托福听力Lecture 1文本题目及答案解析_易伯华托福培训机构

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作为托福考生必备托福提分备考工具，和TPO模考软件相爱相杀的日子终生难忘。作为整个托福考试的重中之重，托福听力对于托福er们非常重要，那么应该如何利用现有的TPO模考软件来提升托福成绩呢?易伯华托福频道为大家整理了TPO52托福听力Lecture 1资料，包含听力原文，题目及参考答案。来了解一下。

TPO52托福听力Lecture 1原文文本

标题：Still-life Painting

Listen to part of a lecture in an art class.

Professor:

This week you are going to be studying something new, a painting in still-life. First I want to give you a little background that might be helpful when you start working. We spend a lot of time on portray portrays in this class and moving from painting people to painting objects, might feel like a big shift. But I think it’s important for you to understand that you could pack just as much life and vibrancy and excitement into a painting of a bowl of fruit as you can into something more dynamic.

And, you know, still-life’s tool just need to be straight forward representations. still-lives just don’t need to be straightforward representations. A lot of still-life painters really use the simplicity of the style to send a message or tell a story, even portrays sometimes include elements of still-life paintings. For example, in a portray, there might be a map, hanging on the wall. Or there might be some books on the table next to the subject. These objects tell you something about the subject like maybe that person was well-educated.

A big part of still-life painting is the use of those kinds of symbols. The objects you include can provide more contacts that help conveyed your message. I’d also don’t so like to show everyone an example of still-life but we can talk about a little and use it to get some inspiration.

This is by James Peale, one of the true masters of the art of still-life. This piece is called Still-life, bowls, some apples and vegetables. And it’s a really, really great example of what I’m going to be looking forward in your painting.

Now, Peale did his work in the early 19th century. And painters of that period approach still-life painting from a scientificperspective. Let’s look at this painting to help you understand what I mean. See the red tomatoes in the fore ground foreground and how vibrate that color is? And if you look at athe large heads of cabbage further farther back?

Every detail, every crackle crinkle in each leaf, all the fouls fruits, are so precise. They are almost like a sketch you’d see in a field guide. Peale and other painters of this xxx era used still-life painting as a way of exploring the natural world and satisfying their curiosity about nature.

So now we can take some time to discuss a little more of more about the the actual process of still-life painting. Now, before you paint a single stroke, you’d got to plan the composition of your painting. You know, the arrangement of the objects to make sure everything is set up the way you wanted. I remember a still-life piece I painted when I was in university. It delivers was vegetables I think and I had created scratches of the setting. But then I realized the arrangement of the vegetables in a basket just, just didn’t look right. So I had to start over. So I can see from thisexperimentit’s really important to make sure your arrangement is just right before you even start painting.

Now, what are some ways to make sure the composition of your painting is the way you want it to be. Well, it’s important in the still-life to make sure you’re not overdoing the amount of positive space, the amount of stuff in your piece. The still-life really is not just about the subject matter. If you make a really cluttered composition with too much going on, it can throw off your painting. That’s something you notice in the James Peale painting. Notice how it really you know it makes great use of negative space, you can see how he sort of embraces those little empty spots on the table. And that adds a really nice sense of balance.

Also, try to make your still-life look natural, if it looks contrived and if it’s obvious a person deliberately arrangesd everything, it takes away from the simplicity and the natural feel of the work. Basically the best still-life paintings are the ones where the objects don’t look arranged for the painting at all, but that those tomatoes are near that cabbage on a table by accident.

TPO52托福听力Lecture 1题目

6. What is the purpose of the lecture?

To review important concepts from a previous class

To provide some background for a painting the class will be discussing

To compare two styles of painting

To prepare students for an upcoming project

7. Why does the professor mention books and a map?

To give examples of objects that are not typically used in still-life paintings

To give examples of elements of still-life paintings used in other genres of painting

To explain what inspired him to create a still-life painting at university

To explain why still-life paintings are often studied in beginning art classes

8. According to the professor, why did artists like James Peale adopt a scientific approach to still-life painting?

Their paintings were used to illustrate scientific journals.

