  • B. The influence of her painting style on photography

  • C. The major abstract elements in her photographs

  • D. The techniques that contributed to her distinctive style

显示答案 正确答案: D

我的笔记 编辑笔记

/
  • 原文
  • 译文
  • 查看听力原文

    关闭显示原文

    NARRATOR:Listen to part of a talk in an art history class.

    MALE PROFESSOR:So today we are going to continue our discussion of 20th century photography in the United States.Last time we were talking about Alfred Stieglitz and we saw that one of his goals was to introduce Americans to European Art.Today, we are going to look at another photographer from the early 20th century—[sees hand raised]Yes, Jennifer?

    FEMALE STUDENT:Before we get to that, I had a question about Stieglitz.

    MALE PROFESSOR:Sure.

    FEMALE STUDENT:Well—Stieglitz was married to Georgia O'Keeffe. Right?

    MALE PROFESSOR:That's right. Stieglitz was married to her, promoted her work and actually, took some amazing portraits of her when they were married.

    For anyone who's not familiar with this, we are talking about the American painter: Georgia O'Keeffe. [writes name on board]

    FEMALE STUDENT:Ok. Well, I was wondering...Georgia O'Keeffe. You know I've heard her name so many times and I've seen some of her work, but she's not mentioned in any of our reading about photographers from that time.

    MALE PROFESSOR:Oh. Well, O'Keeffe was really more of a painter.

    FEMALE STUDENT:I thought she was a photographer, too.I mean, I just saw one of her photographs in a museum the other day. I think it was called "Red Leaves on White" or something like that.

    MALE PROFESSOR:Oh—right … Yes, Large Dark Red Leaves on White is the complete title.It's a fairly well-known painting by O'Keeffe.

    FEMALE STUDENT:Oh, oh, okay. What was I thinking? I guess I should have had a closer look.

    MALE PROFESSOR:No, no. That's a really good observation.I mean, chronologically, that would be impossible.When she did that painting, color film hadn’t even been invented yet—neither had the right technology to blow pictures up that big, to show that much detail.But that painting, and some of her other paintings, do reveal the-the influence of photography … like, she would “crop” her images—[explaining the term] she, uh, she would make a “frame” around part of an image—say, just the very center—and then cut off certain parts—the parts outside that “frame”—to create the effect she wanted … the way a photographer does.

    And those paintings are close-ups, like you might see today, of a person or a flower in a photograph.

    Now, those techniques were certainly around and being used by photographers then, but just in photographs, which were smaller not as big as what O'Keeffe was painting.

    Also, O'Keeffe studied under an artist named Arthur Wesley Dow,That's DOW, D-O-W, who advocated focusing on simple basic forms, like the lines of a flower and its petals and he wanted forms to be isolated from their original settings;He believed that, by doing that, an artist could reveal an object's, its essence.

    He'd do things like...like...have students take a simple ordinary form, like a leaf, and explore various ways of fitting all of it into a square, maybe bending it around to make the whole thing fit into the frame. Pierre?

    MALE STUDENT:It sounds like maybe O'Keeffe borrowed most of her ideas. The stuff we might think of as being hers, she got them from other people...she didn’t really have a style of her own.

    MALE PROFESSOR:Well, virtually artists are influenced by other artists—by their predecessors … by their contemporaries—their teachers … artists build on what other artists have done, but [slowly]—if they’re talented—they take it in some unique direction—to develop their own distinctive style.

    MALE PROFESSOR:O’Keeffe liked to create abstract interpretations of real objects—[providing example] in the painting Jennifer mentioned, Large Dark Red Leaves on White, in addition to exaggerating the size of the leaf, O’Keeffe juxtaposes it against a silver—or whitish—background, so that’s more of an abstract setting for it. And so on.

    Now O’Keeffe wasn’t the first artist to create an abstract interpretation of a real object, but she used that approach to express her experience of the objects she was painting … so she presented a vision that people hadn’t seen before: It’s unique. It’s compelling. [clarifying]She didn't expect other people to experience the object the way she did.She knew they'd look at her painting and hang their own associations on it, which is true for artwork in general, I think.That's just the way the human brain works. But at least they'd be taking a careful look at something they'd never really paid much attention to.

  • 旁白:请听艺术史课上的部分内容。

    教授:今天我们要继续讨论美国20世纪的摄影。上一节课我们讨论了Alfred Stieglitz,看到了他的目标之一是把欧洲艺术介绍给美国人。今天,我们要来讲20世纪早期的另一位摄影家。Jennifer,请说?

