Frescos托福听力原文翻译及问题答案

Frescos托福听力原文翻译及问题答案

一、Frescos托福听力原文：

Narrator:Listen to part of a lecture in an art history class.The professor has been discussing the Italian Renaissance.MALE PROFESSOR:In our discussion of Italian Renaissance paintings from the 1400s and early 1500s,we've looked at some masterpieces on canvas and on wood...but our discussion will be grossly incomplete without talking about frescos.Frescos are basically paintings done on the interiors of buildings,on walls and ceilings.They weren't invented during the Renaissance.If you remember we looked briefly at frescos paintings way back in our discussion of ancient Romans and ancient Roman art a few weeks ago.But it was much later,during the Renaissance,that the term"fresco"was commonly used.It's an Italian word that means,literally,"fresh."And...well...to explain that,we have to get specific about technique.

Back then,most buildings had stone and brick walls with highly irregular surfaces.They weren't smooth.Also,the walls weren't completely waterproof.Moisture could seep in.Buildings were often damp.There was no way to really control humidity inside buildings in those days.So,because frescos are done inside buildings on walls,well,the walls needed to be prepared before work could begin.

So,for example,sometimes thin reed mats were stuck onto the walls...so these thin,reed mats would be—like an additional layer...between the original part of the wall and the frescoes—the painted part of the walls that were done over them.The reed mats could smooth out the surface of a rough wall or could also provide that all-important protection from moisture or do both.So it was the wall,then the mats,then plaster on top of the mats,then the fresco painted onto the plaster.

Other times,though,plaster was applied directly to the walls,a thick layer of plaster,to fill in spaces between the bricks,to smooth out the wall surface for painting the fresco.You see...Plaster is a whitish kind of paste—a mixture of lime,water,and sand...After you spread plaster on a surface,it'll harden,like cement does.But as I said,"fresco"means"fresh,"And that's because to create a fresco,the paint has to be applied very soon after the plaster has been spread over a surface,right on to the wet fresh plaster.By doing this,the painting actually becomes part of the plaster.Finishing a painting before the plaster dry was a real challenge for fresco painters.The technique of creating frescos was developed overtime and eventually perfected during the Renaissance,a time when immense buildings were being erected as symbols of wealth and power,very large buildings,which people wanted decorated on the inside as well as the outside.The owners of these grand buildings wanted to decorate the walls to reflect their own affluence and prestige.Now,few people would argue with the greatness of artists from that period—Michelangelo...Raphael...But there is this popular mental image people have of an artistic genius producing a masterpiece in total solitude.Well,that idea is fine for canvas painting or other small works,but a practical reality of fresco painting in the Renaissance was collaboration.The sheer dimensions of the surfaces involved,plus the physical properties of the plaster,meant it was inevitable that Renaissance artists would rely on assistants,apprentices they were called,to help create their masterpieces.Artists had to plan the work carefully....divide it into several days.Each day was a repetition of the same technical process.Apprentices mix paints,prepare the plaster...spread it on one section of the wall or ceiling,then finally paint on the wet plaster.This had to be done within a few hours before the plaster dried.So they go through that whole process in one day on one section.The next day they'd move on and do it again,on an adjacent part.So,any fresco commissioned to an artist was,for practical reasons,commissioned to a whole team.

Now,I am not saying a genius like Michelangelo lacked the skill to paint the enormous ceiling of The Sistine Chapel by himself,but he probably would have had to live until he was 200 years old to finish the ceiling's frescos like that without anyone's help!So although we aren't sure exactly how many people took an active role in actually painting the ceiling,we can see areas which are really inferior to Michelangelo's work...that must have been painted by his apprentices.

二、Frescos托福听力中文翻译：

旁白：在艺术史课上听一部分讲座。这位教授一直在讨论意大利的文艺复兴。男教授：在我们讨论14世纪和15世纪初意大利文艺复兴时期的绘画时，我们看到了一些画布和木头上的杰作……但如果不讨论壁画，我们的讨论将非常不完整。壁画基本上是在建筑物内部、墙壁和天花板上进行的绘画。它们不是文艺复兴时期发明的。如果你还记得的话，我们在几周前讨论古罗马和古罗马艺术时简要地看了壁画。但直到文艺复兴时期，“壁画”一词才被广泛使用。这是一个意大利语单词，字面意思是“新鲜”。为了解释这一点，我们必须对这一技术有具体的了解。

当时，大多数建筑都有石头和砖墙，表面高度不规则。他们并不顺利。此外，墙壁也不是完全防水的。水分可能渗入。建筑物经常潮湿。当时没有办法真正控制建筑物内部的湿度。所以，因为壁画是在建筑物内部的墙上完成的，所以，在开始工作之前，墙壁需要准备好。

