单选题AA list of influential painters.BA history of an art movement.CA comparison of schools of art.DA description of a painting.
单选题
A
A list of influential painters.
B
A history of an art movement.
C
A comparison of schools of art.
D
A description of a painting.
参考解析
解析：
教授讲座中涉及加拿大艺术的起源以及发展，所以说他主要描述了一个艺术运动的历史，故选择B项。
【听力原文】
The painter Arthur Lismer wrote, “Most creative people, whether in painting, writing or music, began to have a guilty feeling that Canada was as yet unwritten, unpainted, unsung.” According to Lismer, there was a job to be done, and so a generation of artists set out to create a school of painting that would record the Canadian scene and reinforce a distinctive Canadian identity. Calling themselves the Group of Seven, they proclaimed that—quote, “Art must grow and flower in the land before the country will be a real home for its people.”
The Group’s origins date back to the 1911 showing in Toronto of the painting “At the Edge of the Maple Wood” by A.Y. Jackson of Montreal. This painting’s vibrant color and texture made a deep impression on local artists. They persuaded Jackson to come to Toronto and share a studio with them. Jackson began to accompany another painter, Tom Thomson, on sketching trips to Algonquin Park, north of the city.
A patron gave the artists the famous Studio Building in Toronto. It was here that Thomson did some of his finest paintings from sketches made in the wild. Among them was “The Jack Pine,” one of the nation’s best-loved pictures. But then, suddenly and tragically, Thomson died in 1917 drowning in a canoe accident—shocking his fellow painters and Canadian art lovers.
After a 1919 trip to the wilderness, the artists decided to organize an exhibition and to formally call themselves the Group of Seven. The seven founding artists were Jackson, Lismer, Harris, MacDonald, Varley, Johnston, and Carmichael.
Their 1920 exhibition was an important moment in Canadian art. It proclaimed that Canadian art must be inspired by Canada itself. However, the initial response was less than favorable. Several major art critics ignored the show, while others called the paintings crude and barbaric. Yet, when British critics praised the Group’s distinctly Canadian vision, the Canadian public took another look. Later exhibitions drew increasing acceptance for the Group’s work, establishing them as the “national school.” Before long, they were the most influential painters in the country, and several of their paintings have become icons of Canada.
A.Y. Jackson was influential for his analysis of light and shadow. Arthur Lismer’s work has an intensity all its own-particularly his painting of the “Canadian Jungle,” the violently colored forest in the fall. Lawren Harris went further than the rest in simplifying the forms of nature into sculptural shapes, organizing an entire scene into a single, unified image, and eventually into abstraction.
Questions 53 to 55 are based on the passage you have just heard.
53. What is the professor’s point of view concerning the Group of Seven?
54. What can be concluded about the Group of Seven’s style of painting?
55. Which of the following best describes the organization of the lecture?
教授讲座中涉及加拿大艺术的起源以及发展，所以说他主要描述了一个艺术运动的历史，故选择B项。
【听力原文】
The painter Arthur Lismer wrote, “Most creative people, whether in painting, writing or music, began to have a guilty feeling that Canada was as yet unwritten, unpainted, unsung.” According to Lismer, there was a job to be done, and so a generation of artists set out to create a school of painting that would record the Canadian scene and reinforce a distinctive Canadian identity. Calling themselves the Group of Seven, they proclaimed that—quote, “Art must grow and flower in the land before the country will be a real home for its people.”
The Group’s origins date back to the 1911 showing in Toronto of the painting “At the Edge of the Maple Wood” by A.Y. Jackson of Montreal. This painting’s vibrant color and texture made a deep impression on local artists. They persuaded Jackson to come to Toronto and share a studio with them. Jackson began to accompany another painter, Tom Thomson, on sketching trips to Algonquin Park, north of the city.
A patron gave the artists the famous Studio Building in Toronto. It was here that Thomson did some of his finest paintings from sketches made in the wild. Among them was “The Jack Pine,” one of the nation’s best-loved pictures. But then, suddenly and tragically, Thomson died in 1917 drowning in a canoe accident—shocking his fellow painters and Canadian art lovers.
After a 1919 trip to the wilderness, the artists decided to organize an exhibition and to formally call themselves the Group of Seven. The seven founding artists were Jackson, Lismer, Harris, MacDonald, Varley, Johnston, and Carmichael.
Their 1920 exhibition was an important moment in Canadian art. It proclaimed that Canadian art must be inspired by Canada itself. However, the initial response was less than favorable. Several major art critics ignored the show, while others called the paintings crude and barbaric. Yet, when British critics praised the Group’s distinctly Canadian vision, the Canadian public took another look. Later exhibitions drew increasing acceptance for the Group’s work, establishing them as the “national school.” Before long, they were the most influential painters in the country, and several of their paintings have become icons of Canada.
A.Y. Jackson was influential for his analysis of light and shadow. Arthur Lismer’s work has an intensity all its own-particularly his painting of the “Canadian Jungle,” the violently colored forest in the fall. Lawren Harris went further than the rest in simplifying the forms of nature into sculptural shapes, organizing an entire scene into a single, unified image, and eventually into abstraction.
Questions 53 to 55 are based on the passage you have just heard.
53. What is the professor’s point of view concerning the Group of Seven?
54. What can be concluded about the Group of Seven’s style of painting?
55. Which of the following best describes the organization of the lecture?
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