關於美術的英語文章閱讀
校外美術教育作爲一種社會教育活動由來已久,隨着我們國家對素質教育的大力支持與提倡,校外少兒美術教育也已經逐步得到了廣大學生和家長的接受和認可,成爲了當今一種別具一格的社會教育文化新象。下面是本站小編帶來的關於美術的英語文章閱讀，歡迎閱讀!
英國畫家勞裏的工業英國畫作
British artist LS Lowry's paintings of industrial, working-class Britain brought him popular famein the UK. Yet his works have never been the subject of a solo exhibition abroad - until now.
英國畫家LS 勞裏的畫作描述了工業時代下的、工人階級的英國，因此在英國名聲大噪。然而，他的畫作從來沒有單獨在國外展覽，但如今不是了。
LS Lowry, with his depictions of everyday northern life, is one of Britain's best loved lar he may be, but since his death in 1976, there have been accusations that the British artestablishment has turned its back on him, finding his subject matter too working class.
LS 勞裏的畫作描述了北方民衆的日常生活，他因此成爲英國最受追捧的畫家之一。儘管他爲人喜愛，但在1976年去世後，就有傳言稱英國畫界把他拋在腦後，稱他的作品的“工人階級”味道過了頭。
There's been public pressure for major galleries to do more to celebrate him and last year theTate Britain put on a Lowry show. But remarkably, for such an icon of modern British art, nosolo exhibition of his work has ever been held outside the UK. Until now. A collection ofLowry paintings is being shown at an exhibition in Nanjing in eastern China.
大型美術館若想慶祝他的作品，是要頂着公衆的壓力的，泰特博物館去年辦了一場勞裏的美術展。但值得注意的是，即使對於這樣一個現代英國藝術的標誌性人物，他的個人展出也僅限於英國國內。但如今不是了。在中國東部的城市南京，勞裏的組畫正在展覽進行時。
Lowry's canvases depict a side of British life that's now gone. The one above, Mill Scene, from1965, is reminiscent of many of his paintings, with its smoke stacks and hurrying crowds ofworkers.
勞裏的畫作裏所描述的那些英國人的生活景象已經遠去。上邊的一張圖是米爾辛1965年的作品，讓人想起了他許多的舊作，裏邊畫着林立的煙囪和疾行的工人們。
Lowry's subject matter may now be Britain's past but it is, of course, very much a part ofChina's present day. This is a photograph of one of Beijing's train stations ahead of ChineseNew Year when millions of migrant workers flock away from their factory production lines andhead home.
如今看來，勞裏的主題描述的是英國的過去，然而，當然了，很大程度上是中國的現在。這張圖展示的是北京站以及成百萬的外來務工人員在農曆春節返鄉的景象，他們從工廠的生產線裏解放了，返鄉了。
The exhibition came about following the chance meeting of Xiao Lang, a Chinese artconsultant, and Andrew Kalman.
中國美術顧問的小浪和安德魯卡曼偶遇使得畫展得以成行。
Kalman's father, Andras, was a private gallery owner in Manchester and a close personal friendof Lowry. He agitated for British art institutions to promote Lowry's work overseas, but nosolo exhibition was ever held outside the UK in either his or the painter's lifetime.
卡曼的父親安德拉斯是曼徹斯特的一傢俬人美術館館主，和勞裏的私交甚好。他呼籲英國美術界向海外推廣勞裏的畫作，但是在安德拉斯或是勞裏的有生之年，勞裏的個人畫作始終未在英國以外的地方展出。
The curators hope Lowry's paintings will resonate with Chinese audiences because they will seeechoes of their own economic development and the problems it causes.
美術館長們希望勞裏的畫作可以讓中國的觀賞者產生共鳴，因爲他們可以在這些畫裏看到自家的經濟發展及其帶來的問題。
Lowry was not a political painter and this is not socialist art. He was, after all, for most of hisworking life, a rent collector.
勞裏不是一個有政治傾向的畫家，這些畫作也與社會主義無關。畢竟，他的一生中，大多出時間都用來收房租。
But there is great affection for his subject matter and his very painting of it suggests a deeprespect for the working communities that he was surrounded by.
然而，他的題材仍受到廣泛的喜愛，他的最好的畫作傳達出對身邊的工人羣體的濃濃的敬意。
Rising Street, undatedThe people Lowry painted, like so many Chinese migrants today, weredoing hard work for little pay.
勞裏畫筆下的人們就像是許多如今的中國外來務工者，做着苦工，掙着小錢。
Cai Su Yun, a street cleaner in Nanjing stands in front of her favourite picture in the exhibition- Rising Street. She likes the dogs. "It's nice that he painted working people," she tells me. "Doyou feel a connection?" I ask. "Everywhere, we're all the same," she says.
