劍橋雅思真題15閱讀解析：Henry Moore

劍橋雅思真題15閱讀解析：Henry Moore

You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below.

Henry Moore (1898-1986)

The British sculptor Henry Moore was a leading figure

in the 20th-century art world

Henry Moore was born in Castleford, a small town near Leeds in the north of England. He was the seventh child of Raymond Moore and his wife Mary Baker. He studied at Castleford Grammar School from 1909 to 1915, where his early interest in art was encouraged by his teacher Alice Gostick. After leaving school, Moore hoped to become a sculptor, but instead he complied with his father's wish that he train as a schoolteacher. He had to abandon his training in 1917 when he was sent to France to fight in the First World War.

After the war, Moore enrolled at the Leeds School of Art, where he studied for two years. In his first year, he spent most of his time drawing. Although he wanted to study sculpture, no teacher was appointed until his second year. At the end of that year, he passed the sculpture examination and was awarded a scholarship to the Royal College of Art in London. In September 1921, he moved to London and began three years of advanced study in sculpture.

Alongside the instruction he received at the Royal College, Moore visited many of the London museums, particularly the British Museum, which had a wide-ranging collection of ancient sculpture. During these visits, he discovered the power and beauty of ancient Egyptian and African sculpture. As he became increasingly interested in these 'primitive' forms of art, he turned away from European sculptural traditions.

After graduating, Moore spent the first six months of 1925 travelling in France. When he visited the Trocadero Museum in Paris, he was impressed by a cast of a Mayan* sculpture of the rain spirit. It was a male reclining figure with its knees drawn up together, and its head at a right angle to its body. Moore became fascinated with this stone sculpture, which he thought had a power and originality that no other stone sculpture possessed. He himself started carving a variety of subjects in stone, including depictions of reclining women, mother-and-child groups, and masks.

Moore's exceptional talent soon gained recognition, and in 1926 he started work as a sculpture instructor at the Royal College. In 1933, he became a member of a group of young artists called Unit One. The aim of the group was to convince the English public of the merits of the emerging international movement in modern art and architecture.

'Mayan: belonging to an ancient civilisation that inhabited parts of current-day Mexico, Guatemala, Belize, El Salvador and Honduras.

Around this time, Moore moved away from the human figure to experiment with abstract shapes. In 1931, he held an exhibition at the Leicester Galleries in London. His work was enthusiastically welcomed by fellow sculptors, but the reviews in the press were extremely negative and turned Moore into a notorious figure. There were calls for his resignation from the Royal College, and the following year, when his contract expired, he left to start a sculpture department at the Chelsea School of Art in London.

Throughout the 1930s, Moore did not show any inclination to please the British public. He became interested in the paintings of the Spanish artist Pablo Picasso, whose work inspired him to distort the human body in a radical way. At times, he seemed to abandon the human figure altogether. The pages of his sketchbooks from this period show his ideas for abstract sculptures that bore little resemblance to the human form.

In 1940, during the Second World War, Moore stopped teaching at the Chelsea School and moved to a farmhouse about 20 miles north of London. A shortage of materials forced him to focus on drawing. He did numerous small sketches of Londoners, later turning these ideas into large coloured drawings in his studio. In 1942, he returned to Castleford to make a series of sketches of the miners who worked there.

In 1944, Harlow, a town near London, offered Moore a commission for a sculpture depicting a family. The resulting work signifies a dramatic change in Moore's style, away from the experimentation of the 1930s towards a more natural and humanistic subject matter. He did dozens of studies in clay for the sculpture, and these were cast in bronze and issued in editions of seven to nine copies each. In this way, Moore's work became available to collectors all over the world. The boost to his income enabled him to take on ambitious projects and start working on the scale he felt his sculpture demanded.

Critics who had begun to think that Moore had become less revolutionary were proven wrong by the appearance, in 1950, of the first of Moore's series of standing figures in bronze, with their harsh and angular pierced forms and distinct impression of menace. Moore also varied his subject matter in the 1950s with such works as Warrior -with Shield and Falling Warrior. These were rare examples of Moore's use of the male figure and owe something to his visit to Greece in 1951, when he had the opportunity to study ancient works of art.

In his final years, Moore created the Henry Moore Foundation to promote art appreciation and to display his work. Moore was the first modern English sculptor to achieve international critical acclaim and he is still regarded as one of the most important sculptors of the 20th century.