    学生:在我们开始之前,我有个关于Stieglitz的问题。

    教授:请说。

    学生:Stieglitz跟Georgia O’ Keeffe结婚了,对吗?

    教授:没错。Stieglitz娶了她,激励了她的工作,而且事实上他们结婚时他给她照了一些很惊艳的照片。

    以防有人对这个不是很熟悉,我们正在讲的是美国的画家Georgia O’ Keeffe。

    学生:哦,我想知道的是......Georgia O’ Keeffe,我听说过她的名字很多次,而且看过一些她的作品。但是我们关于那个时候的摄影师的阅读材料中一点儿都没提到她。

    教授:哦,是这样的,O’ Keeffe实际上更偏向是一个画家。

    学生:我以为她也是位摄影家呢。我的意思是,我前几天刚在一个博物馆看到了她的一张摄影作品,我记得名字是“白色中的红叶”什么的。

    教授:哦,没错!是的,全名是“白色中的大片深红树叶”。它是O’ Keeffe的一幅非常有名的画作。

    学生:啊?啊,好吧,我当时是怎么想的?我应该仔细看看的。

    教授:不,不。你观察得非常仔细。按年代来说,那不可能是一张照片。她画那幅画的时候,彩色胶卷甚至都还没发明出来呢,把照片放得那么大以显示那么多细节的技术也没发明出来。但是那幅画和她其他的一些画作确实显示了......摄影的影响,比如她会截取她的图像。 她会在一个图像部分区域的周围做一个框架,比方说在非常中心的位置,然后剪去一些部分,框架外面的部分,以创造出她想要的效果,就像一位摄影师一样。

    而且那些画作都是特写,就像你们如今在照片里的人或花上能看到的那样。

    那些技术在那时当然已经存在并为摄影师们使用了,但只是在体积更小的照片中,不像O’ Keeffe画的画那么大。

    还有,O’ Keeffe在一位叫做Arthur Wesley Dow的画家手下学习过。那是DOW,他提倡关注简单的基本形式,比如一朵花的线条和它的花瓣,他想要的是与原本的环境分离的形式。他相信通过这么做,画家能够揭示一个实物的本质。

    他会......比如让他的学生用一个简单普通的形式,比如一片树叶,探究把它全部放进一个正方形的不同方法,也许把它弯曲起来使其整体能装进框架内。Pierre?

    学生:听起来似乎可能O’ Keeffe的大部分想法都是借鉴而来的。那些我们可能以为是她自己的想法的东西,她只是从其他人那里获得的,她并没有自己的风格。

    教授:实际上所有的艺术家都受到了其他艺术家的影响,受到了他们前辈、同僚、老师的影响,艺术家会在其他艺术家的成就上有所建树。但是如果他们有才华的话,会把它用在一些独特的方向来发展他们自己显著的风格。

    教授:O’ Keeffe喜欢创作出对真实物体的抽象诠释。在Jennifer提到的那幅画,白色中的大片深红树叶中,除了树叶的夸张大小,O’ Keeffe把它和一个银色或白色的背景并置在了一起,所以那是更抽象的环境等等。

    O’ Keeffe不是第一个创作出对真实物体的抽象诠释的画家,但是她使用了那种方法来表达她对她正在画的物体的体验。于是她呈现出了人们之前没有看到过的景象。 它是很独特、很引人注目的。她并不指望其他人能像她一样体会这个物体。她知道他们会看着她的画作,然后在那之上加上他们自己的联想,我认为这整体上对艺术作品来说都是正确的。那就是人类的大脑运作的方式,但是至少他们会仔细看看他们之前从未真正注意过的东西。

  • 官方解析
  • 网友贡献解析
  • 本题对应音频:
    3 感谢 不懂
    音频1
    解析
    题型分类: 主旨题
    选项分析:教授原本准备继续讨论美国二十世纪摄影,由学生关于上次课Alfred Stieglitz 的提问,引出讲座重点介绍人物Georgia O’Keeffe,之后讨论她的画和摄影作品很相像,是因为她会给物体画特写,也会让物体与背景分离,她这样抽象地描述具体事物是为了让观众用新的角度看待普通事物,所以全文讨论了Georgia O’Keeffe是用什么手法让自己的画与众不同,对应选项D:The techniques that contributed to her distinctive style。

    标签

题目讨论

如果对题目有疑问,欢迎来提出你的问题,热心的小伙伴会帮你解答。

如何吃透这篇文章?

20th Century Photography in the USA

0人精听过

预计练习时间:16min22s

马上精听本文

最新提问