东南大学Zhao同学
普林斯顿大学机械工程博士全奖
2015年5月23日GRE阅读真题回顾
发布时间：2015年07月17日 来源：毕达留学
毕达留学是一家以“录名校、做口碑”为理念的留学咨询机构，专注本科、硕士和博士等各阶段的海外名校申请。毕达注重个性化和透明化的申请服务，致力于申请者学术和职业素养的提升，帮助申请者从本质上提升竞争力并获名校录取。众多超预期的名校录取，是毕达打造以口碑传播为核心的基础。正因如此，每年都有众多学生以照片和视频形式为毕达留学公开代言。查看更多
对于正在进行GRE考试准备，想要取得高分的考生来说，GRE真题所带来的效益绝对使考生能够受益匪浅。下面毕达留学为大家整理分享2015年5月23日GRE阅读真题，希望对有需要的同学有帮助。
Modernist manifestos tend to be full of radical rhetoric, but Henri Matisse's Notes of a Painter is a precise, sensitive analysis of his own work in which he says that what matters to him is expression. He doesn't mean the emotion communicated by a passionate face, but that conveyed by the whole painting: "The entire arrangement of my picture is expressive: the place occupied by the figures, the empty spaces around them, the proportions, everything has its share.
The Piano Lesson, a 1916 canvas 8ft tall and almost 7ft wide that is one of the glories of Tate Modern's Matisse Picasso show, is a textbook example of what Matisse is talking about. In it Matisse's son Pierre sits practising at the family piano in the home Matisse bought in the Paris suburb of Issy-les-Moulineaux. Pierre is made to look younger than he actually was - he was 16 -as part of an ensemble of effects designed to heighten and distil feeling. The placing of the figures -one of them hallucinatory - is full of tension. Pierre seems oppressed by the scale of this big painting. Above him, a woman supervises his practice from a stool. Her blank, watching face is sinister, even when we realize that this is merely one of Matisse's paintings, his 1913-14 work Woman on a High Stool. Pierre is pinned between this phantom observer and the sharp spear of the metronome, whose violent point is repeated in the triangular fall of shadow that obliterates a quarter of his face.
Greyness dominates and oppresses the picture, and it perversely demolishes pictorial logic, as a depressive mood might distort one's sense of reality. Thus the same grey colors the view outside the window, the walls and floor of the living room, and even the torso of the woman on the stool - to the extent that it takes time to feel your way to seeing the room as a room, the window as a window. Only Pierre himself is a fleshy, human survivor of this miasma, along with tokens of life: the bronze nude in the corner, the candle on the pink piano top and, like a torch beam, the ray of green garden that cuts desperately across the grey world.
Everything about The Piano Lesson exemplifies Matisse's own description of his art perfectly, except that the mood it creates is opposite to the ones we associate with him • the unbridled joy of his paintings, the bliss of his paper cutouts. The colliding, fragile, not-quite-touching areas of green and pink in The Piano Lesson, the glimpses of Matisse's sensuous world, are the most painful of all - reminders of life like the stirrings of spring in TS Eliot's The Waste Land.
7. The passage suggests which of the following about Braque's cubism.
A. It lends itself more readily to systematic analysis than does Matisse's work.
B. It is more radical in terms of form than most paintings by Matisse.
C. It was influenced by Matisse's idiosyncratic and intuitive approach.
D. It cannot be confined to any single source or meaning.
E. It is overly dependent on traditional signs and symbols.
答案7.A
Consider each of the choices separately and select all that apply.
8.The passage identifies which of the following as a reason that Matisse's art can confound analysis.
A. Traditional analytical tools are not well suited to Matisse's art.
B. Matisse's art is marked by a freedom from systematic influence.
C. The norms that Picasso and Braque rejected were not ones that Matisse rejected.
答案8.AB
Modernist manifestos tend to be full of radical rhetoric, but Henri Matisse's Notes of a Painter is a precise, sensitive analysis of his own work in which he says that what matters to him is expression. He doesn't mean the emotion communicated by a passionate face, but that conveyed by the whole painting: "The entire arrangement of my picture is expressive: the place occupied by the figures, the empty spaces around them, the proportions, everything has its share.
The Piano Lesson, a 1916 canvas 8ft tall and almost 7ft wide that is one of the glories of Tate Modern's Matisse Picasso show, is a textbook example of what Matisse is talking about. In it Matisse's son Pierre sits practising at the family piano in the home Matisse bought in the Paris suburb of Issy-les-Moulineaux. Pierre is made to look younger than he actually was - he was 16 -as part of an ensemble of effects designed to heighten and distil feeling. The placing of the figures -one of them hallucinatory - is full of tension. Pierre seems oppressed by the scale of this big painting. Above him, a woman supervises his practice from a stool. Her blank, watching face is sinister, even when we realize that this is merely one of Matisse's paintings, his 1913-14 work Woman on a High Stool. Pierre is pinned between this phantom observer and the sharp spear of the metronome, whose violent point is repeated in the triangular fall of shadow that obliterates a quarter of his face.
Greyness dominates and oppresses the picture, and it perversely demolishes pictorial logic, as a depressive mood might distort one's sense of reality. Thus the same grey colors the view outside the window, the walls and floor of the living room, and even the torso of the woman on the stool - to the extent that it takes time to feel your way to seeing the room as a room, the window as a window. Only Pierre himself is a fleshy, human survivor of this miasma, along with tokens of life: the bronze nude in the corner, the candle on the pink piano top and, like a torch beam, the ray of green garden that cuts desperately across the grey world.
Everything about The Piano Lesson exemplifies Matisse's own description of his art perfectly, except that the mood it creates is opposite to the ones we associate with him • the unbridled joy of his paintings, the bliss of his paper cutouts. The colliding, fragile, not-quite-touching areas of green and pink in The Piano Lesson, the glimpses of Matisse's sensuous world, are the most painful of all - reminders of life like the stirrings of spring in TS Eliot's The Waste Land.
7. The passage suggests which of the following about Braque's cubism.
A. It lends itself more readily to systematic analysis than does Matisse's work.
B. It is more radical in terms of form than most paintings by Matisse.
C. It was influenced by Matisse's idiosyncratic and intuitive approach.
D. It cannot be confined to any single source or meaning.
E. It is overly dependent on traditional signs and symbols.
答案7.A
Consider each of the choices separately and select all that apply.
8.The passage identifies which of the following as a reason that Matisse's art can confound analysis.
A. Traditional analytical tools are not well suited to Matisse's art.
B. Matisse's art is marked by a freedom from systematic influence.
C. The norms that Picasso and Braque rejected were not ones that Matisse rejected.
答案8.AB
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