考满分 toefl

1 .Listen to part of a lecture in an art history class.

听一段艺术史课上的讲座片段。

1 .Professor: You'll remember we talked about the 19th century French artist Edgar Degas, who was greatly influenced by the artistic movement called Impressionism. I think he makes a good starting point for our discussion this morning. Degas and the Impressionists sought to portray objects and people in a whole new way. For instance, they tried to capture the changing effects of sunlight on a landscape or the swirl of color in a room full of ballet dancers. Anyone remember what we said about the evolution of Degas's style, Charles?

教授：你们会记得我们谈过十九世纪的法国艺术家埃德加·德加，他深受印象派艺术运动的影响。我认为他是我们今天早上讨论的一个很好的起点。德加和印象派画家们试图以全新的方式描绘物体和人物。例如，他们尝试捕捉阳光在风景中的变化效果或充满芭蕾舞者的房间里的色彩旋涡。有人记得我们说过德加风格演变的什么吗？查尔斯。

1 .Male Student: Okay, so he starts out as a very realistic painter, very precise detail, but as time goes on he starts emphasizing movement and light rather than exact representations.

男学生：好的。所以，他一开始是一位非常现实主义的画家，非常注重细节，但随着时间的推移，他开始强调运动和光线，而不是精确的再现。

1 .Professor: Fine. So, and we'll see how this change in his style was influenced by a new way of producing graphic work, one that Degas experimented with extensively. Well, I really shouldn't say new way because it was actually developed two hundred years earlier, but it was virtually ignored until the 19th century until it was adopted by Degas and a few of his contemporaries. I'm referring to the monotype.

教授：很好。所以我们会看到他的风格变化是如何受到一种新的图形创作方式影响的，这种方式德加也进行了广泛的实验。嗯，我其实不应该说是新方式，因为它实际上是在两百年前就开发出来了，但到十九世纪为止一直被忽视，直到德加和他同时代的一些人采用这种方式。我指的是单版画。

1 .Professor: A monotype is made by painting the design on a flat glass or metal surface and then transferring the design onto a piece of paper. You lay the paper atop the painted surface and apply pressure. This creates a mirror image of the design. And because the paint smears and spreads during the pressing in- somewhat unpredictable ways- there's always an element of surprise in the outcome. The artist relinquishes some degree of control over the final product. Yes, Marsha?

教授：单版画是通过在平坦的玻璃或金属表面上绘制设计，然后将设计转移到一张纸上来制作的。把纸放在涂有油漆的表面上并施加压力，这会创造出设计的镜像。而且由于油漆在压印过程中以某种不可预测的方式模糊和扩散，结果总是带有一定的惊喜。艺术家放弃了对最后成品的一些控制权。是的，Marsha？

1 .Female Student: Now that I really don't get the unpredictability. Artists like Degas were so careful and concerned about every detail in their paintings. Why wouldn't they just paint exactly what they wanted directly onto the canvas?

女学生：现在我真的不明白这种不可预测性。像德加这样的艺术家，非常小心和关注他们画作中的每一个细节。为什么他们不直接在画布上准确地绘制他们想要的东西呢？

1 .Professor: Perhaps because this process creates spontaneous configurations and textures which can be appealing to an artist and impossible to achieve through normal painting techniques—happy accidents, you might say. Now, because most of the paint is transferred to the paper during the first printing, the artist can make only one print.

教授：也许是因为这个过程会产生自发的构图和纹理，这对艺术家来说可能很有吸引力，并且通过正常的绘画技术是不可能实现的——你可以说是意外之喜。现在，因为大部分油漆在第一次印刷时被转移到纸上，艺术家只能制作一份版画。

1 .Female Student：So how is that an advantage? Professor: Well, it...it gives the print singularity, uniqueness. Although actually it's sometimes possible to create one or two so-called echo prints—lighter copies with whatever paint still remains on the surface. Now, what I've just described to you is known as the light field method of making monotypes. It produces a dark image on a light-colored background. There's also another method-the dark field method, which creates the opposite effect. The artist completely covers the glass or metal with paint and then draws a design in it using fingers, a paintbrush handle, whatever, to remove some of the paint. When the design is transferred to paper, those areas appear light on a dark background.

女学生：那么这怎么会是一个优势呢？ 教授：嗯，这使得版画具有独特性和唯一性。虽然实际上有时可以用表面上剩余的油漆制作一到两个所谓的回声版画——颜色较浅的复制品。我刚才描述给你的是一种单色版画的光场法，它在浅色背景上产生深色图像。还有另一种方法，称为暗场法，它会产生相反的效果。艺术家完全覆盖玻璃或金属板上的油漆，然后用手指、画笔柄等工具绘制设计，从而去除一些油漆。当设计被转移到纸上时，那些区域会在深色背景上显现出亮色。

1 .Female Student: You know, that reminds me of when we discussed ancient Greek vase painting. Professor: Uh huh.

女学生：你知道，这让我想起了我们讨论古希腊陶瓶绘画的时候。 教授：嗯，继续。

1 .Female Student: All the vases were made of red clay, but there were two kinds. One type had black figures, uh...mainly people—painted onto the clay, so black figures on a red background. With the other type, the whole vase was painted black and then the figures were created by scratching some paint off. So the figures appear to be red on a black background. Professor: Right, good analogy. Question.

女学生：所有的陶瓶都是用红色粘土制成的，但有两种类型。一种是在粘土上绘制黑色人物——主要是人，所以是红色背景上的黑色人物。另一种是整个陶瓶都涂成黑色，然后通过刮掉一些油漆来创造人物。所以这些人物看起来像是在黑色背景上的红色。 教授：对，很好的类比，下一个问题。

1 .Female Student: Yeah, ah I was skimming through our textbook and I remember seeing something about... um, monoprint, so I was wondering, is monoprint just another way of saying monotype?

男学生：我在浏览我们的教科书时记得看到关于单版画的内容，所以我想知道，单版画是不是只是单色版画的一种说法？

1 .Professor: Ah, okay. Actually there is a distinction, but many people, many publications have used these two terms interchangeably. And well, they'd really have to be forgiven for this, right? However, technically the essential difference is that the monoprint can be reproduced many times over. The artist carves or designs directly into the glass or metal using a sharp tool and then applies paint and makes prints as many times as he or she wants. The artist can also create different versions of the print by adding new elements, varying the color of the paint, and so forth. But the monotype, that's pretty much a one-time deal. And back to the nineteenth century, a number of impressionist artists were intrigued by this technique. Degas notably created hundreds of monotypes, often highlighting the resulting unplanned patterns by touching them up, defining them with pastel chalks, taking advantage of the spontaneity.

教授：啊，好的，实际上是有区别的，但许多人和许多出版物都将这两个术语互换使用。而且，他们确实应该被原谅，对吧？然而，从技术上讲，本质区别在于单版画（monoprint）可以多次复制。艺术家使用锋利的工具直接在玻璃或金属上雕刻或设计，然后涂上油漆，并根据需要制作任意次数的印刷品。艺术家还可以通过添加新元素、改变油漆颜色等方式创造不同版本的印刷品。但单色版画（monotype），那基本上就是一次性的。回到十九世纪，许多印象派艺术家对这种技术很感兴趣。德加尤其创作了数百幅单色版画，经常通过修饰它们、用粉彩笔定义它们来突出结果中的非计划图案，利用其自发性。