4 . Cimabue, the greatest painter in medieval(中世纪的)Italy, was surprised one day when he came back from his lunch break and discovered a fly was under the nose of a character he had been working on. So he reached out to touch the insect. To his surprise, he found only wet paint. Turning around, he saw that his apprentice(学徒), Giotto di Bondone, was doing everything he could to keep from laughing. Giotto had painted the fly when Cimabue was away, and it looked so real that Cimabue had been completely fooled.

Giotto was born into a poor farming family. Legend has it that one day when Cimabue was walking around the countryside, he spotted a young shepherd(牧羊人)boy. The boy was not tending his sheep. Instead, he was drawing pictures of them, and the sheep he drew were so lifelike that Cimabue stopped to ask the boy his name. The boy replied that it was Giotto, and Cimabue immediately asked him to come to Florence so that the young shepherd could learn how to paint.

In the Middle Ages, an artist not only had to concern himself with things like design and technique, but he also had to learn how to make paints. Almost all artists were men, and they began their apprenticeships at an early age. An apprentice’s job was to copy his master as exactly as he could. The unfortunate result of this imitation(模仿)was a lack of new ideas.

In fact, art in the Middle Ages remained the same for hundreds of years. The people in paintings didn’t look like real people, and the symbolism of art was often so remote that it must have been difficult for viewers to connect with it on a personal level. Giotto used many techniques that were uncommon at the time to bring the paintings to life for viewers. He painted people the way he saw them, instead of the overly tall people that other artists painted. He created three-dimensional space by using perspective, something that had not been done since Roman times. Finally, he threw out parts of the symbolism associated with medieval painting.

As the curtain on the stage falls slowly,Lincoln Center bursts into    1    (thunder)applause. Chinese ballet dancer Chun Wai Chan once again impresses the audience from all over the world       2    his perfect performance in George Balanchine’s The Nutcracker.

Born in Huizhou City in 1992,Chan has become    3    (attach) to dance since childhood. However, his parents preferred him to be a doctor or a lawyer in the future. The uncompromising boy then wrote a seven-page letter to his parents describing his    4    (determine)to study dance. Thanks to the sincere letter, Chan    5    (eventual) gained the support of his family, and at 12, he was admitted to Guangzhou Arts School,    6    (mark)the start of his dream-seeking journey.

To get more people     7    (know) and love ballet, he often shares ballet teaching videos on social media,    8    provides ballet enthusiasts with a free chance to learn ballet. For every role he plays, he integrates Chinese culture and his understanding of life into his body language.

Chan    9    (try) hard to promote the Chinese culture on     10    western ballet stage now. Liang Zhu(Butterfly Lovers), a ballet adaptation of an ancient Chinese legend choreographed by him, will be performed at Lincoln Center in New York soon.

7 . This painting Spring Bouquet has a precise structure. The flowers spill over into the lower left-hand corner, with an imbalance as free and as wild as nature. But at once the artist responds to this unbalance. To the right of the vase, Renoir has developed a heavy shadow area, rich in purples and sharply contrasted with the light below it. The placing of the straight line in the lower right side is necessary. If the reader covers this line, he will see that the composition becomes unbalanced.

The Impressionist technique had not yet developed when Renoir painted this picture. Yet the painting with light and color indicates Impressionism is around the corner; there is something of that school in the feeling of the out-of-doors that Renoir has acquired. The texture (纹理) of the flowers is described. Above all, one can’t help saying the very nice smell of the flowers is there, too.

Pierre-Auguste Renoir was born in 1841. He began working as a young painter of porcelain and textiles. At age 21, Renoir entered the École des Beaux-Arts in Paris and went on to study under the instructions of painter Charles Gleyre’s. Even though his paintings had been initially rejected by the Academy and the public, with time he became one of the most admired artists of his generation.

Unfortunately, in 1899, he was diagnosed with rheumatoid arthritis (风湿性关节炎). It is a disease that causes a lot of pain. In addition, the person affected by it may also have deformities (畸形). Consequently, his movements became very limited and each movement was a big and certainly painful effort.

His son, Jean Renoir, writes in the book Renoir, My Father after his father passed away, the reaction of the people to the painting of the father, after seeing his hands:

Visitors who were unprepared for this could not take their eyes off his deformity. Though they did not dare to mention it, their reaction would be expressed by some such phrase as “It isn’t possible!” With hands like that, how can he paint those pictures? There’s some mystery somewhere.

9 . Gilliam was born in Tupelo, Mississippi, in 1933 as the seventh child of eight to a father who worked on the railroad and a homemaking mother. He attended the University of Louisville for both bachelor’s and master’s degrees, but in 1962 moved to Washington, D.C., where he lived and had his studio (工作室) for the rest of his life. He became one of the leading artists of the Washington Color School—a 1950s movement that attached great importance to large fields of color.

He was very interested in freeing his paintings from the limit of canvases (画布) and frames. Instead, in his Drape works of the 1960s, he took unstretched canvases and hung them from ceilings or pinned them in great waterfalls to walls. Each time his work—part painting, part sculpture-was shown in an exhibition, it hung differently, never the same way twice.

In a 2018Morning Edition profile, Gilliam explained that the intention behind his Drape work was “to develop the idea of movement into shapes”—and that he was inspired by laundry (洗衣店) hanging from a clothesline.

His work is represented in the collections of some of the world’s most celebrated museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the Tate Modern in London; and the Musée d’Art Moderne in Paris. In 2015, he was awarded the U.S. State Department’s Medal of Arts Lifetime Achievement Award.

In the 2018 Morning Edition profile, the then 84-year-old Gilliam said that he felt that he was in his prime, despite health challenges. “I’ve never felt better in my life. I stopped drinking, I stopped smoking. I live for this period of being in the studio and actually working.”