Questions 1-7

Do the following statements agree with the information given in Reading Passage 1?

In boxes 1-7 on your answer sheet, write

TRUEif the statement agrees with the information

FALSEif the statement contradicts the information

NOT GIVENif there is no information on this

1 On leaving school, Moore did what his father wanted him to do.

2 Moore began studying sculpture in his first term at the Leeds School of Art.

3 When Moore started at the Royal College of Art, its reputation for teaching sculpture was excellent.

4 Moore became aware of ancient sculpture as a result of visiting London museums.

5 The Trocadero Museum's Mayan sculpture attracted a lot of public interest.

6 Moore thought the Mayan sculpture was similar in certain respects to other stone sculptures.

7 The artists who belonged to Unit One wanted to make modern art and architecture more popular.

Questions 8-13

Complete the notes below.

Choose ONE WORD ONLY from the passage for each answer.

Write your answers in boxes 8-13 on your answer sheet.

Moore's career as an artist

1930s

Moore's exhibition at the Leicester Galleries is criticised by the press

Moore is urged to offer his 8………….. and leave the Royal College

1940s

Moore turns to drawing because 9………….. for sculpting are not readily available

While visiting his hometown, Moore does some drawings of 10…………..

Moore is employed to produce a sculpture of a 11…………..

12………….. start to buy Moore's work

Moore's increased 13………….. makes it possible for him to do more ambitious sculptures

1950s

Moore's series of bronze figures marks a further change in his style

02

譯文

亨利·摩爾(1898-1986 )

英國(guó)雕塑家亨利摩爾是20世紀(jì)藝術(shù)界的一位領(lǐng)軍人物

亨利摩爾出生在英格蘭北部，一個(gè)接近利茲的小城鎮(zhèn)——卡斯?fàn)柛５?。他是Raymond Moore和其妻子Mary Baker的第七個(gè)孩子。1909年到1915年，他在卡斯?fàn)柛５碌奈姆▽W(xué)校學(xué)習(xí)。在這里， 他早期對(duì)于藝術(shù)的興趣受到了老師Alice Gostick的鼓勵(lì)。離開(kāi)學(xué)校之后，摩爾希望成為一名雕塑家，但是他遵從了父親的希望，成為了一名老師。1917年，當(dāng)他被送往法國(guó)去參加第一次世界大戰(zhàn)時(shí)，他不得不放棄了他的培訓(xùn)。

戰(zhàn)后，摩爾入學(xué)利茲藝術(shù)學(xué)院，在這里他學(xué)習(xí)了兩年。第一年的大部分時(shí)間里，他都在畫(huà)畫(huà)。 盡管他想學(xué)雕塑，但直到他入學(xué)第二年的時(shí)候，學(xué)校才聘請(qǐng)了雕塑老師。那年年底，他通過(guò)了雕塑考試并且獲得了倫敦皇家藝術(shù)學(xué)院的獎(jiǎng)學(xué)金。1921年9月，他移居倫敦，開(kāi)始了為期三年的雕塑高級(jí)研究。

除了在皇家學(xué)院接受指導(dǎo)，摩爾還參觀(guān)了許多倫敦的博物館，尤其是大英博物館，那里收藏了大量古代雕塑。通過(guò)參觀(guān)這些博物館，他發(fā)現(xiàn)了古埃及和非洲雕塑的力量和美感。隨著他對(duì)這些“原始”的藝術(shù)形式越來(lái)越感興趣，他開(kāi)始背離歐洲的雕塑傳統(tǒng)。

畢業(yè)后，1925年的上半年摩爾都在法國(guó)旅行。當(dāng)他參觀(guān)巴黎特羅卡德羅博物館時(shí)，他對(duì)瑪雅雨神雕像的造型印象深刻。那是一個(gè)斜倚著的男人，雙膝并攏，頭與身體成直角。摩爾迷上了這座石雕，他認(rèn)為它具有其他石雕所不具備的力量和獨(dú)創(chuàng)性。他自己也開(kāi)始在石頭上雕刻各種各樣的形象，包括躺著的女人、母子群和面具。

摩爾的非凡才能很快得到人們的認(rèn)可，1926年，他開(kāi)始在皇家學(xué)院擔(dān)任雕塑老師。1933年，他加入了一個(gè)名為“第一單元”的青年藝術(shù)家團(tuán)體。該組織的目的是讓英國(guó)公眾相信在現(xiàn)代藝術(shù)和建筑中新興國(guó)際運(yùn)動(dòng)的優(yōu)點(diǎn)。

