作者：侯海燕
出版社：重庆大学出版社
格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT
实用美术英语口语试读：
前言
自1978年改革开放，特别是进入21世纪以来，当代中国迎来了中外美术交流史上的又一次高潮。此次高潮正值中国走向民族复兴的伟大历史时期。当代中国美术家以自主的立场和开放的胸怀与外国艺术进行平等的交流。他们将继承和发扬本民族传统与探究国外美术思潮和最新动向并举，使“中国美术呈现出传统与现代、东方与西方、经典与流行相融共生的多元态势。”为迎接和推动当代中国美术的对外交流，中国美术家协会组织实施了三大品牌项目“中国美术世界行”“中国北京国际美术双年展”“中国中青年美术家海外研修工程”。这些项目必将有力促进中国文化真正走向世界、助推“中国梦”早日实现。
在中外美术大融合的背景下，四川美术学院公共课教学部于2011年推出了“国际化艺术拔尖人才实验班”项目，该项目致力于探索最理想的艺术教育模式，打造研究型学习模式；致力于培养对专业领域有较深的认知、掌握较丰富的理论资源且有创造力、发展前景和跨文化视野的艺术后备人才。实验班学生除了课堂学习外，还撰写研究论文，完成作品创作与展览，参与学院一系列的外事接待和学术交流活动。可以说，这一项目是新形势下对新的艺术教育模式的一次大胆探索与尝试，积累了宝贵的经验，也获得了可喜的成果。《实用美术英语口语》便是实验班教学改革的成果之一。
编写此书的初衷是大幅提升美术专业学生英语口头表达能力，培养他们跨文化交流的自信和自觉。本书由12个单元组成。1～6单元为造型艺术部分，包括“文艺复兴三杰”“印象派和后印象派”“美国现代艺术”“现代雕塑”“中国传统艺术”和“著名博物馆览胜”。每单元包括样例对话（Sample Dialogues）、任务练习（Tasks）、词汇扩展（Enlarge Your Vocabulary）三部分。样例对话介绍了美术史上最重要的艺术流派、代表人物及作品、风格及其后续影响，文字凝练，言简意赅，学而时习之，容易朗朗上口，有助于提高英语表达力。练习除了深化对样例对话内容的理解外，还有对这些内容进行引申延展的思辨讨论题。词汇扩展补充了丰富的造型艺术词汇。7～12单元为设计与影视动画部分，包括“工艺美术”“建筑设计”“时装设计”“工业设计”“平面设计”和“影视动画”。每单元分为样例对话（Sample Dialogues）、句型展示（Presentations）、任务练习（Exercises）、词汇扩展（Enlarge Your Vocabulary）和拓展练习（Further Practice）五部分。样例对话多是对业界国际知名大师的访谈，学生可从中了解业界最新发展动态和关注焦点，积累专业知识。句型展示铺陈了对话中出现的典型句型。任务练习设计了丰富多彩的口语活动，这些活动注重对功能句型等语言要素的训练，贴近专业知识，富于趣味性，有助于引导学生开口说话。词汇扩展补充了大量的设计与影视专业词汇，拓展练习就是用自己的话转述对美术领域各行业的功能定位，加深对这些行业的认知。
本书可供美术院校本科生、研究生及教师教学使用，也可供其他英语学习者和美术爱好者学习使用。
本书的编写凝聚了编者的辛勤笔耕，不足与疏漏之处难以避免，希望使用该书的广大师生提出诚恳的批评与建议。
最后，编者衷心感谢四川美术学院公共课教学部陈德洪主任及重庆大学出版社编辑在该书编写过程中给予的热情鼓励与精心指导，还有四川美术学院雕塑系美国富布莱特奖学金访问学者Patrick D. Wilson对书稿的文字审阅。编 者2014年3月Unit OneHigh Renaissance MastersDialogue 1Leonardo da Vinci(1452-1519)
·Note·
Leonardo da Vinci was an Italian Renaissance polymath: painter, sculptor, architect, musician, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer. He is widely considered to be one of the greatest painters of all time and perhaps the most diversely talented person ever to have lived.
Todd: Leonardo got his start as an artist around 1469. His father apprenticed him to the renowned workshop of Verocchio.
Richard: Verocchio's specialty was perspective. Though artists had only recently begun to get the hang of perspective, Leonardo easily mastered it and quickly surpassed Verocchio. By the time he was in his early twenties, he was fairly famous.
