1 . Ask an art historian about 15th-century Italian art and they’ll probably bring up Sandro Botticelli’s Primavera, Leonardo da Vinci’s Last Supper or the early career works of Michelangelo. Meanwhile, assessments of the Florentine sculptor Donatello often pale in comparison with praise of his superstar contemporaries. Donatello deserves better, argues an ambitious new exhibition. On view through July 31 at two museums in Florence, Italy, “Donatello: The Renaissance” tries to place the sculptor at the center of the era, writes reporter Elisabetta Povoledo for The NewYork Times.
“This is an extremely unusual exhibit, since Donatello is a father of the Renaissance,” Donatello scholar Francesco Caglioti tells The Times. Arturo Galansino, director of the Palazzo Strozzi, takes the argument one step further, telling The Wall Street Journal’s J. S. Marcus that the exhibition identifies Donatello as “the inventor of the Renaissance.”
Donatello’s masterpieces we repaired with works by Filippo Brunelleschi, Giovanni Bellini, Michelangelo and Raphael to showcase his significant impact on generations of Italian artists. “Some exhibitions are once in a lifetime, but this show is the first time in history,” said Galansino earlier this month.
While some people think of Michelangelo’s marble (大理石) David (1501―1504) as an incomparable work, Donatello actually sculpted one of the statue’s key inspirations: a bronze (青铜) David. Created between 1435 and 1450, likely for the Medici family, the sculpture was conceived (构思) independently of any architectural surroundings. Scholars, therefore, consider Donatello’s David the first of such a style in Renaissance history.
Besides, Donatello’s Madonna influenced similar works by Italian Baroque painter Artemisia Gentileschi. Just as Donatello has been relatively overlooked in favor of his contemporaries, Gentileschi and a handful of other Renaissance women artists are just starting to get their due—a trend evidenced by a recent exhibition at the Detroit Institute of Arts.
“Donatello: The Renaissanc” follows the artist’s life and work, moving through his early years in his native city and a long-term residency in Padua. By the end of his life, Donatello’s work was primarily financed by the powerful Medici family.
1. What does the new exhibition intend to do?| A．Restress Leonardo da Vinci’s achievements. |
| B．Retell the stories of artists in the Renaissance. |
| C．Rediscover Italian art in the contemporary context. |
| D．Rethink the key role Donatello played in his time. |
| A．It is historically significant. | B．It is more comprehensive than others. |
| C．It has met with lots of criticism. | D．It has presented a completely new art form. |
| A．It disappointed the Medici family. | B．It was a copy of the marble David |
| C．It was created two hundred years ago. | D．It inspired Michelangelo to some extent. |
| A．Fall into disfavor. | B．Receive recognition. |
| C．Reshape their styles. | D．Suffer discrimination. |
2 . The exact location in France where Dutch master Vincent van Gogh painted his last work of art has been discovered.
A Dutch researcher figured out that a scene described in the artist’s last work, Tee Root, was visible on a postcard showing a man standing next to a bicycle on a back street of the village Auvers-sur-Oise. Van Gogh spent the last weeks of his life in the village. Helpfully, the card even included the name of the street.
Researchers were given a unique glimpse (体验) into the famous painter’s final hours. He was at work right up to the end.
Wouter van der Veen, scientific director of the Van Gogh Institute in France, made the discovery. While stuck at home, van de Veen used the extra time to organize the numerous files and documents on van Gogh, including images such as the old postcard from Auvers-sur-Oise. One day in late April, he saw the card on his computer screen and it suddenly struck him that he was looking at the location of Tree Roots. Next to the man and his bicycle, roots and trees are clearly visible. He took a virtual trip down the site using Google’s Street View.
“Villagers know the spot and the main tree root well, even giving it the name ‘the elephant’ because of its shapes,” van der Veen said. “It was really hiding in overt sight.”
The discovery provides tourists with an extra reason to visit Auvers-sur-Oise. “They travel a lot just for one reason — to walk in the footsteps of Vincent van Gogh. Now they can stand at the very place where he painted his last painting,” van der Veen said. “And that’s a very moving thing for a lot of people. So I’m very happy to be able to share that with all those who love van Gogh.”
1. What is paragraph 2 mainly about?| A．What the postcard revealed. | B．How Tree Roots was discovered. |
| C．Why Auvers-sur-Oise became known. | D．Where van Gogh painted his works. |
| A．He studied a picture of Auvers-sur-Oise. |
| B．He organized his data on van Gogh. |
| C．He traveled to France to see for himself. |
| D．He paid a visit to the spot online. |
| A．Mixed. | B．Obvious. | C．Lovely. | D．Strange. |
| A．They enjoy exploring how to paint. | B．They share their love for van Gogh. |
| C．They admire van Gogh very much. | D．They want to experience the life there. |