大約在這個(gè)時(shí)候，摩爾的創(chuàng)作風(fēng)格由人形轉(zhuǎn)向嘗試抽象的形狀。1931年，他在倫敦的萊斯特美術(shù)館舉辦了一場(chǎng)展覽。他的作品受到雕塑家同行的熱烈歡迎，但媒體的評(píng)價(jià)卻極為負(fù)面，這使摩爾成為一個(gè)聲名狼藉的人物。有人要求他從皇家學(xué)院辭職，第二年，當(dāng)他的合同到期時(shí)，他離開(kāi)了那里，在倫敦的切爾西藝術(shù)學(xué)院成立了雕塑系。

在整個(gè)20世紀(jì)30年代，摩爾沒(méi)有表現(xiàn)出任何取悅英國(guó)公眾的傾向。他對(duì)西班牙藝術(shù)家巴勃羅畢加索的畫(huà)作產(chǎn)生了興趣，畢加索的作品啟發(fā)他以一種激進(jìn)的方式扭曲人體。有時(shí)，他（的作品）似乎完全拋棄了人的形象。從他這一時(shí)期的速寫(xiě)本中可以看出他對(duì)抽象雕塑的想法，這些雕塑與人類(lèi)形態(tài)幾乎沒(méi)有相似之處。

1940年，在第二次世界大戰(zhàn)期間，摩爾停止了在切爾西學(xué)校的教學(xué)，搬到了倫敦以北20英里的一個(gè)農(nóng)舍里。由于缺乏（雕塑）材料，他不得不集中精力畫(huà)畫(huà)。他畫(huà)了許多倫敦人的小幅素描， 后來(lái)在畫(huà)室里他把這些想法轉(zhuǎn)變成了大幅的彩色畫(huà)作。1942年，他回到卡斯?fàn)柛５?，為在那里工作的礦工們畫(huà)了一系列素描。

1944年，倫敦附近的哈洛鎮(zhèn)委托摩爾雕刻一組家庭雕塑。由此產(chǎn)生的作品標(biāo)志著摩爾風(fēng)格的巨大變化——由20世紀(jì)30年代的實(shí)驗(yàn)主義轉(zhuǎn)向了更自然的人文主題。他為這組雕像做了幾十次黏土研究，這些（雕像）都是用青銅鑄成的，每個(gè)版本有7到9個(gè)副本。通過(guò)這種方式，摩爾的作品被世界各地的收藏家所收藏。收入的增加使他得以承接雄心勃勃的項(xiàng)目，并開(kāi)始按他認(rèn)為雕塑需要的規(guī)模工作。

1950年，隨著摩爾第一批青銅站立雕像的出現(xiàn)，那些認(rèn)為摩爾的革命性已經(jīng)減弱的評(píng)論家們被 證明是錯(cuò)誤的。這些雕像有著粗糙、棱角分明的刺入式造型和明顯的威脅感。20世紀(jì)50年代，摩爾還創(chuàng)作了《帶盾的勇士》和《墜落的勇士》等作品來(lái)豐富自己的主題。這些都是摩爾使用男性形象的罕見(jiàn)例子，這在某種程度上要?dú)w功于他1951年訪(fǎng)問(wèn)希臘，當(dāng)時(shí)他有機(jī)會(huì)研究古代藝術(shù)品。

在他生命的最后幾年，摩爾創(chuàng)立了亨利摩爾基金會(huì)來(lái)提升（公眾）藝術(shù)欣賞水平和展示他的作品。摩爾是第一個(gè)獲得國(guó)際贊譽(yù)的現(xiàn)代英國(guó)雕塑家，并且（現(xiàn)在）他仍然被認(rèn)為是20世紀(jì)最重要的雕塑家之一。

03

答案解析

Question 1

答案：TRUE

關(guān)鍵詞：leaving school, father

定位原文：第一段第四句：After leaving school, Moore hoped to become a sculptor, but instead he complied with his father's wish that he train as a schoolteacher.

解題思路：本題的定位詞很容易找到，另外通過(guò)文章的敘述邏輯也可以看出這部分內(nèi)容應(yīng)該岀現(xiàn)在文章最開(kāi)頭的地方。原文中提到：離開(kāi)學(xué)校之后，摩爾希望成為一名雕塑家，但是他遵從了父親的希望，成為了一名老師。也就是說(shuō)做了父親希望他做的事情，題干與原文信息一致，因此答案為T(mén)RUE。

Question 2

答案：FALSE

關(guān)鍵詞：Leeds School of Art, first term

定位原文：第二段第三句：Although he wanted to study sculpture, no teacher was appointed until his second year.