Todd: Renaissance Italy was centuries away from our culture of photographs and cinema, but Leonardo nevertheless sought a similar sort of universal language in painting. With perspective and other realistic elements, Leonardo tried to create faithful renditions of life.The Last Supper—Da Vinci
Richard: Previously, artists tended to produce highly figurative strange religious paintings. In this context, Leonardo's desire to paint things realistically was bold and fresh. This call to objectivity became the standard for painters who followed in the 16th century.
Todd: Leonardo was surely no slouch when it came to the techniques of the day. He went beyond his teacher's methods by making a scientific study of light and shadow in nature.
Richard: It dawned on him that objects were not comprised of outlines, but were actually three-dimensional bodies defined by light and shadow. Known as chiaroscuro, this technique gave his paintings the soft, lifelike quality. In contrast, older paintings looked cartoony and flat.
Todd: He also saw that an object's detail and color changed as it receded in the distance. This technique, called sfumato, was originally developed by Flemish and Venetian painters, but of course Super-Genius Leonardo transformed it into a powerful tool for creating atmosphere and depth.
Richard: Ever the perfectionist, Leonardo turned to science in the quest to improve his artwork. His study of nature and anatomy emerged in his stunningly realistic paintings. His dissections of the human body paved the way for remarkably accurate figures. He was the first artist to study the physical proportions of men, women and children and to use these studies to determine the "ideal" human figure.
Todd: All in all, Leonardo believed that the artist must know not just the rules of perspective, but all the laws of nature. The eye, he believed, was the perfect instrument for learning these laws, and the artist the perfect person to illustrate them.
·Vocabulary·apprentic[əˈprentis]vt.使…做学徒especialty[ˈspeʃəlti]n.专业；专长perspectiv[pəˈspektiv]n.透视；透视图；透视画法erendition[renˈdiʃən]n.（通过绘画）表现；描绘chiaroscur[kiˌɑːrəsn.明暗配置；明暗对照oˈkuərəu]sfumato[sfuːˈmɑːtəʊ]n.晕涂法recede[riˈsiːd]vt.后退；倒退anatomy[əˈnætəmi]n.解剖；解剖学dissection[diˈsekʃən]n.解剖；剖析proportion[prəˈpɔːʃən]n.比例；比率；相称；平衡get the hang of sth.掌握…的要领；了解…的用法be no slouch擅长于；干得麻利dawn on sb.使渐渐领悟；使开始理解be comprised of由…组成pave the way for为…铺平道路；创造条件Task 1
Please answer the following questions orally.
1. When did Leonardo start his career as an artist?
2. What technique did Leonardo's study of light and shadow result in?
3. What effect can be created by using the technique known as sfumato?
4. How did Leonardo turn to science in the quest to improve his artwork?
5. According to Leonardo, what rules must an artist get to know?Task 2
Leonardo da Vinci was considered to be the quintessential Renaissance man because he was a master of art, engineering and anatomy. In the Renaissance period, educated men aspired to become Renaissance men. That is a person with broad base of knowledge in language, philosophy, science, literature, art, and even sports. The idea of the Renaissance man can still be seen in a traditional college education. All students, regardless of major, are required to take liberal art classes. The common idea is that general education helps form a more fully developed man. Da Vinci's artistic practices also vindicate the idea that wonders can be created when science is skillfully combined with art.
Work in small groups and discuss the following topics. Make sure each member of the group gets a chance to speak. Make notes on the points that are made.
·Specialization versus General Eeducation
·Science versus ArtTask 3
Please cite examples of art works combing science and art, and discuss them with your group members.Dialogue 2Michelangelo(1475-1564)
·Note·
Michelangelo was an Italian sculptor, painter, architect, poet, and engineer of the High Renaissance who exerted an unparalleled influence on the development of Western art.
Louise: Michelangelo was one of the three greatest Old Masters of Italian Renaissance art. His nickname—il divino, the divine one—was an apt illustration of his exceptional gifts as a painter, sculptor, architect and engineer.
Philip: His statues Pieta and David, and his Genesis and Last Judgment frescos in the Sistine Chapel in Rome—are regarded as some of the most influential artistic accomplishments in the history of art.
Louise: David takes its influence from the Greek sculpture Spear Bearer. Unlike Greek sculpture, David does not have a stoic, emotionless facial expression. He instead looks angry as he defiantly faces the evil Goliath. His youth and vigor is not silently encased in stone, but is projected for the viewer to see.
Philip: Michelangelo's fresco on the Sistine Chapel depicted various scenes from Genesis, including the Creation of Man and the Garden of Eden, and The Last Judgment.Pieta—Michelangelo
Louise: Among them, the most familiar is the Creation of Adam. The windswept God stretches out his hand to a soulless Adam to breathe life into his listless body. Then the outstretched hand of God is seconds away from creating the beginning of human kind. The transfer of energy between painted subjects can not only be seen, but can be felt as well.