蔡素雲，南京的一名道路清潔工，站在他最喜歡的展畫——萊辛大街前。她喜歡狗，“他畫了工作的人們，畫的真好。”她對我說。“你感覺到自己和畫的關聯嗎?”我問，“關聯到處都在，我們簡直是一模一樣。”她說。
Some see in Lowry's decades of work, not a depiction of industrial strength, but a bleakportrayal of long industrial decline. Alongside the parallels with the present, Chinese audiencesmay well find hints and warnings about the future.
勞裏的幾十年間的畫作，在一些人看來，描述的並不是工業盛世，而是黯淡而長期的工業蕭條。今日與昨日相比，中國的觀衆也許很容易找到未來的跡象和啓示。
關於美術的英語文章閱讀篇二當藝術傑作遇上參觀者大潮
PARIS — One cloudy afternoon this month, the line to enter the Louvre stretched around theentrance pyramid, across one long courtyard and into the next. Inside the museum, a crowdmore than a dozen deep faced the Mona Lisa, most taking cellphone pictures and selfies. Nearthe "Winged Victory of Samothrace," Jean-Michel Borda, visiting from Madrid, paused amid thecrush. "It's like the Métro early in the morning," he said.
巴黎——本月的一個多雲的下午，等待進入盧浮宮的長隊在金字塔入口繞了一圈，穿過長長的天井，排到了下一個入口處。在博物館裏，幾十個人面對着《蒙娜麗莎》(Mona Lisa)，大多在用手機拍照或自拍。在《薩莫色雷斯的勝利女神》(Winged Victory of Samothrace)附近，來自馬德里的讓-米切爾·博爾達(Jean-MichelBorda)在擁擠的人羣中停下了。“這像是早高峯時的地鐵，”他說。
It is the height of summer, and millions of visitors are flocking to the Louvre — the busiest artmuseum in the world, with 9.3 million visitors last year — and to other great museums acrossEurope. Every year the numbers grow as new middle classes emerge, especially in Asia andEastern Europe. Last summer the British Museum had record attendance, and for 2013 as awhole it had 6.7 million visitors, making it the world's second-most-visited art museum,according to The Art Newspaper. Attendance at the Uffizi in Florence for the first half of the yearis up almost 5 percent over last year.
這是夏季的高峯期，成百上千萬遊客涌入盧浮宮和歐洲的其他著名博物館。盧浮宮是世界上最繁忙的藝術博物館，去年接待遊客930萬人次。隨着新中產階級的涌現——特別是在亞洲和東歐——遊客人數每年都在增加。據《藝術報》(The Art Newspaper)說，去年夏天大英博物館(British Museum)的遊客人數打破了記錄，2013年全年接待遊客670萬人次，成爲世界上第二大被參觀最多的藝術博物館。佛羅倫薩的烏菲齊美術館(Uffizi)今年上半年的參觀人數比去年增長了差不多5%。
Seeing masterpieces may be a soul-nourishing cultural rite of passage, but soaring attendancehas turned many museums into crowded, sauna-like spaces, forcing institutions to debate howto balance accessibility with art preservation.
欣賞名作也許是能滋養靈魂的文化行爲，但是急劇上漲的參觀人數把很多博物館變成了擁擠的、桑拿室般的地方，迫使博物館開始討論如何在保證遊客參觀與保護藝術品之間達到平衡。
In recent years, museums have started doing more to manage the crowds. Most offer timedtickets. Others are extending their hours. To protect the art, some are putting in new air-conditioning systems. Still, some critics say that they're not doing enough.
近些年，博物館開始更加註意控制遊客人數。大多是發放限時門票。也有的是延長開放時間。爲了保護藝術品，有些博物館安裝了新的空調系統。不過，有些批評家說他們做得還不夠。
Last year, the Vatican Museums had a record 5.5 million visitors. This year, thanks to thepopularity of Pope Francis, officials expect that to rise to 6 million. The Vatican is installing anew climate-control system in the Sistine Chapel to help spare Michelangelo's frescoes thehumidity generated by the 2,000 people who fill the space at any given time, recently as manyas 22,000 a day. The Vatican hopes to have it finished by October.
