Analysing The Ownership Of Works Of Art托福聽力原文翻譯及問題答案

Analysing The Ownership Of Works Of Art托福聽力原文翻譯及問題答案

一、Analysing The Ownership Of Works Of Art托福聽力原文：

MALE:PROFESSOR OK,as art historians,one of our fundamental tasks is to assign authorship to works of art,right?We're presented with a work of art,and we have to figure out who made it.But this task becomes particularly difficult when we're dealing with works produced in Italy during the Renaissance—the sixteenth,seventeenth centuries.

Now why is this the case?Anyone?Emily.

FEMALE STUDENT:Um,is it'cause artists didn't sign their work?I mean,didn't the whole concept of the artist as an individual develop later,in like the nineteenth century?

MALE PROFESSOR:Well,you're sort of on the right track.The concept of the individual artist—especially the concept of the artist as an artistic genius,bleh,struggling alone with a vision…as opposed to,say,a mere artisan—well the idea of the artist as a lone genius didn’t develop until later.

But artists,individual artists,did sign their work during the Renaissance.In fact,you could say that’s part of the problem…Paintings were signed by the artist,and that used to be understood to be a mark of Renaissance individualism.If a piece had Raphael’s signature on it,we assumed it was done by the great artist himself—Raphael,in the singular.

But you see,art in Renaissance Italy was very much a collaborative business.Painters and sculptors worked in a workshop.It was almost like a small business run by…a master artist.

You see,to deal with the wide variety of commissions they received—orders,basically,for specific types of art,specific projects—to handle these,master artists often employed assistants,as apprentices.An-and this was especially so if they worked on a large scale,huge paintings or sculptures,or if they were much in demand,like Raphael for instance.

He worked on some large paintings:He painted frescoes for the Vatican.He also received a great many commissions.There’s no way he could have completed every part of every project all by himself!

Now these assistants might work for the master artist on a temporary or a permanent basis,and they might also specialize.For example,in Raphael's workshop,which might be called“Raphael Incorporated,”one of the assistants specialized in animals.He actually painted a good number of the animals in Raphael’s art.It may be that a master signing a work was simply making a declaration that the work met the standards of the shop.

And it wasn't just painters.Sculptors also worked together;in fact,assistants were even more necessary if you were a master sculptor,because statues take longer to make than paintings.And the master had to arrange for marble to be quarried,things like that.

And perhaps the most collaborative of all was architecture.There we see a real division of labor,what with carpenters,masons,unskilled labor just to carry materials to and fro,and so on.Plus,of course,your skilled artisans,who carried out the master architect's design.Think of it like,uh,a ballet,you know?All the dancers work together.There's a division of labor,people have different roles,and in order for the thing to come together,everyone needs to be aware of what others are doing,and coordinate their work,and have good timing.

So for architecture,it's almost impossible to know who was responsible for any given detail.Was it the master architect?The mason?An assistant mason?Maybe it was even the patron,the client who was paying for the art.

Remember,it wasn't yet customary for architects to give their assistants measured drawings to work from.Instructions were given orally,not in writing,so we don't have those documents to tell us what,exactly,the master architect's plans were.The only time we have written records is when the architect wasn't actually there—perhaps the architect was away on business,and had to write out instructions and send them to the shop.

And another thing to think about:What effect do you suppose this approach would have had on innovation?

I mean,since the hired artisans had been trained by other artisans,they tended to be trained to use traditional styles and techniques.So if you're a master architect,um,and you’ve developed your own style—say you're calling for a certain detail in a building you're designing,right?And say this detail is different—purposely different—from the established tradition,the established style.

Well,most likely,when the hired artisans would execute the design,rather than follow the intended design,they'd stick with the more traditional style that they were familiar with.Workers would have to be supervised very closely to prevent this from happening.Otherwise,as often happened,there goes the designer's style and creativity.

二、Analysing The Ownership Of Works Of Art托福聽力中文翻譯：

男：好的，教授，作為藝術史學家，我們的基本任務之一就是為藝術作品指定作者，對嗎？我們看到了一件藝術品，我們必須找出是誰做的。但是，當我們處理十六、十七世紀文藝復興時期意大利創(chuàng)作的作品時，這項任務變得特別困難。

為什么會這樣？任何人艾米麗。

女生：嗯，是因為藝術家沒有在他們的作品上簽名嗎？我的意思是，藝術家作為一個個體的整個概念不是在19世紀之后發(fā)展起來的嗎？

男教授：嗯，你的思路是對的。個體藝術家的概念，尤其是藝術家作為藝術天才的概念，嗚嗚，獨自為一種視覺而奮斗……與之相對的是，比方說，僅僅是一個工匠——藝術家作為一個孤獨的天才的想法直到后來才發(fā)展起來。

但在文藝復興時期，藝術家、個體藝術家確實簽署了他們的作品。事實上，你可以說這是問題的一部分……繪畫是由藝術家簽名的，這過去被理解為文藝復興時期個人主義的標志。如果一件作品上有拉斐爾的簽名，我們假設它是由偉大的藝術家拉斐爾本人以單數(shù)形式完成的。