Philip: Michelangelo reinvigorated the classical idea that the nude human body is a sufficient vehicle for the expression of all emotions which a painter can depict. This notion had an enormous influence on the subsequent development of Academic art—and on art as a whole. Above all, he promoted the idea that painting and sculpture merited the same status as architecture, and that painters and sculptors were real artists, rather than mere decorators or stone masons.
·Vocabulary·apt[æpt]a.恰当的；适当的Genesis[ˈdʒenisis]n.开端；创使；起源statue[ˈstætjuː]n.雕像；塑像fresco[ˈfreskəu]n.壁画accomplish[ən.成就；成绩；才艺；技艺mentˈkɔmpliʃmənt]stoic[ˈstəuik]a.斯多葛派的；禁欲的；淡泊的Goliath[ɡəˈlaiəθ]n.《圣经》中被大卫射杀的巨人戈利亚encase[inˈkeis]vt.包裹；包围project[ˈprɔdʒekt]vt.伸出，凸出listless[ˈlistlis]a.倦怠的；无精打采的transfer[trænsˈfəː]n.转移；传送；传递&v.reinvigorat[ˈriːinvt.使再振作，使复兴eˈviɡəreit]vehicle[ˈviːikl]n.工具；手段；媒介mason[ˈmeisn]n.石匠；泥瓦匠rather than而不是have an influence on...对…有影响Task 1
Please answer the following questions orally.
1. What are the most important works of Michelangelo?
2. How is David different from the Greek sculpture Spear Bearer?
3. What scenes did his fresco on the Sistine Chapel depict? Which one is the most familiar to people?
4. What classical idea did Michelangelo reinvigorate?
5. How did Michelangelo view painting and sculpture as well as painters and sculptors?Task 2
Work in small groups and discuss the following topics. Make sure each member of the group gets a chance to speak. Make notes on the points that are made.
·Aesthetic traits inherent to the nude human body
·Social obligations artists are to fulfi llDialogue 3Raphael(1483-1520)
·Note·
Raphael was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.
Helen: Raphael Sanzio was an Italian painter and architect of High Renaissance. He is perhaps best known for his Madonna portraits and his fresco work in the Vatican Palace, most notably The School of Athens composition.
Vicki: Raphael gained a reputation of an "absorber of infl uences". He studied the works of the great masters such as Leonardo da Vinci and Michelangelo. He absorbed a lot of their style and techniques, but maintained his own unique style.
Helen: His paintings were known for their range, variety, grace, strength, and dignity. His artwork is often cited as the perfect example of classic art and the High Renaissance. He is considered by many to be one of the greatest painters of all time.The School of Athens—Raphael
Vicki: The School of Athens, is in many respects the key painting of the High Renaissance. This fresco depicts a meeting of all the most learned ancient Athenians.They gathered around the central figure of Plato in a grand classical setting. The figures are well rounded and the linear prospective leads the viewer to the two central figures enthusiastically chatting. The vast, vaulted background derives from the classically inspired structures of Renaissance architecture. The concepts of beauty, naturalistic expression, perfection, and noble principles are all exemplified in this highly detailed piece of art.
Helen: The Sistine Madonna depicts the Virgin Mary holding a small Jesus. Mary looks fitful and worried. The child shrinks back against his mother's shoulder as if he is about to cry from fright. Both Mary and Jesus look straight at the viewer as if they are pleading silently for an escape to their inevitable future. For the first time in art history the Madonna and Child are given true emotional gravity.
Vicki: Raphael also painted many portraits. The Painting of Pope Julius Ⅱ was very unique at the time as it showed the pope from the side and in a pondering mood. It became the model for future portraits of the pope. Raphael began painting The Transfiguration in 1517. It was Raphael's largest painting on canvas and one of the last paintings he finished before his death.
·Vocabulary·portrait[ˈpɔːtrit]n.肖像画absorb[əbˈsɔːb]vt.吸收；理解；掌握vaulted[ˈvɔːltɪd]a.拱形的exemplify[iɡˈzemplifai]vt.作为…的例证；是…的典范ponder[ˈpɔndə]v.沉思；考虑；琢磨transfigur[ˌtrænsfiɡjun.变形；变貌；（耶稣在三个门徒前ationˈreiʃən]的）变容linear perspective直线透视法cite... as...以…为例；举…为例derive from从…衍生出；起源于；来自plead for恳求…；乞求…Task 1
Please answer the following questions orally.