解題思路：本題首先用Leeds School of Art快速定位到第二段第一句話(huà)。但第一句中沒(méi)有出現(xiàn)term的相關(guān)信息。繼續(xù)往下看，看到第三句就出現(xiàn)了term的相關(guān)信息。原文中提到：盡管他想學(xué)雕塑，但直到他入學(xué)第二年的時(shí)候，學(xué)校才聘請(qǐng)了雕塑老師。也就是說(shuō)不是第一學(xué)期就開(kāi)始學(xué)習(xí)雕塑的。本題與原文信息明顯是相矛盾的，因此答案為FALSE。

Question 3

答案：NOT GIVEN

關(guān)鍵詞：Royal College of Art

定位原文：第二段第四句：At the end of that year, he passed the sculpture examination and was awarded a scholarship to the Royal College of Art in London.

解題思路：本題通過(guò)Royal College of Art快速定位到第二段第四句。原文中提到他通過(guò)了雕塑考試并且獲得了倫敦皇家藝術(shù)學(xué)院的獎(jiǎng)學(xué)金，但并沒(méi)有提到有關(guān)該校雕塑專(zhuān)業(yè)聲譽(yù)好壞的信息。本題與原文信息毫無(wú)對(duì)應(yīng)，因此答案為NOT GIVEN。

Question 4

答案：TRUE

關(guān)鍵詞：London museums

定位原文：第三段前兩句：Alongside the instruction he received at the Royal College, Moore visited many of the London museums, particularly the British Museum, which had a wide-ranging collection of ancient sculpture. During these visits, he discovered the power and beauty of ancient Egyptian and African sculpture.

解題思路：首先，本題依靠London museums定位到文章第三段第一句，但第一句只是說(shuō)摩爾參觀(guān)了很多博物館，尤其是有很多古代雕塑的大英博物館。如果只看這一句相關(guān)信息，其實(shí)是不足以判定他是否因?yàn)閰⒂^(guān)了博物館而對(duì)古代雕塑有了解。繼續(xù)看第二句：通過(guò)參觀(guān)這些博物館，他發(fā)現(xiàn)了古埃及和非洲雕塑的力量和美感。因此可以判定他確實(shí)是因?yàn)閰⒂^(guān)了博物館而了解了古代雕塑，因此答案為T(mén)RUE。 注意：判斷題不一定只對(duì)應(yīng)原文中的一句話(huà)。

Question 5

答案：NOT GIVEN

關(guān)鍵詞：Trocadero museum, Mayan

定位原文：第四段第二句：When he visited the Trocadero Museum in Paris, he was impressed by a cast of a Mayan* sculpture of the rain spirit.

解題思路：本題定位到第四段第二句，原文中提到：當(dāng)他參觀(guān)巴黎特羅卡德羅博物館時(shí)，他對(duì)瑪雅雨神雕像的造型印象深刻。原文中并沒(méi)有提及此雕像是否吸引公眾的注意，另外后面兩句關(guān)于此雕像的信息也沒(méi)有體現(xiàn)題目中的內(nèi)容，無(wú)法做出判斷，因此答案為NOT GIVEN。

Question 6

答案：FALSE

關(guān)鍵詞：Mayan sculpture

定位原文：第四段第四句：Moore became fascinated with this stone sculpture, which he thought had a power and originality that no other stone sculpture possessed.

解題思路：本題和第5題都有Mayan，這意味著兩道題所對(duì)應(yīng)的原文內(nèi)容會(huì)離得很近。按照順序性原則定位后，原文中提到：摩爾迷上了這座石雕(this stone sculpture指代前文提到的瑪雅雕塑)，他認(rèn)為它具有其他石雕所不具備的力量和獨(dú)創(chuàng)性。原文中的信息表明瑪雅雕塑和其他石雕沒(méi)有類(lèi)似性，因此答案為FALSE。

Question 7

答案：TRUE

關(guān)鍵詞：Unit One

定位原文：第五段第二和第三句：In 1933, he became a member of a group of young artists called Unit One. The aim of the group was to convince the English public of the merits of the emerging international movement in modern art and architecture.

