1 .
“By removing needless details in pursuit of perfection, Van Den followed in the footsteps of many great artists, writers, composers, and painters.”
Juhani Murros made an unexpected discovery during his visits to art galleries when he worked for an organization in Ho Chi Minh City in 1990. A small still life in an unnoticeable gallery commanded the Finnish physician’s attention. “It was not an eye-catching oil painting, yet its dark, mysterious colors and the emotional tension of its disciplined composition set it apart.” Thus began a long journey of discovering the art and life of Van Den, a Buddhist of mixed Chinese and Vietnamese ancestry who studied in Paris for less than two years during the first French Indochina War.
Murros’ biography is, by necessity, brief because there is limited knowledge of the artist, mostly in oral way by family and friends. Many of his paintings did not survive the damp Southeast Asian climate nor the political chaos of his lifetime. However, the author’s research appears to be extensive, as much a years-long spiritual examination of Van Den as a historical one. The artist’s love for country life is apparent in his work, and it is said by those who knew him that he preferred to paint countryside scenes close to his heart and worked as an outsider. He is uninterested in the more elegant work of academically recognized painters. Despite these limitations, Van Den won Vietnam’s most honorable art award in 1960.
Murros gives an in-depth look into the life of this little-known unsung master. The book introduces the readers to Van Den’s art with photographs of his paintings, accompanied by short stories behind them. The book is as quiet as the artist’s work, but it is a satisfying read. Each stroke of words in the book connects to the readers; the narrative awakens the artistic spirit in each one of us, encouraging us to follow our heart.
1. What of Van Den first impressed Juhani Murros?| A．His life story. | B．His painting style. |
| C．His birth place. | D．His emotional stale. |
| A．His works are rarely available today. | B．He showed great love for his country. |
| C．He works were of mysterious themes. | D．He ever travelled in China and Vietnam. |
| A．Van Den’s art wasn’t well accepted. | B．Murros had limited knowledge of art. |
| C．Murros had gained little primary data. | D．Van Den’s family kept everything back. |
| A．Amusing. | B．Detailed. | C．Objective. | D．Inspirational. |
2 . One of the most productive architects of the 20th century, Frank Lloyd Wright had no shortage of ideas. Throughout his life, he designed 1,171 architectural works. Many of them, like the Guggenheim Museum and Fallingwater, were eventually built. But over half — 660 to be exact — never moved beyond paper. Now, thanks to the Frank Lloyd Wright Foundation, we are finally getting a look at what his unbuilt architecture would have looked like. Working with digital artist David Romero, the organization has been building an impressive library of works that show Wright’s creative genius.
The reasons that these pieces of incredible architecture were never built vary. Wright’s homage to his adopted home state of Arizona was rejected for several reasons. While Wright considered his avant-garde (前卫的) design for the Arizona State Capitol Building to be a gift to the city, officials felt otherwise. With a price of $5 million, too costly, he was passed over for the project.
In the case of the cliffside (悬崖边) Morris House, it’s not completely clear why the family did not go with Wright’s design. But, in examining his ideas for the home, it’s clear that Wright successfully combines the architecture and nature. The design uses rounded forms that fit into the cliffs and merge the home and the natural surroundings.
In 1947, he was asked to rebuild Roy Wetmore’s service station. What Wright provided was a futuristic design that included a ramp (斜坡) allowing a car to be displayed on the roof. Unfortunately, Wetmore wished to simply remodel the existing structure rather than demolish it and start over, so the project was never done. Later, Wetmore did incorporate the car ramp on the roof.
Romero has been able to bring these ideas to life and give a new generation of architecture lovers a reminder of why Wright had such a long, influential career.
1. Why was the design for Arizona State Capitol Building refused?| A．The government wanted a perfect design. |
| B．It was originally designed for other states. |
| C．It needed much more money than expected. |
| D．The design didn’t go with the surroundings. |
| A．Favorable. | B．Intolerant. | C．Doubtful. | D．Unclear. |
| A．Redesign. | B．Pull down. | C．Improve. | D．Put up. |
| A．Wright’s productive architecture wasn’t recognized. |
| B．Many good productive architects didn’t come to light. |
| C．Wright’s excellent designs for some famous buildings. |
| D．Modern technology makes a genius’ designs come true. |
3 . Contemporary artist Nick Smith creates pixelated (像素化的) works with hand colour-chips, synonymous with colour swatches (色块), cleverly combining text and image to create interesting and fascinating collaged (拼贴的) works.
