剑桥雅思真题15阅读解析：Henry Moore

剑桥雅思真题15阅读解析：Henry Moore

You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below.

Henry Moore (1898-1986)

The British sculptor Henry Moore was a leading figure

in the 20th-century art world

Henry Moore was born in Castleford, a small town near Leeds in the north of England. He was the seventh child of Raymond Moore and his wife Mary Baker. He studied at Castleford Grammar School from 1909 to 1915, where his early interest in art was encouraged by his teacher Alice Gostick. After leaving school, Moore hoped to become a sculptor, but instead he complied with his father's wish that he train as a schoolteacher. He had to abandon his training in 1917 when he was sent to France to fight in the First World War.

After the war, Moore enrolled at the Leeds School of Art, where he studied for two years. In his first year, he spent most of his time drawing. Although he wanted to study sculpture, no teacher was appointed until his second year. At the end of that year, he passed the sculpture examination and was awarded a scholarship to the Royal College of Art in London. In September 1921, he moved to London and began three years of advanced study in sculpture.

Alongside the instruction he received at the Royal College, Moore visited many of the London museums, particularly the British Museum, which had a wide-ranging collection of ancient sculpture. During these visits, he discovered the power and beauty of ancient Egyptian and African sculpture. As he became increasingly interested in these 'primitive' forms of art, he turned away from European sculptural traditions.

After graduating, Moore spent the first six months of 1925 travelling in France. When he visited the Trocadero Museum in Paris, he was impressed by a cast of a Mayan* sculpture of the rain spirit. It was a male reclining figure with its knees drawn up together, and its head at a right angle to its body. Moore became fascinated with this stone sculpture, which he thought had a power and originality that no other stone sculpture possessed. He himself started carving a variety of subjects in stone, including depictions of reclining women, mother-and-child groups, and masks.

Moore's exceptional talent soon gained recognition, and in 1926 he started work as a sculpture instructor at the Royal College. In 1933, he became a member of a group of young artists called Unit One. The aim of the group was to convince the English public of the merits of the emerging international movement in modern art and architecture.

'Mayan: belonging to an ancient civilisation that inhabited parts of current-day Mexico, Guatemala, Belize, El Salvador and Honduras.

Around this time, Moore moved away from the human figure to experiment with abstract shapes. In 1931, he held an exhibition at the Leicester Galleries in London. His work was enthusiastically welcomed by fellow sculptors, but the reviews in the press were extremely negative and turned Moore into a notorious figure. There were calls for his resignation from the Royal College, and the following year, when his contract expired, he left to start a sculpture department at the Chelsea School of Art in London.

Throughout the 1930s, Moore did not show any inclination to please the British public. He became interested in the paintings of the Spanish artist Pablo Picasso, whose work inspired him to distort the human body in a radical way. At times, he seemed to abandon the human figure altogether. The pages of his sketchbooks from this period show his ideas for abstract sculptures that bore little resemblance to the human form.

In 1940, during the Second World War, Moore stopped teaching at the Chelsea School and moved to a farmhouse about 20 miles north of London. A shortage of materials forced him to focus on drawing. He did numerous small sketches of Londoners, later turning these ideas into large coloured drawings in his studio. In 1942, he returned to Castleford to make a series of sketches of the miners who worked there.

In 1944, Harlow, a town near London, offered Moore a commission for a sculpture depicting a family. The resulting work signifies a dramatic change in Moore's style, away from the experimentation of the 1930s towards a more natural and humanistic subject matter. He did dozens of studies in clay for the sculpture, and these were cast in bronze and issued in editions of seven to nine copies each. In this way, Moore's work became available to collectors all over the world. The boost to his income enabled him to take on ambitious projects and start working on the scale he felt his sculpture demanded.

Critics who had begun to think that Moore had become less revolutionary were proven wrong by the appearance, in 1950, of the first of Moore's series of standing figures in bronze, with their harsh and angular pierced forms and distinct impression of menace. Moore also varied his subject matter in the 1950s with such works as Warrior -with Shield and Falling Warrior. These were rare examples of Moore's use of the male figure and owe something to his visit to Greece in 1951, when he had the opportunity to study ancient works of art.

In his final years, Moore created the Henry Moore Foundation to promote art appreciation and to display his work. Moore was the first modern English sculptor to achieve international critical acclaim and he is still regarded as one of the most important sculptors of the 20th century.

Questions 1-7

Do the following statements agree with the information given in Reading Passage 1?

