Analysing The Ownership Of Works Of Art托福听力原文翻译及问题答案

Analysing The Ownership Of Works Of Art托福听力原文翻译及问题答案

一、Analysing The Ownership Of Works Of Art托福听力原文：

MALE:PROFESSOR OK,as art historians,one of our fundamental tasks is to assign authorship to works of art,right?We're presented with a work of art,and we have to figure out who made it.But this task becomes particularly difficult when we're dealing with works produced in Italy during the Renaissance—the sixteenth,seventeenth centuries.

Now why is this the case?Anyone?Emily.

FEMALE STUDENT:Um,is it'cause artists didn't sign their work?I mean,didn't the whole concept of the artist as an individual develop later,in like the nineteenth century?

MALE PROFESSOR:Well,you're sort of on the right track.The concept of the individual artist—especially the concept of the artist as an artistic genius,bleh,struggling alone with a vision…as opposed to,say,a mere artisan—well the idea of the artist as a lone genius didn’t develop until later.

But artists,individual artists,did sign their work during the Renaissance.In fact,you could say that’s part of the problem…Paintings were signed by the artist,and that used to be understood to be a mark of Renaissance individualism.If a piece had Raphael’s signature on it,we assumed it was done by the great artist himself—Raphael,in the singular.

But you see,art in Renaissance Italy was very much a collaborative business.Painters and sculptors worked in a workshop.It was almost like a small business run by…a master artist.

You see,to deal with the wide variety of commissions they received—orders,basically,for specific types of art,specific projects—to handle these,master artists often employed assistants,as apprentices.An-and this was especially so if they worked on a large scale,huge paintings or sculptures,or if they were much in demand,like Raphael for instance.

He worked on some large paintings:He painted frescoes for the Vatican.He also received a great many commissions.There’s no way he could have completed every part of every project all by himself!

Now these assistants might work for the master artist on a temporary or a permanent basis,and they might also specialize.For example,in Raphael's workshop,which might be called“Raphael Incorporated,”one of the assistants specialized in animals.He actually painted a good number of the animals in Raphael’s art.It may be that a master signing a work was simply making a declaration that the work met the standards of the shop.

And it wasn't just painters.Sculptors also worked together;in fact,assistants were even more necessary if you were a master sculptor,because statues take longer to make than paintings.And the master had to arrange for marble to be quarried,things like that.

And perhaps the most collaborative of all was architecture.There we see a real division of labor,what with carpenters,masons,unskilled labor just to carry materials to and fro,and so on.Plus,of course,your skilled artisans,who carried out the master architect's design.Think of it like,uh,a ballet,you know?All the dancers work together.There's a division of labor,people have different roles,and in order for the thing to come together,everyone needs to be aware of what others are doing,and coordinate their work,and have good timing.

So for architecture,it's almost impossible to know who was responsible for any given detail.Was it the master architect?The mason?An assistant mason?Maybe it was even the patron,the client who was paying for the art.

Remember,it wasn't yet customary for architects to give their assistants measured drawings to work from.Instructions were given orally,not in writing,so we don't have those documents to tell us what,exactly,the master architect's plans were.The only time we have written records is when the architect wasn't actually there—perhaps the architect was away on business,and had to write out instructions and send them to the shop.

And another thing to think about:What effect do you suppose this approach would have had on innovation?

I mean,since the hired artisans had been trained by other artisans,they tended to be trained to use traditional styles and techniques.So if you're a master architect,um,and you’ve developed your own style—say you're calling for a certain detail in a building you're designing,right?And say this detail is different—purposely different—from the established tradition,the established style.

Well,most likely,when the hired artisans would execute the design,rather than follow the intended design,they'd stick with the more traditional style that they were familiar with.Workers would have to be supervised very closely to prevent this from happening.Otherwise,as often happened,there goes the designer's style and creativity.

二、Analysing The Ownership Of Works Of Art托福听力中文翻译：

男：好的，教授，作为艺术史学家，我们的基本任务之一就是为艺术作品指定作者，对吗？我们看到了一件艺术品，我们必须找出是谁做的。但是，当我们处理十六、十七世纪文艺复兴时期意大利创作的作品时，这项任务变得特别困难。

为什么会这样？任何人艾米丽。

女生：嗯，是因为艺术家没有在他们的作品上签名吗？我的意思是，艺术家作为一个个体的整个概念不是在19世纪之后发展起来的吗？

男教授：嗯，你的思路是对的。个体艺术家的概念，尤其是艺术家作为艺术天才的概念，呜呜，独自为一种视觉而奋斗……与之相对的是，比方说，仅仅是一个工匠——艺术家作为一个孤独的天才的想法直到后来才发展起来。

但在文艺复兴时期，艺术家、个体艺术家确实签署了他们的作品。事实上，你可以说这是问题的一部分……绘画是由艺术家签名的，这过去被理解为文艺复兴时期个人主义的标志。如果一件作品上有拉斐尔的签名，我们假设它是由伟大的艺术家拉斐尔本人以单数形式完成的。