1. What are the best known works of Raphael?
2. Why did Raphael get a reputation "absorber of influences"?
3. What influence did Raphael have on the art history?
4. Why is The School of Athens generally considered as the key painting of the High Renaissance?
5. What work is Raphael's largest painting on canvas?Task 2
Raphael studied the works of the great masters such as Leonardo da Vinci and Michelangelo. He absorbed a lot of their styles and techniques, but maintained his own unique style.
Work in small groups and discuss the following topics.
·Imitation versus Originality
·Concepts of Classic Art versus Concepts of High Renaissance ArtEnlarge Your Vocabulary
·Words·oils[ɔilz]油画作品shade[ʃeid]阴暗部panel[ˈpænl]镶板绘画detail[ˈdiːteil]细部conceiving[kənˈsiːviŋ]构思profile[ˈprəufail]侧面画像gradations[ɡrəˈdeiʃəns]层次outline[ˈəutlain]轮廓monochrome[ˈmɔnəukrəum]单色画graduation[ˌɡrædjuˈeiʃən]浓淡法delineation[dɪˌlɪnɪˈeɪʃən]线条写生画reproduction[ˌriːprəˈdʌkʃən]临摹batik[ˈbætik]蜡染画imitating[ˈimiteitiŋ]临摹crayon[ˈkreiən]蜡笔画touch[tʌtʃ]画笔轻触baroque[bəˈrəuk]巴洛克式美术composition[kɔmpəˈziʃən]（画面）结构／构成impasto[imˈpɑːstəu]厚涂法dropout[ˈdrɔpaut]亮部Romanticism[rəˈmæntisizəm]浪漫主义画派canvas[ˈkænvəs]画布purism[ˈpjuərizəm]纯粹派stroke[strəuk]笔锋neo-[ˌniːəʊɪm新印象派impressionismˈpreʃənɪzəm]neo-classicism[niːəʊˈklæsɪsɪs(ə)m]新古典派color-scheme[ˈkʌlə skiːm]配色futurism[ˈfjuːtʃərɪz(ə)m]未来派cubism[ˈkjuːbizm]立体派
·Phrases·high point亮点drip technique滴色法center of interest最引人注目处color wash彩色薄涂finishing stroke(/touch)最后一笔brush style笔法painting style绘画风格painting knife画刀geometrical pattern几何图案rubbing style擦法mixed media混合介质canvas board油画板preliminary sketch画稿line of shadow明暗分界线dead color底色paintings in series组画color engraving彩色版画Paris School巴黎画派Pre-Raphaelite School拉菲尔前派Unit TwoImpressionism and Post-impressionismDialogue 1Claude Monet(1840-1926)
·Note·
Claude Monet was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
Todd: Claude Monet was a central member of the Impressionist movement. His 1873 painting Impression, Sunrise gave the style its name.
Richard: Monet's early work was indebted to the Realists' interests in depicting contemporary subject matter, without idealization, and in painting outdoors in order to capture the fleeting qualities of nature.
Todd: Monet began to develop a distinctive style of his own in the late 1860s. He departed from the established convention of clear depiction of forms and linear perspective. He experimented with loose handling, bold color, and strikingly unconventional compositions.
Richard: As he matured, he became ever more attentive to light and color. The emphasis in his pictures shifted from figures to the qualities of light and the atmosphere in the scene.
Todd: In his later years, Monet became increasingly sensitive to the qualities of color and form. In the 1880s, he began to explore the possibilities of a decorative paint surface and harmonies and contrasts of color.Water-lilies—Claude Monet
Richard: The effects achieved, particularly in the series paintings of the 1890s—Haystacks [1891], Poplars [1892], Rouen Cathedral [1894], represent a remarkable advance towards abstraction and towards a modern painting focused purely on surface effects.
Todd: A leader among the Impressionists, Monet was crucial in attracting Pierre-Auguste Renoir, Alfred Sisley, Edouard Manet and Camille Pissarro to work alongside each other in the Parisian suburb of Argenteuil in the 1870s. He was also important in establishing the exhibition society that would showcase the group's work between 1874 and 1886.
Richard: The work of Monet, along with his closest disciples Camille Pissarro, Alfred Sisley, Degas, Renoir and Cezanne, helped to create the first movement of Modern Art, and paved the way for the Fauvism, Expressionism and the color-sensitive compositions of Abstract Expressionism.
