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问答题
What we today call American folk art was, art of, by, and for ordinary, everyday I “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans，seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained an increasing number of such people, and of the artists who could meet their demands.
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更多 “问答题What we today call American folk art was, art of, by, and for ordinary, everyday I “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans，seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained an increasing number of such people, and of the artists who could meet their demands.” 相关考题
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Text 4Many things make people think artists are weird and the weirdest may be this: artists’ only job is to explore emotions, and yet they choose to focus on the ones that feel bad.This wasn’t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th century, more artists began seeing happiness as insipid, phony or, worst of all, boring as we went from Wordsworth’s daffodils to Baudelaire’s flowers of evil.You could argue that art became more skeptical of happiness because modern times have seen such misery. But it’s not as if earlier times didn’t know perpetual war, disaster and the massacre of innocents. The reason, in fact, may be just the opposite: there is too much damn happiness in the world today.After all, what is the one modern form. of expression almost completely dedicated to depicting happiness? Advertising. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology.People in earlier eras were surrounded by reminders of misery. They worked until exhausted, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. Given all this, they did not exactly need their art to be a bummer too.Today the messages the average Westerner is surrounded with are not religious but commercial, and forever happy. Fast-food eaters, news anchors, text messengers, all smiling, smiling, smiling. Our magazines feature beaming celebrities and happy families in perfect homes. And since these messages have an agenda -- to lure us to open our wallets -- they make the very idea of happiness seem unreliable. “Celebrate!” commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks.But what we forget -- what our economy depends on us forgetting -- is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us as religion once did, Memento mori: remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It’s a message even more bitter than a clove cigarette, yet, somehow, a breath of fresh air.36. By citing the example of poets Wordsworth and Baudelaire, the author intends to show that ________.[A] poetry is not as expressive of joy as painting or music[B] art grow out of both positive and negative feeling[C] poets today are less skeptical of happiness[D] artists have changed their focus of interest
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We can learn from the last paragraph that the author believes ________.[A] happiness more often than not ends in sadness[B] the anti-happy art is distasteful but refreshing[C] misery should be enjoyed rather than denied[D] the anti-happy art flourishes when economy booms
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Today, many cultures divide music______ art music and music of the people.A、fromB、intoC、overD、beneath
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In the years after the Civil War most American painters received their training in Europe, the majority studying in the French schools at Paris or Barbizon, and a smaller number in Germany at Munich(慕尼黑) and Dusseldorf(杜塞尔多夫). The teaching of the Barbizon school, which stressed the use of color and the creation of an impression or a mood, influenced many American artists. One group of American painters, led by James McNeill Whistler and John Singer Sargent, expatriated(移居国外) themselves from the American scene and settled in Europe. Whistler, who is often ranked as the greatest genius(天才) in the history of American art, was a versatile(多才多艺的) and industrious(勤奋的) artist who was equally proficient(熟练的) in several media-oil, watercolor, etching(铜版画)-and with several themes-portraits and his so-called nocturnes(夜景画), impressionistic sketches(印象画) of moonlight on water and other scenes. He was one of the first to appreciate the beauty of Japanese color prints and to introduce Oriental concepts into Western art.1. For a period after the Civil War, the majority of American painters ____.A、was influenced by the Barbizon schoolB、painted in the impressionist styleC、studied art in EuropeD、used striking color in their work2. According to the passage, one group of American painters ____.A、left America never to returnB、turned their back on the American art traditionC、copied the style. of Whistler and SargentD、were unaffected by the European style. of painting3. From the passage we are led to believe that Whistler ____.A、did much of his painting at nightB、produced a large number of picturesC、combined several media and themes in his paintingsD、was most proficient in impressionistic sketches4. According to the passage, Whistler was one of the first Western painters to ____.A、use Japanese ideas in his own workB、become interested in Japanese printingC、admire Japanese oil paintingsD、start producing Japanese sketches5. The main theme of this passage is ____.A、Whistlers influence on Western artB、The influence of European art on American paintersC、The influence of Oriental art on WhistlerD、The American painters influence in Europe
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We can learn from the last paragraph that the author believesA.Happiness more often than not ends in sadness. B.The anti-happy art is distasteful by refreshing. C.Misery should be enjoyed rather than denied. D.The anti-happy art flourishes when economy booms
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The most appropriate title for this text could be __.（ ）[A] Fluctuation of Art Prices[B] Up-to-date Art Auctions[C] Art Market in Decline[D] Shifted Interest in Arts
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Which of the following is NOT what Hegel believed?A. The content and form of the work of art cannot be separated from each other.