In boxes 1-7 on your answer sheet, write

TRUEif the statement agrees with the information

FALSEif the statement contradicts the information

NOT GIVENif there is no information on this

1 On leaving school, Moore did what his father wanted him to do.

2 Moore began studying sculpture in his first term at the Leeds School of Art.

3 When Moore started at the Royal College of Art, its reputation for teaching sculpture was excellent.

4 Moore became aware of ancient sculpture as a result of visiting London museums.

5 The Trocadero Museum's Mayan sculpture attracted a lot of public interest.

6 Moore thought the Mayan sculpture was similar in certain respects to other stone sculptures.

7 The artists who belonged to Unit One wanted to make modern art and architecture more popular.

Questions 8-13

Complete the notes below.

Choose ONE WORD ONLY from the passage for each answer.

Write your answers in boxes 8-13 on your answer sheet.

Moore's career as an artist

1930s

Moore's exhibition at the Leicester Galleries is criticised by the press

Moore is urged to offer his 8………….. and leave the Royal College

1940s

Moore turns to drawing because 9………….. for sculpting are not readily available

While visiting his hometown, Moore does some drawings of 10…………..

Moore is employed to produce a sculpture of a 11…………..

12………….. start to buy Moore's work

Moore's increased 13………….. makes it possible for him to do more ambitious sculptures

1950s

Moore's series of bronze figures marks a further change in his style

02

译文

亨利·摩尔(1898-1986 )

英国雕塑家亨利摩尔是20世纪艺术界的一位领军人物

亨利摩尔出生在英格兰北部，一个接近利兹的小城镇——卡斯尔福德。他是Raymond Moore和其妻子Mary Baker的第七个孩子。1909年到1915年，他在卡斯尔福德的文法学校学习。在这里， 他早期对于艺术的兴趣受到了老师Alice Gostick的鼓励。离开学校之后，摩尔希望成为一名雕塑家，但是他遵从了父亲的希望，成为了一名老师。1917年，当他被送往法国去参加第一次世界大战时，他不得不放弃了他的培训。

战后，摩尔入学利兹艺术学院，在这里他学习了两年。第一年的大部分时间里，他都在画画。 尽管他想学雕塑，但直到他入学第二年的时候，学校才聘请了雕塑老师。那年年底，他通过了雕塑考试并且获得了伦敦皇家艺术学院的奖学金。1921年9月，他移居伦敦，开始了为期三年的雕塑高级研究。

除了在皇家学院接受指导，摩尔还参观了许多伦敦的博物馆，尤其是大英博物馆，那里收藏了大量古代雕塑。通过参观这些博物馆，他发现了古埃及和非洲雕塑的力量和美感。随着他对这些“原始”的艺术形式越来越感兴趣，他开始背离欧洲的雕塑传统。

毕业后，1925年的上半年摩尔都在法国旅行。当他参观巴黎特罗卡德罗博物馆时，他对玛雅雨神雕像的造型印象深刻。那是一个斜倚着的男人，双膝并拢，头与身体成直角。摩尔迷上了这座石雕，他认为它具有其他石雕所不具备的力量和独创性。他自己也开始在石头上雕刻各种各样的形象，包括躺着的女人、母子群和面具。

摩尔的非凡才能很快得到人们的认可，1926年，他开始在皇家学院担任雕塑老师。1933年，他加入了一个名为“第一单元”的青年艺术家团体。该组织的目的是让英国公众相信在现代艺术和建筑中新兴国际运动的优点。

大约在这个时候，摩尔的创作风格由人形转向尝试抽象的形状。1931年，他在伦敦的莱斯特美术馆举办了一场展览。他的作品受到雕塑家同行的热烈欢迎，但媒体的评价却极为负面，这使摩尔成为一个声名狼藉的人物。有人要求他从皇家学院辞职，第二年，当他的合同到期时，他离开了那里，在伦敦的切尔西艺术学院成立了雕塑系。

在整个20世纪30年代，摩尔没有表现出任何取悦英国公众的倾向。他对西班牙艺术家巴勃罗毕加索的画作产生了兴趣，毕加索的作品启发他以一种激进的方式扭曲人体。有时，他（的作品）似乎完全抛弃了人的形象。从他这一时期的速写本中可以看出他对抽象雕塑的想法，这些雕塑与人类形态几乎没有相似之处。

