passage 16 馬蒂斯的作品很難理解
★★★★
文章講解：
①Matisse’s art, with its spectacular immediacy and its mysterious depths, poses confounding problems for analysis. ②When Hilary Spurling writes of?The Piano Lesson?that “the picture cannot be confined to any single source or meaning,” she might be writing of any of Matisse’s works. ③Picasso’s themes, with their collage of traditional signs and symbols, are far more susceptible to conventional iconographic analysis than anything in Matisse. ④Similarly, the cubism of Picasso and Braque, while rejecting traditional perspective, can nevertheless be studied as an inversion of traditional norms, using the same tools that one uses to study those norms.?⑤But?the solutions that Matisse arrives at are always idiosyncratic and tend to be unrelated to any system of ideas. ⑥Intuition is his only system.?
①
?↓
② + （③+④）? ⑤
? ? ? ? ? ? ? ? ? ? ? ? ? ? ?↓
? ? ? ? ? ? ? ? ? ? ? ? ? ? ⑥?
1. The passage suggests which of the following about Braque’s cubism? 間接細(xì)節(jié)，有結(jié)構(gòu)題的做法
A
A. It lends itself more readily to systematic analysis than does Matisse’s work.?
B. It is?more radical?in terms of form than most paintings by Matisse.?沒有radical的證據(jù)
C. It was?influenced?by Matisse’s idiosyncratic and intuitive approach.?沒有受M影響的證據(jù)
D. It cannot be confined to any single source or meaning.?無關(guān)，any single source or meaning說的是鋼琴課
E. It is overly dependent on traditional signs and symbols.??相反，同時也沒有overly的證據(jù)
??????? ?
For the following question, consider each of the choices separately and select all that apply.
2. The passage identifies which of the following as a reason that Matisse’s art can confound analysis? 直接細(xì)節(jié)，定位全文
AB
A. Traditional analytical tools are not well suited to Matisse’s art.? 符合③④
B. Matisse’s art is marked by a freedom from systematic influence.? 符合，第五句說到?jīng)]有體系
C. The norms that Picasso and Braque rejected were not ones that Matisse rejected?沒有M reject的證據(jù)
背景拓展：
Matisse?[m?'ti:s]?馬蒂斯（法國畫家、雕刻家和版畫家）
Matisse is commonly regarded, along with?Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the?visual arts?throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.
亨利·馬蒂斯（Henri Matisse，1869—1954），法國著名畫家、雕塑家、版畫家，野獸派創(chuàng)始人和主要代表人物，代表作有《豪華、寧靜、歡樂》《生活的歡樂》《開著的窗戶》《戴帽的婦人》等。
【在1905年的巴黎秋季沙龍中，一群青年美術(shù)家的作品參展，他們是H.馬蒂斯﹑A.德蘭﹑A.馬爾凱﹑H.芒金﹑M.de弗拉曼克﹑G.魯奧等人。在他們的作品中間，有一件展品比較寫實，風(fēng)格如意大利文藝復(fù)興時代雕塑家多納太羅的作品。批評家L.沃塞列斯在描述該展品時，用了”在一群野獸中間的一位真正的藝術(shù)家”這樣一句話，把馬蒂斯等年輕畫家的畫比作野獸，故名?！?/span>
文中提到的《鋼琴課》（1916－1917）是他最具特色、最成功的立體主義作品。馬蒂斯在不改變視點的前提下，將大塊的鮮明色彩作抽象的安排。達(dá)到既富于裝飾性，又具有空間深度的效果。