解題思路：本題通過(guò)Unit One定位到文中第五段第二句，但第二句只是交代了這群年輕藝術(shù)家被稱(chēng)為Unit One。繼續(xù)看第三句：該組織的目的是讓英國(guó)公眾相信在現(xiàn)代藝術(shù)和建筑中新興國(guó)際運(yùn)動(dòng)的優(yōu)點(diǎn)。因此可以判定這群藝術(shù)家是想讓現(xiàn)代藝術(shù)和建筑流行，因此答案為T(mén)RUE。

Question 8

答案：resignation

關(guān)鍵詞：1930s, Royal College

定位原文：第六段第四句：There were calls for his resignation from the Royal College, and the following year, when his contract expired, he left to start a sculpture department at the Chelsea School of Art in London.

解題思路：首先通過(guò)1930s可知，這道題的對(duì)應(yīng)范圍大致是第六、七段(第六段包含1931;第七段第一句包含1930s)，再通過(guò)Royal College精確定位到第六段第四句。原文中提到：有人要求他從皇家學(xué)院辭職，第二年，當(dāng)他的合同到期時(shí)，他離開(kāi)了那里，在倫敦的切爾西藝術(shù)學(xué)院成立了雕塑系。原文中There were calls是題目中is urged的體現(xiàn)。并且通過(guò)and這一表示并列關(guān)系的連詞可以看出，答案點(diǎn)應(yīng)該出現(xiàn)在原文and the following year的前面。原文中的his對(duì)應(yīng)題目空格前的his。

Question 9

答案：materials

關(guān)鍵詞：1940s, drawing

定位原文：第八段第二句：A shortage of materials forced him to focus on drawing.

解題思路：本題首先用1940s定位到第八段，然后在第二句看到了drawing。原文中提到：由于缺乏(雕塑)材料，他不得不集中精力畫(huà)畫(huà)。focus on drawing 對(duì)應(yīng)題干中的 turns to drawing;shortage對(duì)應(yīng)題干中的not readily available。 注意：根據(jù)are可以得岀填入空格的名詞為復(fù)數(shù)。

Question 10

答案：miners

關(guān)鍵詞：hometown

定位原文：第八段最后一句：In 1942, he returned to Castleford to make a series of sketches of the miners who worked there.

解題思路：原文提到：1942年，他回到卡斯?fàn)柛５?，為在那里工作的礦工們畫(huà)了一系列素描。本題要注意原文中沒(méi)有直接出現(xiàn)hometown，而是使用returned to Castleford(文章第一段提到的出生地)來(lái)體現(xiàn)家鄉(xiāng)。sketches等同于drawings。 注意第八段倒數(shù)第二句也出現(xiàn)了sketches，但是這一句不能體現(xiàn)hometown，所以本題不能選Londoners。

Question 11

答案：family

關(guān)鍵詞：employed

定位原文：第九段第一句：In 1944, Harlow, a town near London, offered Moore a commission for a sculpture depicting a family.

解題思路：本題定位比較難，原文用commission表示employ。按照在第八段后面繼續(xù)尋找答案的規(guī)律，而且從第13題之后的1950s可以看出題目的這部分內(nèi)容對(duì)應(yīng)原文的第十段第一句話(huà)，因此可以推斷第11~13題都應(yīng)該對(duì)應(yīng)原文的第九段。原文中提到：1944年，倫敦附近的哈洛鎮(zhèn)委托摩爾雕刻一組家庭雕塑。

Question 12

答案：collectors

關(guān)鍵詞：Moore's work

定位原文：第九段第四句：In this way, Moore's work became available to collectors all over the world.

解題思路：本題可以繼續(xù)利用“順序原則”定位。

原文提到：通過(guò)這種方式，摩爾的作品被世界各地的收藏家所收藏。通過(guò)分析句意，填的單詞應(yīng)該是能做出“買(mǎi)”這個(gè)動(dòng)作的名詞，通常就是人或者機(jī)構(gòu)。另外，由start可以判斷出空格為復(fù)數(shù)名詞。

Question 13

答案：income

關(guān)鍵詞：ambitious sculptures

定位原文：第九段最后一句：The boost to his income enabled him to take on ambitious projects and start working on the scale he felt his sculpture demanded.

解題思路：原文提到：收入的增加使他得以承接雄心勃勃的項(xiàng)目，并開(kāi)始按他認(rèn)為雕塑需要的規(guī)模工作。

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