去年，梵蒂岡博物館(Vatican Museums)接待遊客550萬人次，打破了自己的記錄。今年，由於方濟各教皇(Pope Francis)很受歡迎，官方預測遊客人數將上升至600萬人次。梵蒂岡正在西斯廷教堂(Sistine Chapel)安裝一個新的氣候控制系統，以幫助化解遊客帶來的溼度，保護米開朗基羅(Michelangelo)的壁畫。該教堂開放期間每時每刻都擠滿了2000名遊客，最近每天的遊客達22000名。梵蒂岡希望能在10月底前完成這一系統的安裝。
In a telephone interview, Antonio Paolucci, the director of the Vatican Museums, said hisinstitution was in a bind: To safeguard the frescoes, attendance should not be allowed toincrease, he said, but "the Sistine Chapel has a symbolic, religious value for Catholics and wecan't set a cap."
在電話採訪中，梵蒂岡博物館的館長安東尼奧·帕魯奇(Antonio Paolucci)說他的機構陷入了兩難境地：爲了保護壁畫，不能再增加參觀人數了，但是“西斯廷教堂對天主教徒來說具有象徵性的宗教意義，我們也不能設上限。”
Museums generally don't like keeping a lid on attendance. At the Hermitage, which had 3.1million visitors last year, the only cap on the number of visitors is "the physical limitations of thespace itself, or the number of hangers in the coat room during the winter," said Nina nteva, the head of the museum's visitor services department.
博物館一般不喜歡給參觀人數設立上限。埃米塔日博物館(Hermitage)去年的參觀人數達310萬人次。該博物館遊客服務部的主管尼娜·V·斯蘭特瓦(Nina V. Silanteva)說，對遊客人數的唯一限制是“博物館本身的空間或冬天衣帽間裏衣架的個數”。
Ms. Silanteva said the goal was to make the museum accessible to as many people as possible,but she conceded that the crowds pose problems. "Such a colossal number of simultaneousviewers isn't good for the art, and it can be uncomfortable and overwhelming for those whocome to see the art," she said. "Thankfully nothing bad has happened, and God has saved usfrom any mishaps."
斯蘭特瓦說目標是讓儘可能多的人能參觀博物館，但是她承認人多確實帶來了一些問題。“這麼多人同時參觀不利於藝術品，來觀看藝術品的人也會感覺不舒服，受不了，”她說，“幸好沒發生什麼糟糕的事情，上帝保佑我們免於災禍。”
Sometimes, mishaps do occur. Because of crowds, the Townley Venus in the British Museum, afirst- to second-century Roman statue with an outstretched arm, has had its fingers knockedoff a few times in recent years.
有時的確發生了災禍。因爲人多，大英博物館的湯利維納斯(Townley Venus)的手指最近幾年被撞掉了好幾次。湯利維納斯是1世紀至2世紀的羅馬雕塑，有伸出來的手臂。
Even when the art is secure, the experience can become irksome. Patricia Rucidlo, a guide inFlorence for Context Travel, said that visiting the Accademia, famous for Michelangelo's "David,"had become "a nightmare" this year because visitors are now allowed to take photos. "Peoplenow swarm the paintings, step on anyone to get to them, push, shove, snap a photo, andmove quickly on without looking at the painting," she wrote in an email message.
即使藝術品沒有遭到破壞，參觀體驗也變得令人厭煩。帕特麗夏·盧西德羅(Patricia Rucidlo)是佛羅倫薩環境旅行社(Context Travel)的導遊，她說今年參觀學院美術館(Accademia)簡直是“做噩夢”，因爲現在遊客被允許拍照。該博物館因米開朗基羅的《大衛》(David)而聞名。“人們現在擠到所有繪畫周圍，不管踩着什麼人都要往前擠，推推搡搡，拍一張照片，趕緊往前走，看都沒看畫作一眼，”她在電子郵件中說。
Lines outside the Uffizi in Florence, which had 1.9 million visitors last year, are famed for theirlength, and the courtyard is filled with people scalping timed tickets. (A private companyhandles ticketing at the Uffizi and keeps 14 percent of the ticket price.) The museum says thatit caps the number of visitors at 980 people at a time, to meet fire codes.
佛羅倫薩烏菲齊美術館去年接待遊客190萬人次，博物館外的隊伍長得出了名，院子裏擠滿了倒賣限時門票的人(一傢俬人公司負責烏菲齊的票務，賺取門票費的14%)。博物館說爲了達到防火規定，它限制同時參觀的遊客人數不超過980人。
But earlier this year, some staff members warned that the museum had been letting in far morepeople than allowed, putting the artwork at risk. Tomaso Montanari, an art historian in Florenceand professor at the Federico II University in Naples, has been strongly critical of crowding atthe Uffizi, which is considerably smaller than other major museums. "It seems like a tropicalgreenhouse — you can't breathe," he said in a telephone interview. "If a cinema has 100places, you can't let in 300 people. If there's a fire, it's a tragedy."