1940年，在第二次世界大战期间，摩尔停止了在切尔西学校的教学，搬到了伦敦以北20英里的一个农舍里。由于缺乏（雕塑）材料，他不得不集中精力画画。他画了许多伦敦人的小幅素描， 后来在画室里他把这些想法转变成了大幅的彩色画作。1942年，他回到卡斯尔福德，为在那里工作的矿工们画了一系列素描。

1944年，伦敦附近的哈洛镇委托摩尔雕刻一组家庭雕塑。由此产生的作品标志着摩尔风格的巨大变化——由20世纪30年代的实验主义转向了更自然的人文主题。他为这组雕像做了几十次黏土研究，这些（雕像）都是用青铜铸成的，每个版本有7到9个副本。通过这种方式，摩尔的作品被世界各地的收藏家所收藏。收入的增加使他得以承接雄心勃勃的项目，并开始按他认为雕塑需要的规模工作。

1950年，随着摩尔第一批青铜站立雕像的出现，那些认为摩尔的革命性已经减弱的评论家们被 证明是错误的。这些雕像有着粗糙、棱角分明的刺入式造型和明显的威胁感。20世纪50年代，摩尔还创作了《带盾的勇士》和《坠落的勇士》等作品来丰富自己的主题。这些都是摩尔使用男性形象的罕见例子，这在某种程度上要归功于他1951年访问希腊，当时他有机会研究古代艺术品。

在他生命的最后几年，摩尔创立了亨利摩尔基金会来提升（公众）艺术欣赏水平和展示他的作品。摩尔是第一个获得国际赞誉的现代英国雕塑家，并且（现在）他仍然被认为是20世纪最重要的雕塑家之一。

03

答案解析

Question 1

答案：TRUE

关键词：leaving school, father

定位原文：第一段第四句：After leaving school, Moore hoped to become a sculptor, but instead he complied with his father's wish that he train as a schoolteacher.

解题思路：本题的定位词很容易找到，另外通过文章的叙述逻辑也可以看出这部分内容应该岀现在文章最开头的地方。原文中提到：离开学校之后，摩尔希望成为一名雕塑家，但是他遵从了父亲的希望，成为了一名老师。也就是说做了父亲希望他做的事情，题干与原文信息一致，因此答案为TRUE。

Question 2

答案：FALSE

关键词：Leeds School of Art, first term

定位原文：第二段第三句：Although he wanted to study sculpture, no teacher was appointed until his second year.

解题思路：本题首先用Leeds School of Art快速定位到第二段第一句话。但第一句中没有出现term的相关信息。继续往下看，看到第三句就出现了term的相关信息。原文中提到：尽管他想学雕塑，但直到他入学第二年的时候，学校才聘请了雕塑老师。也就是说不是第一学期就开始学习雕塑的。本题与原文信息明显是相矛盾的，因此答案为FALSE。

Question 3

答案：NOT GIVEN

关键词：Royal College of Art

定位原文：第二段第四句：At the end of that year, he passed the sculpture examination and was awarded a scholarship to the Royal College of Art in London.

解题思路：本题通过Royal College of Art快速定位到第二段第四句。原文中提到他通过了雕塑考试并且获得了伦敦皇家艺术学院的奖学金，但并没有提到有关该校雕塑专业声誉好坏的信息。本题与原文信息毫无对应，因此答案为NOT GIVEN。

Question 4

答案：TRUE

关键词：London museums

定位原文：第三段前两句：Alongside the instruction he received at the Royal College, Moore visited many of the London museums, particularly the British Museum, which had a wide-ranging collection of ancient sculpture. During these visits, he discovered the power and beauty of ancient Egyptian and African sculpture.

解题思路：首先，本题依靠London museums定位到文章第三段第一句，但第一句只是说摩尔参观了很多博物馆，尤其是有很多古代雕塑的大英博物馆。如果只看这一句相关信息，其实是不足以判定他是否因为参观了博物馆而对古代雕塑有了解。继续看第二句：通过参观这些博物馆，他发现了古埃及和非洲雕塑的力量和美感。因此可以判定他确实是因为参观了博物馆而了解了古代雕塑，因此答案为TRUE。 注意：判断题不一定只对应原文中的一句话。

Question 5

答案：NOT GIVEN

关键词：Trocadero museum, Mayan

定位原文：第四段第二句：When he visited the Trocadero Museum in Paris, he was impressed by a cast of a Mayan* sculpture of the rain spirit.