With a previous career in Interior Design spanning 11 years, Nick references his concept design background throughout his work, reworking the design aesthetic using unique colours watches in hand-made collages, placing his work firmly in the fine art category. From his first collage experiment back in 2011 of Warhol’s ‘Marilyn’, when he assembled a tessellation (镶嵌技术) of swatches as a challenge, this eventually inspired his career as an artist and determined his unique style he is now known for.
The multi-layered element of his work, which marries image and word, allows Nick to explore complex art-historical concepts. The text employed is often narrative, which can be read in sequence adding another element of intrigue and interest to the work. This additional element of text, placed under the empty space of each swatch, creates either complimentary or subversive meanings. Nick deliberately leaves these word/image constructions open to viewer interpretation, sparking new debates and meanings.
Each P-series, such as Psycolourgy 2015, Purgatory 2019, explores complicatedly researched concepts, which are always the crucial starting point for each new series of work.Producing large-scale works to micro-chip collages, and multiple sell out print editions, Nick continues to develop his popular and recognisable art.
PSYCOLOURGY—January 2015 Lawrence Alkin Gallery,London
Smith’s debut solo exhibition with Lawrence Alkin Gallery in Soho, London , launched his unique visual reworking of classic paintings from the 20th Century canon. Universally known works, including David Hockney’s’ The Bigger Splash’, Andy Warhol’s Soup Cans’ and Leonardo da Vinci’s ‘Mona Lisa’ were all recast, creating original collages that enquire ideas of depiction, digitalisation and recognition. A sell out show, with numerous successful subsequent print releases, Psycolourgy forged Smith’s path to a place among Britain’s notable contemporary artists.
PURGATORY-December 2019 Context，Art Miami
Purgatory is a shiny , sticky, glossy exploration of our societies attitude and approach to our excess,addictions and desires.
Excerpts from Dante’s Purgatory are woven through colourful works depicting popular covetable consumables, creating symbolic representations of the seven sins. Dante explores possible penance (悔) for our earthly suffering leading to spiritual growth. The results of these pairings offer a humorous, nostalgic and subversive opportunity to question our choices.our history and our future.
1. What made Nick launch his art career?| A．His deep love of fascinating collaged works. |
| B．His first collage work Warhol’s ‘Marilyn’ |
| C．The challenge of piecing a tessellation of swatches. |
| D．The collage experiment dating back to 2012. |
| A．His text contains concepts of art. |
| B．His text is usually illustrative. |
| C．His text can be read sequentially. |
| D．His text elements are very simple |
| A．It opened Smith’s unique visual reinvention of classic 21th-century paintings. |
| B．David Hockney’s’Mona Lisa’ has been recreated by Lawrence Alkin Gallery. |
| C．The original collages affirm the ideas of depiction , digitisation and recognition. |
| D．It opened Smith’s path to becoming one of Britain’s leading contemporary artists. |
| A．Some useful ways to create collaged works. |
| B．The life of contemporary artist Nick Smith. |
| C．Information about Psycolourgy and Purgatory. |
| D．The introduction to Nick Smith’s works. |
4 . He is a Chinese superstar, a piano genius who has sold millions of albums worldwide. Lang Lang has also used his fame and fortune to help state schools around the world that lack music, warning at a 2019 awards ceremony in London that such lessons had become “a real challenge” for children in the most disadvantaged communities.
Now he is bringing music to British state schools in an ambitious project that will set up modern “piano labs” in needy schools across the nation. Each lab will have 20 to 30 keyboards. The plan is inspired by his programmes in the US and China, in which he has invested tens of millions of pounds.
In the US, he has set up piano labs in 86 schools, giving 70,000 kids access to keyboards. In China, he has installed them in 104 schools, enabling 110,000 children to make music. This is primarily for pupils aged seven to 12.
The first UK school to benefit is the Winns primary school in Waltham Forest, London’s 12th poorest area. It will receive 30 keyboards within the next few weeks. Every lab is accompanied by a curriculum created by the Royal Conservatory of Music of Toronto and Lang Lang, with ongoing teacher-training, financial support, and headphones, allowing group piano classes.
Asked what inspired him to support UK schools, Lang told the reporter: “We were able to identify many similarities between state schools in the UK and public schools in the US in terms of the way access to music and arts can be extremely limited when budgets are cut…I was so surprised by how music classes are never guaranteed. The schools and teachers are incredible, and are so dedicated to providing their students with everything they can. But it shocked me how access to music education can be so limited.”
His charity quotes the Greek philosopher Aristotle: “Music has the power of producing a certain effect on the moral character of the soul, and if it has the power to do this, it is clear that the young must be directed to music and must be educated in it.”