·Vocabulary·idealization[aɪˌdɪːəlaɪn.理想化；观念化ˈzeɪʃn]capture[ˈkæptʃə]vt.捕获；夺取；夺得fleeting[ˈfliːtiŋ]a.短暂的；闪现的distinctive[disˈtiŋktiv]a.独特的；特别的convention[kənˈvenʃən]n.传统手法；传统风格atmosphere[ˈætməsfiə]n.画面的氛围；艺术品的基调showcase[ˈʃəʊkeɪs]vt.展示Pierre-Auguste [piə auˈguːst rəˈnwaː]皮埃尔·奥古斯特·雷诺阿RenoirAlfred Sisley[ˈælfrid ˈsisli]阿尔弗雷德·西斯莱Edouard Manet[ˈedwəd ˈmɑːnet]爱德华·马奈Camille [kæˈmili pisaro]卡米尔·毕沙罗PissarroDegas[ˈde ˈgɑ:]德加Argenteuil[ɑːʒɑːŋ ˈtɜːjə]阿尔让特伊loose handling松散的笔法bold color鲜明的颜色unconventional composition非常规构图harmony and contrast of color色彩的和谐与对比be indebted to对...感激；蒙恩depart from离开；背离；违背Task 1
Please answer the following questions orally.
1. How did the Impressionist Movement get its name?
2. What influenced Monet's early works?
3. How did Monet develop his distinctive style in the late 1860s?
4. What did Monet's series paintings Haystacks, Poplars and Rouen Cathedral, represent?
5. What contribution did Monet and his disciples make to the subsequent artistic development?Task 2
The spirit of experimentation and exploration was present in every stage of Monet's career. First he advocated and practiced "outdoor painting". His careful observation of the nature cultivated his sensitivity to the changeable condition of light and atmosphere. He became increasingly attentive to light and color.
In his later years, he began to explore the possibilities of a decorative painting surface. His explorations brought him the eventual breakthrough—towards abstraction, towards modern art.
Work in small groups and discuss the following topics. Make sure each member of the group gets a chance to speak. Make notes on the points that are made.
·The advantages of outdoor painting
·The experimental, explorative spirit indispensable to artistsDialogue 2Paul Cézanne(1839-1906)
·Note·
Paul Cézanne was a French artist and PostImpressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century.
Ruth: Paul Cézanne was one of the greatest of the Post-impressionists. His works and ideas were influential in the aesthetic development of many 20th-century artists and art movements, especially Cubism.
Akane: He concentrated on a few subjects and was equally proficient in each genre: landscapes, portraits, still lifes, and studies of bathers.
Ruth: Throughout his life, Cézanne struggled to develop an authentic observation of the seen world and represent it precisely in paint. He took the basic Impressionist practice of painting direct from nature. But he obsessively pursued it until he created a completely new way of representing reality.
Akane: Cézanne broke down reality into basic forms, played with angles and depth perception, and used color to its full capacity to resolve the contradictions between chaotic visual perception and the beauty of nature.
Ruth: Cézanne's explorations inspired many cubist painters to experiment with ever more complex multiple views of the same subject, and, eventually, to the fracturing of form. He influenced cubism in profound ways. When one compares Cézanne's late oils with cubist paintings, a link of influence is most evident.La Mont Sainte Victorie—Paul Cézanne
Akane: He taught the new generation of artists to liberate form from color in their art, thus creating a new and subjective pictorial reality, not merely a slavish imitation. For this reason, Cézanne has been hailed as the true father of modern art.
·Vocabulary·aesthetic[iːsˈθetik]a.审美的；美的；美学的Cubism[ˈkjuːbizm]n.立体派；立体主义genre[ˈʒɑːŋrə]n.类；型；式样；流派；体裁represent[ˌriːpriˈzent]vt.描绘，表现fracturing[ˈfræktʃəriŋ]n.破裂；碎裂angle perception角度感知depth perception深度知觉visual perception视觉be proficient in精通；熟练break down分解；分成若干部分play with巧妙地利用；新奇地运用to one's full capacity以全力；满功率；满负载resolve contradiction解决矛盾liberate... from...使自由；使摆脱约束hail sb. as...赞扬…为；称颂…为Task 1
Please answer the following questions orally.
1. What genres of painting did Cézanne concentrate on?
2. How did Cézanne represent reality in his artwork?
3. How did Cézanne influence Cubism?
4. What did Cézanne teach the new generation of artists to do?
5. Why has Cézanne been hailed as the true father of modern art?Task 2
Work in small groups and discuss the following topics. Make sure each member of the group gets a chance to speak. Make notes on the points that are made.
·How can artists manage to resolve the contradictions between the chaotic visual perception and the beauty of nature?
·How can artists manage to create subjective pictorial reality rather than do slavish imitation just?
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