托福聽力TPO1原文 Lecture 1

經(jīng)典word整理文檔，僅參考，雙擊此處可刪除頁眉頁腳。本資料屬于網(wǎng)絡(luò)整理，如有侵權(quán)，請聯(lián)系刪除，謝謝！托福聽力TPO1原文Lecture1下面就讓小編來為大家介紹一下托福聽力TPO1原文中Lecture1的文本內(nèi)容吧，大TPO1Lecture1ContemporaryartListentopartofalectureinacontemporaryartclass.ProfessorOk,I’mgoingtobeginthislecturebygivingyouyournextassignment.RememberIsaidthatatsomepointduringthissemesterIwantedyoutoattendanexhibitattheFairyStreetGalleryandthenwriteaboutit?Well,theexhibitthatIwantyoutoattendiscomingup.’alreadystartedinfact,butit’llbeatthegalleryforthenextmonth,whichshouldgiveyouplentyoftimetocompletethisassignment.ThenameoftheartistexhibitingthereisRoseFrantzen.Frantzen’sworkmaybeunfamiliartoyousinceshe’sarelativelyyoungartist.Butshe’sgotaveryunusualstyle,comparedtosomeoftheartistswe’velookedatthisterm.Butanyway,Frantzen’sstyleiswhatsheherselfcallsRealisticImpressionism.Soyou’veprobablystudiedbothofthesemovementsseparately,separatemovements,RealismandImpressionism,insomeofyourarthistorycourses.Sowhocanjustsumtheseup?StudentWell,Impressionismstartedinthelate19thcentury.Um…thebasicimpressioniststylewasverydifferentfromearlierstyles.Itdidn’tdepictscenesormodelsexactlylooked.Impressionistpainterstendedtoapplypaintreallythickly,andinbigbrushstrokes,sothetextureofthecanvaswasrough.ProfessorGood.Whatelse?Whatwerethesubjects?StudentWell,alotofimpressionistartistspaintedeverydayscenes,likepeopleonthestreetsandincafes,uh,lotsofnaturescenes,especiallylandscapes.ProfessorGood.Sowhenyougototheexhibit,Ireallywantyoutotakeacloselookatacertainpainting.It’safarmscene.Andyouwillseeitrightasyouenterthegallery.ThereasonIthinkthispaintingissoimportantisthatitstressestheimpressionistaspectofFrantzen’sstyle.It’sanoutdoorscene,aneverydayscene.It’skindofbleak,butyoucanreallyseethosebroadbrushstrokesandtheblurrylines.Thecolorsaren’tquiterealistic.Theskyiskindof,wellanunnaturalpinkishyellow.Andthefenceintheforegroundisblue,butsomehowtheoverallscenegivesanimpressionofacold,bleakwinterdayonafarm.Sothat’stheimpressionistsideofherwork.Oh,andspeakingaboutfarms,thatremindsme.OneinterestingthingIreadaboutFranztenisthatwhenshefirstmovedbacktoIowaafterlivingabroad,sheoftenvisitedthisplaceinhertowncalledtheSalesBarn.AndtheSalesBarn,itwasbasicallythisplacewherethelocalfarmersboughtandsoldtheircattle,theirfarmanimals.AndthereasonFrantzenwentthere,andshelateronwouldvisitotherplaceslikedancehalls,wastoobservepeopleandthewaysthattheymoved.Shereallyfoundthatthishelpedherwork---thatitgaveheranunderstandingofbodymovementsandactions,howhumansmove,andstandstill,whattheirpostureswerelike,too.So,whataboutRealism?WhataretheelementsofRealismweshouldbelookingforinFrantzen’swork?StudentUm…realhonestdepictionsofsubjectmatter,prettyunidealizedstuff,andprettyeverydaysubjectmatter,too.ProfessorGood.OneotherpaintingIreallywantyoutolookatisofayoungwomansurroundedbypumpkins.Youwillnoticethatthewoman’sfaceissorealisticlookingthatit’salmostlikeaphotograph.Thewoman’snoseisalittlelessthanperfectandherhairiskindup.Thisisrealism.Butthen,thebackgroundofthepainting,thiswomanwiththepumpkinsiswrappedinablanketofbroadthickbrushstrokes,and,it’sallkindsofzigzaggingbrushstrokesandlines,kindofchaoticalmostwhenyoulookatitclose.Andtherearevibrantcolors.There’slotsoforange,withlittlehintsofanelectricbluepeekingout.IfindFrantzentobeaveryaccessibleartist.Imean,someartists,toappreciatethem,youhavetoknowtheirlifestory.Buthere’salittlebitaboutRoseFrantzen’slifeanyway.Sheattendedartschool,butwastoldbyoneofherinstructorsthatshewasnotgoodatillustration,thatsheshouldgointoadvertisinginstead.Soshetookadvertisingclassesandfineartsclassestoo,untilshewasconvincedbytheheadofanadvertisingagencythatherworkwasreallygood,thatshecouldbeanartist.Butofcourse,it’snotaseasyasthat,andsoFrantzenhadtopaintotherpeoplesportraitsatplaceslikeartfairsjusttomakemoneytobuypaintforhermoreseriousartwork.Nomatterwhat,sheneverstoppedpainting.Andnow,Frantzenisdoingextremelywell.Andherworkisbeingshownalloverthecountry.SoIthinkmostofuswouldbediscouragedifwehadchallengesanddifficultieslikethat.Butwhat’simportantisthatyoukeepatitthatyoudon’tgiveup.That’swhatisreallyimportanttoremember.《當(dāng)代藝術(shù)》獨白：聽一段節(jié)選自當(dāng)代藝術(shù)課堂的講座。教授：同學(xué)們，我將以給各位布置下一次作業(yè)的方式來開始今天的課。還記得這學(xué)到了。其實，它已經(jīng)開始了，而那個畫廊將在下個月開始，給你們來完成這次作業(yè)的時間應(yīng)該還算充裕的。參展的藝術(shù)家有RoseFrantzen。Frantzen的作品對你們來說可能會陌生，因為她是一個相對年輕的藝術(shù)家。相對于我們這個學(xué)期了解過的一些藝術(shù)家而言，她的風(fēng)格的確和大家有很大不同。但不管怎么說，F(xiàn)rantzen的風(fēng)格是她自己宣稱的現(xiàn)實印象派。所以，你們可能已經(jīng)在藝術(shù)史課程里間歇地學(xué)習(xí)過這兩次運動，迥異的運動——現(xiàn)實主義和印象派。那么，誰來對它們做個小結(jié)？學(xué)生：印象派開始于19世紀(jì)后期。嗯...基礎(chǔ)印象派畫家的風(fēng)格跟早期的風(fēng)格有著很大的不同。它并不完全按照實景或模特的形狀來描繪。嗯...印象派畫家往往不吝油墨，并喜歡用粗筆，這樣使帆布的質(zhì)地顯得粗糙。教授：很好。還有嗎？(至于)主題呢？學(xué)生：嗯，很多印象派畫家畫日常生活場景，如在街上和在網(wǎng)吧的人，很多的自然景觀，特別是山水風(fēng)景。教授：很好。當(dāng)你們?nèi)⒂^這個展會的時候，我真希望你們仔細看一個作品。這是一個農(nóng)場場景。你一進入畫廊就會看見。我認(rèn)為這幅畫是如此重要的原因是它突出了Frantzen印象派風(fēng)格的特征。這是一個戶外場景，日常生活場景。這(看上去)有點凄涼，看著這些粗大、模糊的線條。顏色不太逼真。天空(的顏色)有點……嗯，桃黃色。還有，近景的籬笆又是藍色的，但這個場景整體給人冷清、凄涼，冬日農(nóng)場的印象。這就是她印象派風(fēng)格的作品。哦，說到農(nóng)場，倒提醒了我。我讀過關(guān)于Franzten的一件趣事：當(dāng)她結(jié)束國外生活第一次回到愛荷華的時候，她經(jīng)常光顧她老家一個叫做SalesBarn的地方。SalesBarn基本上是當(dāng)?shù)剞r(nóng)民買賣牲畜、家畜的地方。而Frantzen去作相當(dāng)有幫助——這段經(jīng)歷讓她了解了身體的運動，人們?nèi)绾挝鑴?，如何靜立，他們的姿勢又是怎么樣的。那么，現(xiàn)實主義呢？我們應(yīng)該從Frantzen的作品中尋找什么樣的現(xiàn)實主義要素？教授：很好。我很希望你們看的另外一幅是一個年輕的女子被南瓜環(huán)繞的畫。你會還有她那亂蓬蓬的頭發(fā)也是。這就是寫實派。但是，你看這幅畫的背景，這個南瓜地里的婦女被一塊地毯圍著，而這個地毯是用粗獷的線條(broadthickbrushstrokes之前在說印象派時提到的)所勾畫的，并且這些線條都有點鋸齒狀的。我覺得Frantzen是你就得先知道他們的生平。但是RoseFr