但你看，文藝復興時期意大利的藝術在很大程度上是一種合作的商業(yè)。畫家和雕塑家在車間工作。這幾乎就像是一家由……大師級藝術家經營的小企業(yè)。

你看，為了處理他們收到的各種各樣的委托，基本上，對于特定類型的藝術，處理這些特定項目，大師級藝術家通常雇傭助手作為學徒。如果他們從事大規(guī)模、巨大的繪畫或雕塑，或者他們的需求量很大，比如拉斐爾，情況尤其如此。

他創(chuàng)作了一些大型繪畫作品：他為梵蒂岡繪制了壁畫。他還收到了許多傭金。他不可能獨自完成每個項目的每個部分！

現(xiàn)在，這些助理可能臨時或永久為大師級藝術家工作，他們也可能專門從事這項工作。例如，在拉斐爾的工作室，可能被稱為“拉斐爾公司”，是專門研究動物的助手之一。他實際上在拉斐爾的藝術中畫了很多動物。可能是一位大師簽署作品只是簡單地聲明作品符合商店的標準。

不僅僅是畫家。雕塑家也一起工作；事實上，如果你是一名雕塑家，助理甚至更為必要，因為雕像的制作時間比繪畫要長。主人不得不安排開采大理石，諸如此類的事情。

也許最具協(xié)作性的是建筑。在那里，我們看到了真正的分工，包括木匠、泥瓦匠、只需來回搬運材料的非熟練勞動力等等。當然，還有你的技術嫻熟的工匠，他們完成了主建筑師的設計。把它想象成芭蕾舞，你知道嗎？所有的舞者一起工作。有一種分工，人們有不同的角色，為了讓事情走到一起，每個人都需要知道其他人在做什么，協(xié)調他們的工作，并有好的時機。

所以對于建筑來說，幾乎不可能知道誰負責任何給定的細節(jié)。是主建筑師嗎？泥瓦匠？助理泥瓦匠？甚至可能是贊助人，也可能是為藝術品付款的客戶。

請記住，建筑師還沒有習慣于讓助手測量圖紙。指示是口頭給出的，不是書面的，所以我們沒有這些文件來告訴我們主建筑師的計劃到底是什么。我們唯一有書面記錄的時候是建筑師不在的時候，也許建筑師出差了，不得不寫下指示并將其發(fā)送到商店。

還有一件事需要考慮：你認為這種方法會對創(chuàng)新產生什么影響？

我的意思是，由于雇傭的工匠接受了其他工匠的培訓，他們往往會接受使用傳統(tǒng)風格和技術的培訓。所以，如果你是一位大師級建筑師，嗯，你已經形成了自己的風格，比如說你正在設計的建筑需要特定的細節(jié)，對嗎？說這個細節(jié)是故意不同于既定的傳統(tǒng)，既定的風格。

很可能，當雇傭的工匠執(zhí)行設計時，而不是按照預期的設計，他們會堅持他們熟悉的更傳統(tǒng)的風格。必須非常密切地監(jiān)督工人，以防止這種情況發(fā)生。否則，就像經常發(fā)生的那樣，設計師的風格和創(chuàng)造力就會消失。

三、Analysing The Ownership Of Works Of Art托福聽力問題：

Q1:1.What does the professor mainly discuss?

A.The process art historians use to determine who created Renaissance artworks

B.Whether collaborative artworks are superior to those produced individually

C.The way that art was created during the Renaissance

D.The development of artistic individuality during the Renaissance

Q2:2.According to the professor,what factors may have led to a Renaissance artist's decision to hire assistants?[Click on 2 answers.]

A.The number of commissions an artist accepted

B.The scale of the project to be completed

C.The amount of money to be paid for the project

D.The amount of advice needed from other artists

Q3:3.Why does the professor mention someone who painted animals in Raphael’s workshop?

A.As an example of how artists learned by painting real-life models

B.As an example of paintings that were copied from sculptures

C.As an example of how assistants specialized in different types of painting

D.As an example of how an assistant introduced an artistic innovation

Q4:4.According to the professor,how is a building project like a ballet?

A.Strong leadership is necessary to coordinate the work.

B.Everyone needs to be aware of what the others are doing.

C.Everyone needs to be doing the same thing at the same time.

D.The result depends on the level of skill of each person involved.

Q5:5.Why does the professor mention that in architecture,instructions were usually given orally?[Click on 2 answers.]

A.To emphasize that architectural designs were constantly changing

B.To demonstrate the extent of the collaboration between master architects and their assistants

C.To explain why there is little documentation for many projects

D.To stress the difficulty in determining any given artisan's contributions to a project

Q6:6.What does the professor imply about the process of producing architecture collaboratively?

A.It was a result of patrons'believing in an architect's individual genius.

B.It resulted in extra expense for the patrons.

C.It was simpler than producing sculpture collaboratively.

D.It often resulted in less innovation than the architect intended.

四、Analysing The Ownership Of Works Of Art托福聽力答案：

A1:正確答案：C

A2:正確答案：AB

A3:正確答案：C

A4:正確答案：B

A5:正確答案：CD

A6:正確答案：D

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