解题思路：本题定位到第四段第二句，原文中提到：当他参观巴黎特罗卡德罗博物馆时，他对玛雅雨神雕像的造型印象深刻。原文中并没有提及此雕像是否吸引公众的注意，另外后面两句关于此雕像的信息也没有体现题目中的内容，无法做出判断，因此答案为NOT GIVEN。

Question 6

答案：FALSE

关键词：Mayan sculpture

定位原文：第四段第四句：Moore became fascinated with this stone sculpture, which he thought had a power and originality that no other stone sculpture possessed.

解题思路：本题和第5题都有Mayan，这意味着两道题所对应的原文内容会离得很近。按照顺序性原则定位后，原文中提到：摩尔迷上了这座石雕(this stone sculpture指代前文提到的玛雅雕塑)，他认为它具有其他石雕所不具备的力量和独创性。原文中的信息表明玛雅雕塑和其他石雕没有类似性，因此答案为FALSE。

Question 7

答案：TRUE

关键词：Unit One

定位原文：第五段第二和第三句：In 1933, he became a member of a group of young artists called Unit One. The aim of the group was to convince the English public of the merits of the emerging international movement in modern art and architecture.

解题思路：本题通过Unit One定位到文中第五段第二句，但第二句只是交代了这群年轻艺术家被称为Unit One。继续看第三句：该组织的目的是让英国公众相信在现代艺术和建筑中新兴国际运动的优点。因此可以判定这群艺术家是想让现代艺术和建筑流行，因此答案为TRUE。

Question 8

答案：resignation

关键词：1930s, Royal College

定位原文：第六段第四句：There were calls for his resignation from the Royal College, and the following year, when his contract expired, he left to start a sculpture department at the Chelsea School of Art in London.

解题思路：首先通过1930s可知，这道题的对应范围大致是第六、七段(第六段包含1931;第七段第一句包含1930s)，再通过Royal College精确定位到第六段第四句。原文中提到：有人要求他从皇家学院辞职，第二年，当他的合同到期时，他离开了那里，在伦敦的切尔西艺术学院成立了雕塑系。原文中There were calls是题目中is urged的体现。并且通过and这一表示并列关系的连词可以看出，答案点应该出现在原文and the following year的前面。原文中的his对应题目空格前的his。

Question 9

答案：materials

关键词：1940s, drawing

定位原文：第八段第二句：A shortage of materials forced him to focus on drawing.

解题思路：本题首先用1940s定位到第八段，然后在第二句看到了drawing。原文中提到：由于缺乏(雕塑)材料，他不得不集中精力画画。focus on drawing 对应题干中的 turns to drawing;shortage对应题干中的not readily available。 注意：根据are可以得岀填入空格的名词为复数。

Question 10

答案：miners

关键词：hometown

定位原文：第八段最后一句：In 1942, he returned to Castleford to make a series of sketches of the miners who worked there.

解题思路：原文提到：1942年，他回到卡斯尔福德，为在那里工作的矿工们画了一系列素描。本题要注意原文中没有直接出现hometown，而是使用returned to Castleford(文章第一段提到的出生地)来体现家乡。sketches等同于drawings。 注意第八段倒数第二句也出现了sketches，但是这一句不能体现hometown，所以本题不能选Londoners。

Question 11

答案：family

关键词：employed

定位原文：第九段第一句：In 1944, Harlow, a town near London, offered Moore a commission for a sculpture depicting a family.

解题思路：本题定位比较难，原文用commission表示employ。按照在第八段后面继续寻找答案的规律，而且从第13题之后的1950s可以看出题目的这部分内容对应原文的第十段第一句话，因此可以推断第11~13题都应该对应原文的第九段。原文中提到：1944年，伦敦附近的哈洛镇委托摩尔雕刻一组家庭雕塑。

Question 12

答案：collectors

关键词：Moore's work

定位原文：第九段第四句：In this way, Moore's work became available to collectors all over the world.

解题思路：本题可以继续利用“顺序原则”定位。

原文提到：通过这种方式，摩尔的作品被世界各地的收藏家所收藏。通过分析句意，填的单词应该是能做出“买”这个动作的名词，通常就是人或者机构。另外，由start可以判断出空格为复数名词。

Question 13

答案：income

关键词：ambitious sculptures

定位原文：第九段最后一句：The boost to his income enabled him to take on ambitious projects and start working on the scale he felt his sculpture demanded.

解题思路：原文提到：收入的增加使他得以承接雄心勃勃的项目，并开始按他认为雕塑需要的规模工作。