B. The content of the work of art is always the true object of aesthetic interest.
C. The content presented without any individuality is not the content of the work of art.
D. The content understood by means of a process of discursive thought is no more than a husk.
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Two related paradoxes also emerge from the same basic conception of the aesthetic experience. The first was given extended consideration by Hegel, who argued roughly as follows: our sensuous attention and that gives to the work of art its peculiar individuality. Because it addresses itself to our sensory appreciation, the work of art is essentially concrete, to be understood by an act of perception rather than by a process of discursive thought.
At the same time, our understanding of the work of art is in part intellectual; we seek in it a conceptual content, which it presents to us in the form of an idea. One purpose of critical interpretation is to expound this idea in discursive form—to give the equivalent of the content of the work of art in another, nonsensuous idiom. But criticism can never succeed in this task, for, by separating the content from the particular form, it abolishes its individuality. The content presented then ceases to be the exact content of that work of art. In losing its individuality, the content loses its aesthetic reality; it thus ceases to be a reason for attending to the particular work and that first attracted our critical attention. It cannot be this that we saw in the original work and that explained its power over us.
For this content, displayed in the discursive idiom of the critical intellect, is no more than a husk, a discarded relic of a meaning that eluded us in the act of seizing it. If the content is to be the true object of aesthetic interest, it must remain wedded to its individuality: it cannot be detached from its "sensuous embodiment" without being detached from itself. Content is, therefore, inseparable from form and form in turn inseparable from content. (It is the form that it is only by virtue of the content that it embodies.)
Hegel's argument is the archetype of many, all aimed at showing that it is both necessary to distinguish form from content and also impossible to do so. This paradox may be resolved by rejecting either of its premises, but, as with Kant's antinomy, neither premise seems dispensable. To suppose that content and form are inseparable is, in effect, to dismiss both ideas as illusory, since no two works of art can then share either a content or a form-the form being definitive of each work's individuality.
In this case, no one could ever justify his interest in a work of art by reference to its meaning. The intensity of aesthetic interest becomes a puzzling, and ultimately inexplicable, feature of our mental life. If, on the other hand, we insist that content and form are separable, we shall never be able to find, through a study of content, the reason for attending to the particular work of art that intrigues us. Every work of art stands proxy for its paraphrase. An impassable gap then opens between aesthetic experience and its ground, and the claim that aesthetic experience is intrinsically valuable is thrown in doubt.
1. Hegel argued that .A. it is our sensuous appreciation that gives peculiar individuality to the work of art
B. it is the content of the work of art that holds our attention
C. the work of art cannot be understood without a process of logical thinking
D. the form of the work of art is what our sensuous appreciation concentrates on
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We utilized______films, semi-formal interviews and participant observation to explore the relationship between urban livelihoods and art creation.A.silent
B.romantic
C.documentary
D.document
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We should give our guests some art crafts authentically Chinese so that they could better understand Chinese culture.A: genuinely
B: elegantly
C: intentionally
D: thoroughly
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“午餐准备什么菜肴”用英文表示为（）。A、What are we going to prepare？B、What is my job for today？C、What dishes do we prepare for lunch？D、What are we do for lunch？
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问答题Expressionism Expressionism is an art movement that produced a wealth of wonderful works of art, and the lives of the artists who created them were no less colorful and exciting. The word expressionism can be used to describe art from different times and places, most of them were part of a movement that took place in Germany from 1905 to 1920. They shared some of the beliefs. Those beliefs were that art should try to change society, to make it less conservative. It should express the energy of nature—following in the footsteps of Vincent van Gogh—-and personal feeling rather than simply representing nature. It should feel uncomfortable, which means it should challenge the traditional ways of looking at the world. This differed from the opinion of Henri Matisse who believed that art should be comfortable. Expressionist art should be inspired by folk art, and the art of what were then called primitive people, for example from Africa. The aim of the Expressionists was to express personal feeling about what they were painting rather than representing it exactly as it was. It should have strong colors and shapes, be relatively direct, untutored and unplanned and should still contain recognizable things, but not be realistic. The lines could be distorted, and the colors could be strengthened or changed as in the art movement that began in 1905 called Fauvism. Expressionism was more than a style in painting. It could be found in theatre and cinema, literature and architecture. It was a sharing of ideas and experiences