题目内容
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The old artist is (in the habit of) (going for) a walk in the park every (morning) (except it rains).
A．in the habit of
B．going for
C．morning
D．except it rains
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The old artist is (in the habit of) (going for a walk in) the park (every morning) (except) it rains.
A．in the habit of
B．going for a walk in
C．every morning
D．except
While ______ in Paris, the old artist picked up some French.
A．staying
B．stay
C．stayed
D．to stay
听力原文： When Sir Winston Churchill, the great British Prime minister, reached his eightieth birthday in November, 1954, he was presented with his portrait by a well-known modern artist, Graham Sutherland. The painting had been ordered and paid for by the members of Parliament, who wanted to honor the Grand Old Man of World War Ⅱ.
Sir Winston and Lady Churchill were deeply moved by this mark of respect and affection. Neither of them, of course, allowed the donors to see how much they both disliked the portrait. "It makes me look stupid which I am not!" protested Churchill in private. Publicly, he only remarked that it was "a fine example of modern art. " His friends smiled; it was well-known that Sir Winston didn't care for modern art.
Who honored him with his portrait？
A．A well-known artist．
B．Parliament．
C．His friend．
A.in the habit
B.going for a walk
C.every morning
D.except it rains
I suppose that the poet will sing and the artist will paint regardless whether the world praises or blames. He has his own world and is independent of his fellow-men. But the handicraftsman is dependent on your pleasure and opinion. He needs your encouragement and he must have beautiful surroundings. Your people love art but do not sufficiently honor the handicraftsman. I find one great trouble all over is that your workmen are not given to noble designs. You cannot be indifferent to this, because art is not something which you can take or leave. It is a necessity of human life.
And what is the meaning of this beautiful decoration which we call art？ In the first place, it means value to the workman and it means the pleasure which he must necessarily take in making a beautiful thing. The mark of all good art is not that the thing done is done exactly or finely, for machinery may do as much, but that it is worked out with the head and the workman's heart. I cannot impress the point too frequently that beautiful and rational designs are necessary in all work. I did not imagine, until I went into some of your simpler cities, that there was so much bad work done. I found bad wall-papers horribly designed, and colored carpets, and that old offender the horse-hair sofa, whose stolid look of indifference is always so depressing. I found meaningless chandeliers and machine-made furniture. I came across the small iron stove which they always persist in decorating with machine-made ornaments, and which is as great a bore as a wet day or any other particularly dreadful institution.
It must always be remembered that what is well and carefully made by an honest workman, after a rational design, increases in beauty and value as the years go on. The old furniture brought over by the Pilgrims, two hundred years ago, which I saw in New England, is just as good and as beautiful today as it was when it first came here. Now, what you must do is to bring artists and handicraftsmen together. Handicraftsmen cannot live, certainly cannot thrive, without such companionship. Separate these two and you rob art of all spiritual motive.
Having done this, you must place your workman in the midst of beautiful surroundings. The artist is not dependent on the visible and the tangible. He has his visions and his dreams to feed on. But the workman must see lovely forms as he goes to his work in the morning and returns at eventide. And, in connection with this, I want to assure you that noble and beautiful designs are never the result of idle fancy or purposeless day-dreaming. They come only as the accumulation of habits of long and delightful observation. And yet such things may not be taught. Right ideas concerning them can certainly be obtained only by those who have been accustomed to rooms that are beautiful and colors that are satisfying.
This passage seems to be part of a ______.
A．public lecture
B．public statement
C．magazine article
D．newspaper report
A．The artist thought the original subject was not important enough.
B．The committee could not agree on which western figures to include.
C．The rock found in the area was not suitable for such a carving.
D．The artist thought carving historical figures would be controversial.
I suppose that the poet will sing and the artist will paint regardless whether the world praises or blames. He has his own world and is independent of his fellow-men. But the handicraftsman is dependent on your pleasure and opinion. He needs your encouragement and he must have beautiful surroundings. Your people love art but do not sufficiently honor the handicraftsman. I find one great trouble all over is that your workmen are not given to noble designs. You cannot be indifferent to this, because art is not something which you can take or leave. It is a necessity of human life.