Lang Lang said: “When I visit our partner schools and see the joy on the students’ faces or hear from our teachers about the progress students are making, I’m reminded of why we created this programme—to give children an opportunity to discover what they’re capable of achieving and to find their voices through music.”
1. What is the purpose of the first paragraph?| A．To offer background information. | B．To introduce an argument. |
| C．To discuss Lang Lang’s plans. | D．To highlight Lang Lang’s reputation. |
| A．Private schools. | B．Ambitious schools. |
| C．Remote schools. | D．Disadvantaged schools. |
| A．The teachers are doing a good job. |
| B．Music classes aren’t always available. |
| C．The budgets are always being cut. |
| D．The schools are dedicated to helping students. |
| A．Lang Lang—a kind and caring pianist |
| B．Lang Lang teaches the world to play piano |
| C．Chinese superstar brings music to British kids |
| D．Chinese piano genius looks for future piano stars |
5 . Uygur musician, Sanubar will give two concerts in Beijing and Shanghai on Jan. 13 and 14, featuring songs with dutar — a traditional folk instrument, which her father loved playing at home. “The instrument was hanging on the wall at my home and my father often played it for fun. My mother always sang along and we danced together,” recalls Sanubar, who was born into a Uygur family in Xinjiang. When her father died, Sanubar, who was 8 years old, composed her first song to honor him.
One of the songs she will perform is White Horse, adapted from an old Xinjiang folk song and telling a love story. “I get inspired by poems. Poems are as rhythmic as music. So when I read a beautiful poem, I easily connect it with its sounds, which allows me to turn the poem into a song,” says Sanubar. Some other songs are selected from the Xinjiang Uygur Muqam recorded on the Representative List of the Intangible Cultural Heritage of Humanity in 2008 by UNESCO, which includes songs, dances, folk and classical music.
Sanubar learned to play dutar at Xinjiang Arts University and, after graduation, she joined the Xinjiang Art Theater Muqam Art Troupe. From 2003 to 2005, she came to Beijing’s Central Conservatory of Music to study music production. In 2010, at the age of 39, Sanubar enrolled in the Shanghai Conservatory of Music, where she spent four years learning to compose and got her Bachelor’s degree.
So far, Sanubar has written over 100 songs and released about 10 albums. She teaches dutar at an art school in the regional capital Urumqi. Sanubar and other folk musicians sang and danced with smiling faces. “I notice that many young people in Xinjiang are learning traditional instruments and singing old songs, which makes me very happy.” says Sanubar.
1. What originally inspired Sanubar’s music career?| A．The rhythm of poems. | B．The impact of her father. |
| C．The honor of her first song. | D．The company of her mother. |
| A．She promoted the beauty of traditional folk art. | B．She wrote many beautiful poems from old songs. |
| C．She gained reputation both at home and abroad. | D．She helped complete the Xinjiang Uygur Muqam. |
| A．Sanubar’s main achievements. | B．Sanubar’s learning experiences. |
| C．The composition of folk songs. | D．The preservation of local music. |
| A．Intelligent and sensitive. | B．Elegant and reliable. |
| C．Energetic and productive. | D．Motivated and cautious. |
6 . Zheng Xiaoying was born in Shanghai in September 1929. Her youth and passion for music helped her become a conductor in an art troupe (巡回演出团). In the early 1960s, Zheng was sent to the Moscow State Tchaikovsky Conservatory to study opera and symphony conducting, becoming the first professionally trained female conductor in China at that time.
As a student, she conducted the Italian opera “Tosca” in public at a large opera house in the Soviet Union and won great applause not only for the wonderful performance, but also for the Chinese woman on the stage. Recalling this experience, Zheng said it was of great importance for her to become an opera symphony conductor and served as one of the turning points in her life.
After return to China, she did her best to combine Western and Oriental music. In addition to lectures and performances, in 1998, she founded the Xiamen Philharmonic Orchestra. With the concept of “attracting more audiences to the concert hall to enjoy the beauty of music,” the musical orchestra has now gained worldwide recognition. It has also become a popular travel destination in the city of Xiamen.
Besides being a conductor, Zheng is also a teacher. As one of the most famous Chinese conducting professors, she has taught many famed musicians. Many of them are still active on stage, both in China and abroad. Still, as a daughter of the Hakka people, she follows the tradition of valuing education. The Hakka culture enabled her to create a Chinese symphony called “The Echoes of Hakka Earth Building” which promotes China’s cultural achievements in music. So far, the symphony has been performed 80 times in over 12 countries and regions.
Zheng not only promotes the Chinese symphony to the world, she also presents traditional Chinese music. She said the thought of spending her last few seconds on the conductor’s podium (乐队指挥台) would be what she calls “the most romantic” of a desirable career. Now in her 90s, Zheng Xiaoying is still active on the stage, sharing China with the world through her music.