但是今年早些時候，一些員工警告說，該博物館允許進入的遊客人數遠遠超過了這個數字，置藝術品於險境。該博物館比其他主要博物館要小得多。佛羅倫薩的藝術史學家、那不勒斯費德里科二世大學(Federico IIUniversity)的教授托馬索·蒙塔納裏(Tomaso Montanari)對烏菲齊博物館的擁擠強烈不滿。“它像個熱帶溫室——你在裏面無法呼吸，”他在電話採訪中說，“如果一個影院有100個座位，你就不應該讓300個人進來。如果失火了，那就是災難。”
Marco Ferri, a spokesman for the Uffizi, said the museum has been under renovation since 2006but that some rooms have not yet been upgraded with climate control. "In the next two years,everything will be modernized," he said.
烏菲齊博物館的發言人馬爾科·費裏(Marco Ferri)說該博物館從2006年開始整修，但是有些房間沒有升級安裝氣候控制系統。“未來兩年，一切都將現代化，”他說。
The Louvre, Uffizi, Vatican, Rijksmuseum in Amsterdam and Prado in Madrid all offer timedtickets for sale, allowing visitors to avoid lines. Even museums that don't charge admission totheir permanent collections, like the British Museum and the National Gallery in London, havespecial exhibitions that require paying tickets. During the National Gallery's Leonardo da Vinciblockbuster in 2011, websites were reselling $25 tickets for as much as $400.
盧浮宮、烏菲齊博物館、梵蒂岡博物館、阿姆斯特丹國立博物館(Rijksmuseum)和馬德里的普拉多博物館(Prado)都銷售限時門票，讓遊客可以免於排隊。甚至連那些對自己的永久藏品不收門票的博物館，比如大英博物館和倫敦的國家美術館(National Gallery)，也開設需要支付門票的特別展覽。2011年倫敦國家美術館舉辦轟動的萊昂納多·達芬奇(Leonardo da Vinci)展期間，有人在網上以400美元的價格轉售25美元的門票。
While most museums are closed at least one day a week, in 2012 the Prado moved to a seven-day-a-week schedule and extended its hours until 8 p.m. on weekdays. That followed aredesign in 2007 by the architect Rafael Moneo that improved the circulation at the museum,making it easier to see masterpieces by Velázquez and Goya.
大多數博物館每週至少閉館一天，但是普拉多博物館2012年起改爲一週開放七天，工作日的開放時間延長至晚上8點。2007年建築師拉斐爾·莫尼奧(Rafael Moneo)重新設計了該博物館，提高了人羣的流動性，讓人們更容易看到委拉斯開茲(Velázquez)和戈雅(Goya)的傑作。
At every museum, people do find ways to circumvent the lines, going to the Louvre onWednesday and Friday evenings when the museum is open until 9:45 p.m., finding less-trafficked entrances or even paying for an annual membership that allows priority access.
在每個博物館，人們確實也找到一些避開長隊的方法，例如，在週三和週五晚上去盧浮宮，因爲那兩天博物館開放至晚上9點45分;尋找人不太多的入口;甚至購買年度會員卡，以獲得優先進入權。
Last fall the Louvre closed for a day after guards went on strike to protest increasinglyaggressive gangs of pickpockets in the galleries. Since then security has been increased andthe number of pickpocketing incidents has dropped 75 percent, a museum spokeswoman said.
去年秋天，盧浮宮閉館一天，因爲保安們罷工抗議展館內越來越猖狂的扒竊團伙。該博物館的一位發言人說，從那以後，安保措施加強了，扒竊案件降低了75%。
Standing in a long line next to I. M. Pei's entrance pyramid, Manu Srivastan, 46, from Jabalpur,India, said he had come with his wife, father and daughters. They had been waiting for about 45minutes, with 15 more to go, but they didn't mind. "It's a wonderful learning experience," hesaid of the Louvre. "You're always left wanting more."
來自印度賈巴爾普爾的46歲的馬努·斯里瓦斯坦(Manu Srivastan)站在貝聿銘設計的金字塔入口的長隊中，說他是和妻子、父親和女兒們一起來的。他們已經等了大約45分鐘，還得再等15分鐘，但是他們不介意。“它是絕妙的學習體驗，”他提到盧浮宮時說，“你總是想學習更多。”
關於美術的英語文章閱讀篇三亞洲買家搶購印象派繪畫
Asian buyers snapped up Impressionist paintings at Sotheby’s spring auction in New York, buying three of the sale’s top five lots, including a Vincent Van Gogh landscape, and making up about one-third of the $368.3m raised.