And what is the meaning of this beautiful decoration which we call art？ In the first place, it means value to the workman and it means the pleasure which he must necessarily take in making a beautiful thing. The mark of all good art is not that the thing done is done exactly or finely, for machinery may do as much, but that it is worked out with the head and the workman's heart. I cannot impress the point too frequently that beautiful and rational designs are necessary in all work. I did not imagine, until I went into some of your simpler cities, that there was so much bad work done. I found bad wall-papers horribly designed, and colored carpets, and that old offender the horse-hair sofa, whose stolid look of indifference is always so depressing. I found meaningless chandeliers and machine-made furniture. I came across the small iron stove which they always persist in decorating with machine-made ornaments, and which is as great a bore as a wet day or any other particularly dreadful institution.
It must always be remembered that what is well and carefully made by an honest workman, after a rational design, increases in beauty and value as the years go 'on. The old furniture brought over by the Pilgrims, two hundred years ago, which I saw in New England,: is just as good and as beautiful today as it was when it first came here. Now, what you must do is to bring artists and handicraftsmen together. Handicraftsmen cannot live, certainly cannot thrive, without such companionship. Separate these two and you rob art of all spiritual
Having done this, you must place your workman in the midst of beautiful surroundings. The artist is not dependent on the visible and the tangible. He has his visions and his dreams to feed on. But the workman must see lovely forms as he goes to his work in the morning and returns at eventide. And, in connection with this, I want to assure you that noble and beautiful designs are never the result of idle fancy or purposeless day-dreaming. They come only as the accumulation of habits of long and delightful observation. And yet such things may not be taught. Right ideas concerning them can certainly be obtained only by those who have been accustomed to rooms that are beautiful and colors that are satisfying.
This passage seems to be part of a______.
A．public lecture
B．public statement
C．magazine article
D．newspaper report
In fact, the artist herself says that they remind her of artifacts found in an
archaeological dig. The analogy becomes clear when looking at her current installation at the Robischon Gallery in Denver. As single items, the shapes are marvelous small sculptures. But placed in relationship to each other, the metaphors they evoke are endless depending only on the imagination of the viewer. The fact that the objects remind us of tools as much as they do of organic and aesthetic objects reinforces the archaeological metaphor.
"This work is a tremendous departure from what I've been doing for the last 17 years," Leodas says. "There are a lot of connections, but the transitions are really important to me. I was doing these large vessels up to three feet in diameter. There are some similarities between the old and the new work in what the forms are about -- classic, simple, elegant, unadorned work. The vessels, though, are intensely glazed in jewel-like tones."
"People like to make reference to my Aegean heritage -- the deep underwater blue and green. For me, it was a process of refinement, trying to make the perfect one. I worked with only six or seven forms, and I dealt with balance and proportion. For example, if I was working with an oval shape. I would do it tall and narrow or wide and short -- playing with proportion that way."
There came a point, however, when she reached the end of her experiments with vessels, when she had done everything she needed to do with that application of her medium.
"I knew I had to change what I was doing, but I had no idea how. After the buildup of my reputation, it was just like being a baby."
"These new forms are all closed -- as opposed to a vessel, where I am thinking about inside-outside, containing space. This body of work was a tremendous outpouring I did not plan at all. I did not plan or think about how one was leading to the next one. I just made them..."
Leodas says these objects have been influenced by her love of tools. "When I was thinking about the new work, I went to a blacksmith friend's shop, pulled out his tools, and photographed them. There is just something about the well-made tool that really does its job..." There is a piece that ended up looking like a tire rib, another that resembles a blacksmith's hammerhead, and another whose form. derives from the disc between the vertebrae of a whale.
In the end, she believes that the forms are both very personal and at the same time universal. The artist's passion for clay is as plain as her exquisite formal achievements, her sense of fun as apparent as her expertise in the medium.
The term "archaeological metaphor" in the second paragraph suggests that the sculptures
A．appear both antiquated and modem.
B．are refined and unornamented.
C．resemble prehistoric implements.
D．are incomparable and artless.
A．encounter
B．collision
C．confront
D．appointment
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