1. What’s a turning point in Zheng’s life?| A．Joining in an art troupe. |
| B．Studying conducting in Moscow. |
| C．A job at a large opera house in Italy. |
| D．A public performance in the Soviet Union. |
| A．It is a characteristic of Xiamen. |
| B．Its concept is to draw people’s attention. |
| C．It combines Western and Oriental music. |
| D．Its aim is to inspire people’s music talent. |
| A．By asking questions. | B．By listing examples. |
| C．By analyzing reasons. | D．By making comparisons. |
| A．Her desire for romanticism. | B．Her ideal of spreading musical ideas. |
| C．Her enthusiasm for music career. | D．Her achievement in music field. |
As the daughter of a painter, Artemisia Gentileschi was afforded access to the art world at a young age. Early on, she was in her father’s workshop mixing paints and he supported her career when he noticed that she was gifted. As a famous painter of the Italian Baroque period, Artemisia Gentileschi did not let her gender hold her back from her subject matter. She painted Biblical and mythological (神话的) paintings, just like male painters.
Angelica Kauffman (1741—1807)Born in Switzerland, Angelica Kauffman was the daughter of the artist Johann Joseph Kauffman. She received artistic training while acting as her father’s assistant from a very young age and copying the works of old masters as they traveled for commissions (委托). As a young woman, she also trained in Italy, where her historical paintings and portraits were well received.
Rosa Bonheur (1822—1899)Like many female artists at the time, Rosa Bonheur’s father was a painter. The French Realist painter is considered one of the most famous female artists of the 19th century, known for her large-format paintings that featured animals. She showed her works regularly at the famous Paris salon and found success abroad in both the United States and Britain.
Berthe Morisot (1841—1895)Considered one of the great female Impressionists, Berthe Morisot had art running through her veins. Born into a noble French family, she was the great-niece of celebrated Rococo painter Jean-Honore Fragonard. Her art often focused on family scenes, and she preferred working with pastels (粉彩), watercolor, and charcoal (木炭).
1. What artistic style do Artemisia Gentileschi’s paintings belong to?| A．Rococo. | B．Baroque. | C．Realism. | D．Impressionism. |
| A．Artemisia Gentileschi. | B．Angelica Kauffman. |
| C．Rosa Bonheur. | D．Berthe Morisot. |
| A．They all learned painting from their fathers. |
| B．They all loved copying classic paintings. |
| C．They were all born into a noble family. |
| D．They all grew up in an artistic environment. |
8 . Rita Moreno is one of the very few performers to EGOT: to win an Emmy, a Grammy, an Oscar and a Tony award. But come a little closer, and Moreno’s is another kind of immigrant (移民的) story.
She was a teen when MGM (米高梅电影公司) signed her in the 1950s. Major studios were still dominated by the men who’d run them for decades. They had her change her name. While recognizing her talent, they didn’t know what to do with a Latin girl. Moreno played small parts, including a girl from India and a Burmese (缅甸的) woman. What should have been her big break came when she was cast as Anita in West Side Story. She’d remember Anita as “the very first Hispanic (西班牙的) character I had ever played who had dignity, a sense of self-respect. She became my role model. ” The night Moreno won the Oscar, the Hispanic community across the USA broke out into cheers.
But that career turn didn’t happen. Instead, she received more offers to play what she described as “dusky servants”. The racial and ethnic prejudice was still at play. “It broke my heart, ”she says. Rita Moreno didn’t make another movie for seven years.
Then began her new act. Holding to her mother’s philosophy — Never give in, never quit, keep on moving — she survived professionally during those years with work on the London stage and in nightclubs, slowly reemerging on film and television, and eventually she earned herself a star on the Hollywood Walk of Fame and the Peabody Career Achievement Award.
But even as she continues to perform, her work continues off the screen, speaking out for and representing the Latin community. “I’m now known as la pionera, or the pioneer,” Moreno says. “I really don’t think of myself as a role model. But it turns out that I am, to a lot of the Hispanic community. Not just in show business, but in life. But that’s what happens when you’re first, right?”
