关于美术的英语文章阅读

时间：2016-10-15 11:40:39 韦彦867由分享

　　校外美术教育作为一种社会教育活动由来已久,随着我们国家对素质教育的大力支持与提倡,校外少儿美术教育也已经逐步得到了广大学生和家长的接受和认可,成为了当今一种别具一格的社会教育文化新象。下面是学习啦小编带来的关于美术的英语文章阅读，欢迎阅读!

　　关于美术的英语文章阅读篇一

　　英国画家劳里的工业英国画作

　　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.

　　英国画家LS 劳里的画作描述了工业时代下的、工人阶级的英国，因此在英国名声大噪。然而，他的画作从来没有单独在国外展览，但如今不是了。

　　LS Lowry, with his depictions of everyday northern life, is one of Britain's best loved painters.Popular 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 劳里的画作描述了北方民众的日常生活，他因此成为英国最受追捧的画家之一。尽管他为人喜爱，但在1976年去世后，就有传言称英国画界把他抛在脑后，称他的作品的“工人阶级”味道过了头。

　　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.

　　大型美术馆若想庆祝他的作品，是要顶着公众的压力的，泰特博物馆去年办了一场劳里的美术展。但值得注意的是，即使对于这样一个现代英国艺术的标志性人物，他的个人展出也仅限于英国国内。但如今不是了。在中国东部的城市南京，劳里的组画正在展览进行时。

　　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.

　　劳里的画作里所描述的那些英国人的生活景象已经远去。上边的一张图是米尔辛1965年的作品，让人想起了他许多的旧作，里边画着林立的烟囱和疾行的工人们。

　　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.

　　如今看来，劳里的主题描述的是英国的过去，然而，当然了，很大程度上是中国的现在。这张图展示的是北京站以及成百万的外来务工人员在农历春节返乡的景象，他们从工厂的生产线里解放了，返乡了。

　　The exhibition came about following the chance meeting of Xiao Lang, a Chinese artconsultant, and Andrew Kalman.

　　中国美术顾问的小浪和安德鲁卡曼偶遇使得画展得以成行。

　　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.

　　卡曼的父亲安德拉斯是曼彻斯特的一家私人美术馆馆主，和劳里的私交甚好。他呼吁英国美术界向海外推广劳里的画作，但是在安德拉斯或是劳里的有生之年，劳里的个人画作始终未在英国以外的地方展出。

　　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.

　　美术馆长们希望劳里的画作可以让中国的观赏者产生共鸣，因为他们可以在这些画里看到自家的经济发展及其带来的问题。

　　Lowry was not a political painter and this is not socialist art. He was, after all, for most of hisworking life, a rent collector.

　　劳里不是一个有政治倾向的画家，这些画作也与社会主义无关。毕竟，他的一生中，大多出时间都用来收房租。

　　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，他的题材仍受到广泛的喜爱，他的最好的画作传达出对身边的工人群体的浓浓的敬意。

　　Rising Street, undatedThe people Lowry painted, like so many Chinese migrants today, weredoing hard work for little pay.

　　劳里画笔下的人们就像是许多如今的中国外来务工者，做着苦工，挣着小钱。

　　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.

　　蔡素云，南京的一名道路清洁工，站在他最喜欢的展画——莱辛大街前。她喜欢狗，“他画了工作的人们，画的真好。”她对我说。“你感觉到自己和画的关联吗?”我问，“关联到处都在，我们简直是一模一样。”她说。

　　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.

　　劳里的几十年间的画作，在一些人看来，描述的并不是工业盛世，而是黯淡而长期的工业萧条。今日与昨日相比，中国的观众也许很容易找到未来的迹象和启示。

　　关于美术的英语文章阅读篇二

　　当艺术杰作遇上参观者大潮

　　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——本月的一个多云的下午，等待进入卢浮宫的长队在金字塔入口绕了一圈，穿过长长的天井，排到了下一个入口处。在博物馆里，几十个人面对着《蒙娜丽莎》(Mona Lisa)，大多在用手机拍照或自拍。在《萨莫色雷斯的胜利女神》(Winged Victory of Samothrace)附近，来自马德里的让-米切尔·博尔达(Jean-MichelBorda)在拥挤的人群中停下了。“这像是早高峰时的地铁，”他说。

　　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.

　　这是夏季的高峰期，成百上千万游客涌入卢浮宫和欧洲的其他著名博物馆。卢浮宫是世界上最繁忙的艺术博物馆，去年接待游客930万人次。随着新中产阶级的涌现——特别是在亚洲和东欧——游客人数每年都在增加。据《艺术报》(The Art Newspaper)说，去年夏天大英博物馆(British Museum)的游客人数打破了记录，2013年全年接待游客670万人次，成为世界上第二大被参观最多的艺术博物馆。佛罗伦萨的乌菲齐美术馆(Uffizi)今年上半年的参观人数比去年增长了差不多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.