例如，有时薄的芦苇垫粘在墙上…所以这些薄的芦垫就像是一个附加层…在墙壁的原始部分和壁画之间，墙壁的涂漆部分在上面完成。芦苇垫可以平滑粗糙墙壁的表面，也可以提供非常重要的防潮保护，或者两者兼而有之。所以是墙，然后是垫子，然后是在垫子上的石膏，然后是涂在石膏上的壁画。

然而，其他时候，灰泥被直接涂在墙上，一层厚厚的灰泥，用来填充砖块之间的空隙，使墙面光滑，以便绘制壁画。你看…石膏是一种白色的糊状物-石灰、水和沙子的混合物…当你在表面上涂抹石膏后，它会变硬，就像水泥一样。但正如我所说，“湿壁画”的意思是“新鲜的”，这是因为要创作湿壁画，必须在灰泥铺在表面后很快涂上油漆，就在湿的新鲜灰泥上。通过这样做，绘画实际上成为石膏的一部分。在石膏干燥前完成一幅画对壁画画家来说是一个真正的挑战。创作壁画的技术随着时间的推移不断发展，并最终在文艺复兴时期得到完善。文艺复兴时期，巨大的建筑被树立为财富和权力的象征，非常大的建筑，人们希望在内部和外部进行装饰。这些宏伟建筑的业主希望装饰墙壁，以反映他们自己的富裕和声望。现在，很少有人会对那个时期的艺术家米开朗基罗…拉斐尔…的伟大提出质疑，但人们在脑海中普遍认为，一位艺术天才在完全孤独的环境中创作了一部杰作。这个想法对于油画或其他小作品来说很好，但文艺复兴时期壁画的一个现实是合作。所涉及的表面的纯粹尺寸，加上石膏的物理性质，意味着文艺复兴时期的艺术家不可避免地会依赖助手，即他们被称为学徒的人来帮助创作他们的杰作。艺术家们必须仔细规划作品……将其分为几天。每一天都是相同技术过程的重复。学徒们混合颜料，准备灰泥…将其涂在墙壁或天花板的一部分上，最后在湿灰泥上涂漆。这必须在石膏干燥前几个小时内完成。所以他们在一天的时间里，在一个部分完成了整个过程。第二天，他们会继续前进，在相邻的地方再做一次。因此，出于实际原因，任何委托给艺术家的壁画都是委托给整个团队的。

现在，我并不是说像米开朗基罗这样的天才缺乏独自绘制西斯廷教堂巨大天花板的技能，但如果没有任何人的帮助，他可能不得不活到200岁才能完成天花板上的壁画！因此，虽然我们不确定到底有多少人积极参与了天花板的绘画，但我们可以看到一些地方确实不如米开朗基罗的作品……这些作品一定是他的徒弟画的。

三、Frescos托福听力问题：

Q1:1.What does the professor mainly discuss?

A.What inspired the main themes of Renaissance frescoes

B.Techniques used in the creation of Renaissance frescoes

C.How Renaissance painters restored ancient frescoes that were deteriorating

D.Different techniques for painting on indoor and outdoor surfaces

Q2:2.Why does the professor mention the ancient Romans?

A.To explain that they did not paint the walls and ceilings of buildings

B.To point out that they first made the term"fresco"popular

C.To make the point that frescoes were created before the Renaissance

D.To introduce an important difference between ancient art and Renaissance art

Q3:3.According to the professor,what were two purposes of the reed mats?[Click on 2 answers.]

A.To provide a comfortable area for artists to stand on while painting

B.To prevent moisture from damaging frescoes

C.To cover and protect frescoes during the cold season

D.To create a smooth surface for the application of plaster

Q4:4.What point does the professor emphasize about buildings from the Italian Renaissance?

A.They were large in order to indicate wealth.

B.They were designed by teams of engineers.

C.Most of them were built with very smooth walls.

D.Very few of them were decorated on the inside.

Q5:5.What does the professor imply about the idea that artistic geniuses worked in solitude?

A.It has been gaining support among today's scholars.

B.It is accurate for Michelangelo,but not for Raphael.

C.It is accurate for Renaissance artists,but not for today's artists.

D.It does not apply to artists working on frescoes.

Q6:6.What does the professor imply about the process of creating frescoes?

A.Some frescoes took hundreds of years to complete.

B.Many frescoes were created entirely by apprentices.

C.Apprentices worked independently of one another on different sections of a wall at the same time.

D.One section of a fresco was completed before the next section was begun.

四、Frescos托福听力答案：

A1:正确答案：B

A2:正确答案：C

A3:正确答案：BD

A4:正确答案：A

A5:正确答案：D

A6:正确答案：D

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