They had studied science at university before becoming artists.

They were interested in exploring the natural world through their art.

They were interested in experimenting with nuances of color.9. Why does the professor tell the story about his own painting of some vegetables?

To emphasize the importance of planning the composition of a still-life painting

To encourage the use of a variety of objects in a still-life painting

To capture the attention of students who are not interested in still-life paintings

To reassure the students that still-life paintings are not difficult to execute

10. What point does the professor make about negative space in still-life paintings?

It is overused in many still-life paintings.

It contributes to the balance in the composition of a still-life painting.

It often causes still-life paintings to look deliberately planned.

It may detract from the simplicity of the composition of a still-life painting.重听题：11. Why does the professor say this:

To clarify the first step of painting a still life

To explain why he decided to become a still-life artist

To introduce a painting he is going to describe

To convince students that painting a still life can be rewarding

TPO52托福听力Lecture 1答案解析

6.答案：B

解析：此题出处是：This week you are going to be studying something new, a painting in still-life. First I want to give you a little background that might be helpful when you start working.教授在讲座开头就点名这节课是要给学生提供一些静物画的背景知识，选项B合适。选项A说是为了回顾上一节课的重要概念，选项C是说为了比较两种作画风格，选项D是说为了让学生为了接下来的项目做准备，都不合适。选择B。

7.答案：B

解析：此题出处是：For example, in a portray, there might be a map, hanging on the wall. Or there might be some books on the table next to the subject. These objects tell you something about the subject like maybe that person was well-educated.

这里教授举地图和书的例子是为了说明在画像里的陪衬物品可以帮助传递关于画作主体的信息，选项B合适。选项A说为了举例说明一般不会用在静物画中的物品，选项C是说为了解释什么东西启发他在大学里画静物画，选项D说是为了解释为什么静物画一般是在艺术课的开头学习，都不合适。选择B。

8.答案：C

解析：此题出处是：Peale and other painters of this era used still-life painting as a way of exploring the natural world and satisfying their curiosity about nature.

这里教授说了，以科学的方式画静物画是这些画家探索自然、满足自己对自然的好奇心的手段之一，选项C合适。选项A说他们的画是用作杂志插图的，选项B是说他们在成为艺术家之前在大学里是学科学的，选项D是说他们对于实验细微差别的各种颜色很感兴趣，都不合适。选择C。

9.答案：A

解析：此题出处是：So I can see from this experiment it’s really important to make sure your arrangement is just right before you even start painting.

这里教授举自己大学作画的例子就是为了说明在作画之前要好好规划画的布局，选项A合适。选项B是说为了鼓励在静物画里使用多种物品，选项C是说为了吸引对静物画不感兴趣的学生的注意，选项D是说为了告诉学生静物画不难画，都不合适。选择A。

10.答案：B

解析：此题出处是：Notice how it really you know it makes great use of negative space, you can see how he sort of embraces those little empty spots on the table. And that adds a really nice sense of balance.教授在这里说明了负面空间是可以平衡画面的，选项B合适。选项A说它在静物画里面被过度使用了，选项C是说它会导致静物画看起来是人为设计的，选项D是说它会因为静物画构图的简单性而减损，都不合适。选择B。

11.答案：D

解析：此题出处是：But I think it’s important for you to understand that you could pack just as much life and vibrancy and excitement into a painting of a bowl of fruit as you can into something more dynamic.

教授这里是为了向学生说明，画静物画和画画像一样，都可以把生命、活力和激情包含进去的，静物画并不比画像低人一等，选项D正确。选项A说是为了说明画静物画的第一步，选项B是说为了解释为什么他决定做一个静物画家，选项C是说为了介绍他要开始描述的一副画，都不合适。选择D。