across all these media. The life stories of the Expressionist artists show just how much they had in common. Many began by studying applied art, such as furniture design, often to please their parents. Although they later made more personal art, they continued to make use of those technical skills. Both art critics and the public received this new movement with derision and outrage. Expressionist artists were trying to shock by challenging the traditional, conservative views held by many people. Gradually, however, it became accepted and even admired. All the Expressionists were affected by World War I (1914-18). Some fled from Germany and spent the war years in exile. Some never returned to their homeland. Most served in the war and some were killed. At first some of them hoped a war would change society for the better but they were soon disillusioned when they saw the destruction and suffering that it caused. In the years after the war, many Expressionist artist revealed the horrors they experienced in their work. After World War I, Expressionism became very fashionable in Germany, where art was allowed to flourish. This freedom ended in 1933 when Hitler declared all Expressionists were degenerate. This led to them being sacked from their jobs or forced to leave Germany. In 1937 the Nazis took thousands of art works from German museums and put them in an enormous exhibition called the Degenerate Art Exhibition, to show how bad and decadent this art was. It presented a view of the world that went against their political and cultural ambitions to rid Germany of all inferior races.
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单选题The Art Makes Good Business program is intended for _____.A
the general publicB
modern art loversC
corporate members of MOCAD
people involved in art business
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单选题What do we find after the development of the laser in the 1960s?A
Industrial revolution brought surgery changed greatly.B
Medical help became available for industrial workers.C
The study of art went through a complete revolution.D
Human being’s methods in surgery changed greatly.
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单选题As we are（）urgent need of Art.No.5609，please ship our order with out delay.A
onB
ofC
inD
to
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问答题Practice 10 What we today call American folk art was, art of, by, and for ordinary, everyday I “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics—whether ancient Romans，seventeenth-century Dutch burghers, or nineteenth-century Americans—have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained an increasing number of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England—especially Connecticut and Massachusetts—for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and the portrait painters could be found at work in western New York, Ohio, Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to original thirteen. During these years, the demand for portraits grew and grew, eventually to be satisfied by camera.
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问答题Practice 1 When a new movement in art attains a certain fashion, it is advisable to find out what its advocates are aiming at, for, however farfetched and unreasonable their principles may seem today, it is possible that in years to come they may be regarded as normal. With regard to Futurist poetry, however, the case is rather difficult, for whatever Futurist poetry may be even admitting that the theory on which it is based may be right, it can hardly be classed as Literature. This, in brief, is what the Futurist says. Over one century, the life situation in the past had been changed rapidly. And now, we live in the world which is full of noise, violence and speed.
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单选题The passage asserts which of the following about commercial art?A
There are many examples of commercial art whose artistic merit is equal to that of great works of art of the past.B
Commercial art is heavily influenced by whatever doctrines are fashionable in the serious art world of the time.C
The line between commercial art and great art lies primarily in how an image is used, not in the motivation for its creation.D
The pervasiveness of contemporary commercial art has led art historians to undervalue representational skills.
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单选题Today, many cultures divide music（）art music and music of the people.A
fromB
intoC
overD
beneath
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单选题What is the passage mainly about?A
The development of European art.B
Modern art development in the United States.C
Modern artists in the United States.D
Modernism and Cubism.
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单选题The passage is mainly discussing _____.A
the difference between general history and art historyB
the making of art historyC
what we can learn from artD
the influence of artists on art history
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问答题Practice 10 We learned from your advertisement in Globe Boston that you are an exporter of glass art works and we are availing ourselves of this opportunity to ask you to send us some samples of the advertised products. Our firm is a company engaged in import/ export of arts and crafts. Recent years we have put more interest in glass art works. We are thinking of expanding our business to the US and hope we will establish business relations with you soon.
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单选题According to the talk, for what is the Glasgow School of Art famous?A
Its educational faculty.B
Its collection of art works.C
Its architectural design.D
Its museums and art galleries.
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