亞洲買家在紐約的蘇富比(Sotheby’s)春季拍賣會上搶購印象派繪畫，買下五大頂級拍品中的三件，包括一幅梵高(Vincent Van Gogh)的風景畫，並在3.683億美元的拍賣總額中佔到大約三分之一。
Art collecting has soared in Asia in recent years, mainly led by a new breed of ultra-wealthy Chinese collecting both classical and contemporary pieces and building private galleries in China.
近年藝術收藏在亞洲一下子風靡起來，主要受到新一代中國超富裕收藏家的拉動，他們收集古典和現代作品，並在中國建立私人畫廊。
According to a report by the European Fine Art Foundation, China was the world’s joint second largest art market in 2014 with a 22 per cent share of sales, alongside the UK.
根據歐洲藝術基金會(European Fine Art Foundation)的一份報告，中國和英國並列2014年全球第二大藝術品市場，各佔22%的銷售份額。
Sotheby’s sale, which kicked off the spring auctions, saw 69 lots go under the gavel. An unidentified Asian collector paid $66.3m for Van Gogh’s “L’Allée des Alyscamps” (pictured), a rich-hued depiction of an autumnal scene painted in 1888 shortly before the Dutch artist sliced off his ear.
蘇富比的這場拍賣會揭開了春季拍賣的序幕，共有69件拍品。一位不願透露姓名的亞洲收藏家支付6630萬美元買下梵高的《阿里斯康的小路》(L’Allée des Alyscamps，見上圖)，這幅色調豐富的秋季景象畫於1888年。畫作完成之後不久，這名荷蘭藝術家割下了自己的耳朵。
The auction, which included five works by Claude Monet, achieved the second-highest result in Sotheby’s history for any auction of impressionist and modern art. The November 2014 New York sale brought in $422.1m.
本次拍賣包括莫奈(Claude Monet)的五件作品，拍賣總額在蘇富比歷屆印象派和現代藝術拍賣會上排名第二。2014年11月舉行的紐約拍賣會達到4.221億美元的拍賣總額。
The Van Gogh achieved the highest price at auction for a work by the painter since 1998.
上述梵高作品的拍價是這位畫家的作品自1998年以來在拍賣會上拍出的最高價。
Chinese buyers — like the Japanese before in the late 1980s — are proving big fans of the Dutch painter.
中國買家——就像上世紀80年代末的日本買家那樣——正證明自己是這位荷蘭畫家的忠實粉絲。
Last November Wang Zhongjun, a Chinese film producer, bought Van Gogh’s “Still Life, Vase with Daisies and Poppies”, for $61.8m, more than its $30m-to-$50m estimate.
去年11月中國電影製片人王中軍以6180萬美元買下梵高的《靜物，插滿雛菊和罌粟花的花瓶》(Still Life, Vase with Daisies and Poppies)，遠遠超出3000萬至5000萬美元的估價。
“L’Allée des Alyscamps” last sold for $11.8m in 2003. It was first owned by the proprietors of the café where Van Gogh lodged in the city of Arles and was later held in a private collection in Japan.
《阿里斯康的小路》上一次出售是在2003年，成交價爲1180萬美元。這幅畫作最初的主人是梵高在法國南部阿爾勒市(Arles)寄宿的咖啡館的業主，後來被日本的一個私人收藏家買下。
For over a third of the works it was the first time they had gone on sale in half a century. Others included one of Claude Monet’s water lilies series of paintings while his 1905 impressionist painting “Nymphéas” sold for $54m.
超過三分之一的作品是半個世紀以來首次拍賣。其它作品包括莫奈的睡蓮系列畫作之一，他的1905年印象派繪畫《睡蓮》(Nymphéas)以5400萬美元落槌。
Pablo Picasso’s “Femme au chignon dans un fauteuil” went for $29.93m while Marc Chagall’s “Crépuscule ou la maison rouge” was sold for just over $5m.
畢加索(Pablo Picasso)的《Femme au chignon dans un fauteuil》拍得2993萬美元，而馬克•夏卡爾(Marc Chagall)的《Crépuscule ou la maison rouge》拍得500萬美元多一點。
Other artists whose works were included were Paul Klee, Edgar Degas, Wassily Kandinsky and René Magritte.
其它畫作出自保羅•克利(Paul Klee)、埃德加•德加(Edgar Degas)、瓦西里•康定斯基(Wassily Kandinsky)和勒內•馬格利特(René Magritte)等藝術家之手。
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