　　欣赏名作也许是能滋养灵魂的文化行为，但是急剧上涨的参观人数把很多博物馆变成了拥挤的、桑拿室般的地方，迫使博物馆开始讨论如何在保证游客参观与保护艺术品之间达到平衡。

　　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，博物馆开始更加注意控制游客人数。大多是发放限时门票。也有的是延长开放时间。为了保护艺术品，有些博物馆安装了新的空调系统。不过，有些批评家说他们做得还不够。

　　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，梵蒂冈博物馆(Vatican Museums)接待游客550万人次，打破了自己的记录。今年，由于方济各教皇(Pope Francis)很受欢迎，官方预测游客人数将上升至600万人次。梵蒂冈正在西斯廷教堂(Sistine Chapel)安装一个新的气候控制系统，以帮助化解游客带来的湿度，保护米开朗基罗(Michelangelo)的壁画。该教堂开放期间每时每刻都挤满了2000名游客，最近每天的游客达22000名。梵蒂冈希望能在10月底前完成这一系统的安装。

　　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."

　　在电话采访中，梵蒂冈博物馆的馆长安东尼奥·帕鲁奇(Antonio Paolucci)说他的机构陷入了两难境地：为了保护壁画，不能再增加参观人数了，但是“西斯廷教堂对天主教徒来说具有象征性的宗教意义，我们也不能设上限。”

　　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 V.Silanteva, the head of the museum's visitor services department.

　　博物馆一般不喜欢给参观人数设立上限。埃米塔日博物馆(Hermitage)去年的参观人数达310万人次。该博物馆游客服务部的主管尼娜·V·斯兰特瓦(Nina V. Silanteva)说，对游客人数的唯一限制是“博物馆本身的空间或冬天衣帽间里衣架的个数”。

　　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."

　　斯兰特瓦说目标是让尽可能多的人能参观博物馆，但是她承认人多确实带来了一些问题。“这么多人同时参观不利于艺术品，来观看艺术品的人也会感觉不舒服，受不了，”她说，“幸好没发生什么糟糕的事情，上帝保佑我们免于灾祸。”

　　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.

　　有时的确发生了灾祸。因为人多，大英博物馆的汤利维纳斯(Townley Venus)的手指最近几年被撞掉了好几次。汤利维纳斯是1世纪至2世纪的罗马雕塑，有伸出来的手臂。

　　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.

　　即使艺术品没有遭到破坏，参观体验也变得令人厌烦。帕特丽夏·卢西德罗(Patricia Rucidlo)是佛罗伦萨环境旅行社(Context Travel)的导游，她说今年参观学院美术馆(Accademia)简直是“做噩梦”，因为现在游客被允许拍照。该博物馆因米开朗基罗的《大卫》(David)而闻名。“人们现在挤到所有绘画周围，不管踩着什么人都要往前挤，推推搡搡，拍一张照片，赶紧往前走，看都没看画作一眼，”她在电子邮件中说。

　　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.

　　佛罗伦萨乌菲齐美术馆去年接待游客190万人次，博物馆外的队伍长得出了名，院子里挤满了倒卖限时门票的人(一家私人公司负责乌菲齐的票务，赚取门票费的14%)。博物馆说为了达到防火规定，它限制同时参观的游客人数不超过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."

　　但是今年早些时候，一些员工警告说，该博物馆允许进入的游客人数远远超过了这个数字，置艺术品于险境。该博物馆比其他主要博物馆要小得多。佛罗伦萨的艺术史学家、那不勒斯费德里科二世大学(Federico IIUniversity)的教授托马索·蒙塔纳里(Tomaso Montanari)对乌菲齐博物馆的拥挤强烈不满。“它像个热带温室——你在里面无法呼吸，”他在电话采访中说，“如果一个影院有100个座位，你就不应该让300个人进来。如果失火了，那就是灾难。”

　　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.

　　乌菲齐博物馆的发言人马尔科·费里(Marco Ferri)说该博物馆从2006年开始整修，但是有些房间没有升级安装气候控制系统。“未来两年，一切都将现代化，”他说。

　　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 tickets for as much as 0.

　　卢浮宫、乌菲齐博物馆、梵蒂冈博物馆、阿姆斯特丹国立博物馆(Rijksmuseum)和马德里的普拉多博物馆(Prado)都销售限时门票，让游客可以免于排队。甚至连那些对自己的永久藏品不收门票的博物馆，比如大英博物馆和伦敦的国家美术馆(National Gallery)，也开设需要支付门票的特别展览。2011年伦敦国家美术馆举办轰动的莱昂纳多·达芬奇(Leonardo da Vinci)展期间，有人在网上以400美元的价格转售25美元的门票。

　　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.