但你看，文艺复兴时期意大利的艺术在很大程度上是一种合作的商业。画家和雕塑家在车间工作。这几乎就像是一家由……大师级艺术家经营的小企业。

你看，为了处理他们收到的各种各样的委托，基本上，对于特定类型的艺术，处理这些特定项目，大师级艺术家通常雇佣助手作为学徒。如果他们从事大规模、巨大的绘画或雕塑，或者他们的需求量很大，比如拉斐尔，情况尤其如此。

他创作了一些大型绘画作品：他为梵蒂冈绘制了壁画。他还收到了许多佣金。他不可能独自完成每个项目的每个部分！

现在，这些助理可能临时或永久为大师级艺术家工作，他们也可能专门从事这项工作。例如，在拉斐尔的工作室，可能被称为“拉斐尔公司”，是专门研究动物的助手之一。他实际上在拉斐尔的艺术中画了很多动物。可能是一位大师签署作品只是简单地声明作品符合商店的标准。

不仅仅是画家。雕塑家也一起工作；事实上，如果你是一名雕塑家，助理甚至更为必要，因为雕像的制作时间比绘画要长。主人不得不安排开采大理石，诸如此类的事情。

也许最具协作性的是建筑。在那里，我们看到了真正的分工，包括木匠、泥瓦匠、只需来回搬运材料的非熟练劳动力等等。当然，还有你的技术娴熟的工匠，他们完成了主建筑师的设计。把它想象成芭蕾舞，你知道吗？所有的舞者一起工作。有一种分工，人们有不同的角色，为了让事情走到一起，每个人都需要知道其他人在做什么，协调他们的工作，并有好的时机。

所以对于建筑来说，几乎不可能知道谁负责任何给定的细节。是主建筑师吗？泥瓦匠？助理泥瓦匠？甚至可能是赞助人，也可能是为艺术品付款的客户。

请记住，建筑师还没有习惯于让助手测量图纸。指示是口头给出的，不是书面的，所以我们没有这些文件来告诉我们主建筑师的计划到底是什么。我们唯一有书面记录的时候是建筑师不在的时候，也许建筑师出差了，不得不写下指示并将其发送到商店。

还有一件事需要考虑：你认为这种方法会对创新产生什么影响？

我的意思是，由于雇佣的工匠接受了其他工匠的培训，他们往往会接受使用传统风格和技术的培训。所以，如果你是一位大师级建筑师，嗯，你已经形成了自己的风格，比如说你正在设计的建筑需要特定的细节，对吗？说这个细节是故意不同于既定的传统，既定的风格。

很可能，当雇佣的工匠执行设计时，而不是按照预期的设计，他们会坚持他们熟悉的更传统的风格。必须非常密切地监督工人，以防止这种情况发生。否则，就像经常发生的那样，设计师的风格和创造力就会消失。

三、Analysing The Ownership Of Works Of Art托福听力问题：

Q1:1.What does the professor mainly discuss?

A.The process art historians use to determine who created Renaissance artworks

B.Whether collaborative artworks are superior to those produced individually

C.The way that art was created during the Renaissance

D.The development of artistic individuality during the Renaissance

Q2:2.According to the professor,what factors may have led to a Renaissance artist's decision to hire assistants?[Click on 2 answers.]

A.The number of commissions an artist accepted

B.The scale of the project to be completed

C.The amount of money to be paid for the project

D.The amount of advice needed from other artists

Q3:3.Why does the professor mention someone who painted animals in Raphael’s workshop?

A.As an example of how artists learned by painting real-life models

B.As an example of paintings that were copied from sculptures

C.As an example of how assistants specialized in different types of painting

D.As an example of how an assistant introduced an artistic innovation

Q4:4.According to the professor,how is a building project like a ballet?

A.Strong leadership is necessary to coordinate the work.

B.Everyone needs to be aware of what the others are doing.

C.Everyone needs to be doing the same thing at the same time.

D.The result depends on the level of skill of each person involved.

Q5:5.Why does the professor mention that in architecture,instructions were usually given orally?[Click on 2 answers.]

A.To emphasize that architectural designs were constantly changing

B.To demonstrate the extent of the collaboration between master architects and their assistants

C.To explain why there is little documentation for many projects

D.To stress the difficulty in determining any given artisan's contributions to a project

Q6:6.What does the professor imply about the process of producing architecture collaboratively?

A.It was a result of patrons'believing in an architect's individual genius.

B.It resulted in extra expense for the patrons.

C.It was simpler than producing sculpture collaboratively.

D.It often resulted in less innovation than the architect intended.

四、Analysing The Ownership Of Works Of Art托福听力答案：

A1:正确答案：C

A2:正确答案：AB

A3:正确答案：C

A4:正确答案：B

A5:正确答案：CD

A6:正确答案：D