1. What do we know about Moreno in Paragraph 2?| A．She was an actress contracted with MGM. |
| B．She had her future well-planned for her talent. |
| C．She was treated as a Hispanic girl with dignity. |
| D．She won the Oscar for acting a Burmese woman. |
| A．She did not receive any film offers. |
| B．She rejected roles of racial prejudice. |
| C．She was tired of performing on the stage. |
| D．She focused on her stage career in nightclubs. |
| A．Generous and brave. | B．Kind and grateful. |
| C．Honest and trustworthy. | D．Tough and determined. |
| A．She prefers to be a role model in show business. |
| B．She is unhappy with what happened to an actress. |
| C．She makes a difference to the Hispanic community. |
| D．She feels pressured about being a Hispanic pioneer. |
9 . “He is a giant of the 20th-century art, but that doesn’t mean he only did big paintings, said Lynn Miller, director of Rochester Central Gallery, in an interview last Thursday.
Entitled “Picasso and His Drafts”, a special exhibit marking 50 years since the death of Pablo Picasso is held at the gallery this month. Instead of his paintings, the notebooks on which the Spanish legendary artist drew drafts are shown to the public for the first time.
Matchbox covers, postcards, restaurant napkins all served as drafting notes for the artist at moments of inspiration. It is important to know that each of the 14 notebooks presented reflects what was going on in his life.
For example, a tiny notebook whose size is just 3 by 5 inches stands out among the exhibits. Inside the little book was a self-portrait of the artist finished roughly in pencil, with deep and thoughtful eyes. It was done in 1918 and Picasso, then in his mid-30s, had just got married. He produced big-sized artworks but he also kept this tiny notebook around, filling it with scenes of his wife, their friends, the beach and the town, and drafts of upcoming paintings. Actually, many of the draft drawings are early versions of famed paintings like Les Demoiselles d’Avignon (1907) and Dora Maar in an Armchair (1939).
“He is a great artist of the modern period, and we see practice and determination in his notebooks,” said Lynn Miller, referring to Picasso’s efforts in improving his skills through copious drawing. Bernard Ruiz-Picasso, a grandson of Picasso’s, remembered him always drafting until the last piece of paper available. “My grandpa was permanently drawing something,” Ruiz-Picasso said.
In a documentary film shown at the gallery, Picasso, shirtless and in shorts, was standing on a ladder to reach the top of his canvas (画布). It reminds visitors of the real size of his masterworks.
1. What are the key features of the recent exhibit at the gallery?| A．Notebooks for sale. | B．Picasso’s artworks. |
| C．Priceless artistic drafts. | D．Masterpieces of the 20th century. |
| A．His life experience. | B．The love for his country. |
| C．The content of his books. | D．His education background. |
| A．Creative. | B．Diligent. | C．Optimistic. | D．Humorous. |
| A．Picasso used to mind his appearance. | B．The gallery exhibits real masterworks. |
| C．The documentary movie is worth seeing. | D．Picasso’s artworks are actually of great size. |
10 . During one conversation with Frank Morrison, he told me that when he was a child his favorite pastime was drawing on the pieces of white and tan cardboard that came with his mother’s pantyhose (连裤袜) containers. Frank’s goal was to draw, and he found ways to make that happen. This example speaks to the determination he has demonstrated throughout his life so that he could follow his dreams, make a difference, and inspire others.
I first met Frank at a conference in 2015. I was working at Little Be eBooks at the time. I went over and introduced myself. I didn’t have a project in hand for him at the time, but I gave Frank some background information about Little Be eBooks and told him that I hoped he would consider working with us someday.
Several months later, I had the perfect manuscript (手稿) for him to illustrate: The Roots of Rap: 16 Bars on the 4 Pillars of Hip-Hop, written by Carole Boston Weatherford. The fabulous text was a love letter to the pioneers of hip-hop, and Frank was immediately taken with the manuscript because Carole, with whom he adored working, had written it; and Frank grew up with this culture.
The first time Frank and his brother heard rap music was in their grandmother’s backyard, via a one-speaker radio. Frank said that “the beats were impressive”. Up to this point they had been listening to what their parents listened to. They found familiar beats in hip-hop because it felt like are mix of their parents’ music. Looking through Frank’s books is like walking through an art gallery. He can transport you to another time or put you in the middle of a cultural movement, while making the connection between past and present.
1. What can be inferred about Frank from paragraph 1?| A．He dreamed of inspiring others. |
| B．He managed to find something to draw on. |
| C．He liked the pictures on pantyhose containers. |
| D．He was spoken highly of for his determination. |
| A．He offered to join in Frank’s project. |
| B．He asked Frank to sign Little Bee Books. |
| C．He expressed his expectation to work with Frank. |
| D．He got some background information about Frank. |
| A．He liked it all the time. |
| B．He found its beats hard to bear. |
| C．He thought it less popular than hip-hop. |
| D．He considered it helpful for personal growth. |
| A．They are shown in a gallery. | B．They connect us with history. |
| C．They have started a cultural movement. | D．They changed people’s ideas about the past. |