　　大多数博物馆每周至少闭馆一天，但是普拉多博物馆2012年起改为一周开放七天，工作日的开放时间延长至晚上8点。2007年建筑师拉斐尔·莫尼奥(Rafael Moneo)重新设计了该博物馆，提高了人群的流动性，让人们更容易看到委拉斯开兹(Velázquez)和戈雅(Goya)的杰作。

　　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.

　　在每个博物馆，人们确实也找到一些避开长队的方法，例如，在周三和周五晚上去卢浮宫，因为那两天博物馆开放至晚上9点45分;寻找人不太多的入口;甚至购买年度会员卡，以获得优先进入权。

　　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，卢浮宫闭馆一天，因为保安们罢工抗议展馆内越来越猖狂的扒窃团伙。该博物馆的一位发言人说，从那以后，安保措施加强了，扒窃案件降低了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."

　　来自印度贾巴尔普尔的46岁的马努·斯里瓦斯坦(Manu Srivastan)站在贝聿铭设计的金字塔入口的长队中，说他是和妻子、父亲和女儿们一起来的。他们已经等了大约45分钟，还得再等15分钟，但是他们不介意。“它是绝妙的学习体验，”他提到卢浮宫时说，“你总是想学习更多。”

　　关于美术的英语文章阅读篇三

　　亚洲买家抢购印象派绘画

　　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 8.3m raised.

　　亚洲买家在纽约的苏富比(Sotheby’s)春季拍卖会上抢购印象派绘画，买下五大顶级拍品中的三件，包括一幅梵高(Vincent Van Gogh)的风景画，并在3.683亿美元的拍卖总额中占到大约三分之一。

　　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.

　　近年艺术收藏在亚洲一下子风靡起来，主要受到新一代中国超富裕收藏家的拉动，他们收集古典和现代作品，并在中国建立私人画廊。

　　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.

　　根据欧洲艺术基金会(European Fine Art Foundation)的一份报告，中国和英国并列2014年全球第二大艺术品市场，各占22%的销售份额。

　　Sotheby’s sale, which kicked off the spring auctions, saw 69 lots go under the gavel. An unidentified Asian collector paid .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.

　　苏富比的这场拍卖会揭开了春季拍卖的序幕，共有69件拍品。一位不愿透露姓名的亚洲收藏家支付6630万美元买下梵高的《阿里斯康的小路》(L’Allée des Alyscamps，见上图)，这幅色调丰富的秋季景象画于1888年。画作完成之后不久，这名荷兰艺术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 2.1m.

　　本次拍卖包括莫奈(Claude Monet)的五件作品，拍卖总额在苏富比历届印象派和现代艺术拍卖会上排名第二。2014年11月举行的纽约拍卖会达到4.221亿美元的拍卖总额。

　　The Van Gogh achieved the highest price at auction for a work by the painter since 1998.

　　上述梵高作品的拍价是这位画家的作品自1998年以来在拍卖会上拍出的最高价。

　　Chinese buyers — like the Japanese before in the late 1980s — are proving big fans of the Dutch painter.

　　中国买家——就像上世纪80年代末的日本买家那样——正证明自己是这位荷兰画家的忠实粉丝。

　　Last November Wang Zhongjun, a Chinese film producer, bought Van Gogh’s “Still Life, Vase with Daisies and Poppies”, for .8m, more than its m-to-m estimate.

　　去年11月中国电影制片人王中军以6180万美元买下梵高的《静物，插满雏菊和罂粟花的花瓶》(Still Life, Vase with Daisies and Poppies)，远远超出3000万至5000万美元的估价。

　　“L’Allée des Alyscamps” last sold for .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，成交价为1180万美元。这幅画作最初的主人是梵高在法国南部阿尔勒市(Arles)寄宿的咖啡馆的业主，后来被日本的一个私人收藏家买下。

　　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 m.

　　超过三分之一的作品是半个世纪以来首次拍卖。其它作品包括莫奈的睡莲系列画作之一，他的1905年印象派绘画《睡莲》(Nymphéas)以5400万美元落槌。

　　Pablo Picasso’s “Femme au chignon dans un fauteuil” went for .93m while Marc Chagall’s “Crépuscule ou la maison rouge” was sold for just over m.

　　毕加索(Pablo Picasso)的《Femme au chignon dans un fauteuil》拍得2993万美元，而马克•夏卡尔(Marc Chagall)的《Crépuscule ou la maison rouge》拍得500万美元多一点。

　　Other artists whose works were included were Paul Klee, Edgar Degas, Wassily Kandinsky and René Magritte.

　　其它画作出自保罗•克利(Paul Klee)、埃德加•德加(Edgar Degas)、瓦西里•康定斯基(Wassily Kandinsky)和勒内•马格利特(René Magritte)等艺术家之手。

　　
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