剑桥雅思15Test3阅读Passage1原文及翻译

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1剑桥雅思15Test3阅读Passage1原文

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.

2剑桥雅思15Test3阅读Passage1原文翻译

亨利·摩尔(1898-1986 )

英国雕塑家Henry Moore是20世纪艺术界的领军人物Henry Moore出生在卡斯尔福德，这是英格兰北部靠近利兹的一个小镇。他是Raymond Moore 与其妻子 Mary Baker的第7个孩子。他从1909年到1915年就读于卡斯尔福德文法学校，在那里他对艺术的早期兴趣得到了老师Alice Gostick的鼓励。离开学校后，Moore希望成为一名雕塑家，但是他却遵照父亲的意愿受训成为一名教师。1917年他被派往法国参加次世界大战，因此不得不终止教师培训。

战争结束后，Moore考入利兹美术学校，在那里学习了两年。在学年，他把大部分时间用在绘画上。尽管他想学习雕塑，但是直到第二学年才有任课教师。第二学年末，他通过了雕塑考试，并获得奖学金赴皇家艺术学院(伦敦)学习。1921年9月，他搬到伦敦，开始了深造雕塑的三年学习生活。

在皇家学院接受教育的同时，Moore参观了伦敦的许多博物馆，尤其是收藏了大量古代雕塑的大英博物馆。在参观期间，他发现了古埃及雕塑和非洲雕塑的力量与美丽。随着他对这些“原始”艺术形式的兴趣日益浓厚，他放弃了欧洲的雕塑传统。

毕业后，Moore在1925年上半年一直在法国旅行。当他在巴黎参观特罗卡德罗博物馆时，玛雅人的雨神雕像给他留下了深刻印象。这是一个斜倚的男像，双膝并拢，头部和身体成直角。Moore对这座石雕很着迷，他认为它具有其他石雕所没有的力量和独创性。他自己开始用石头雕刻各种主题，包括斜倚的女性、母子和面具等。

Moore的杰出才能很快得到了认可，并于1926年开始在皇家学院担任雕塑讲师。1933年，他加入了一个名叫Unit One的青年艺术家团体。该团体的宗旨是向英国公众宣传新兴的国际现代艺术和建筑运动的优点。

大约在这个时期，Moore的雕刻脱离了人像，他开始尝试抽象的形状。1931年，他在当的，能不上给就的物合的艺表的人物。有人要求他以文安学院は是新国果的用判病后，他便离开去伦教的切尔西艺术学校开设了雕塑系。

在整个20世纪30年代，Moore并没有表现出任何取悦英国公众的意愿。他对西班牙画家巴勃罗.毕加索的绘画产生了兴趣，毕加索的作品启发人以一种彻底的试扭曲人体，有时，他似乎完全放弃了人形(创作)。他这一时期的素描簿显示了他关于抽象雕塑的想法，也就是(这些雕塑)与人形几乎没有相似之处。

1940年，在第二次世界大战期间，Moore停止在切尔西学校任教，搬到了伦敦北部约20英里的农舍。材料短缺迫使他专注于绘画。他绘制了许多伦敦人的小型素描，后来在他的画室中将这些想法变成了彩色的大型画作。1942年，他回到卡斯尔福德，绘制了一系列关于在那里工作的矿工的素描。

1944年，伦敦附近的哈洛镇向Moore提供了一项委托，为一家人创作雕像。完成的作品标志着Moore风格的巨大变化，即从20世纪30年代的实验主义转向更加自然和更具人主义的主题。为了这个雕塑，他用黏土做了数十个雕塑，然后用青铜浇铸，每一个雕塑有7到9个副本。这样，Moore的作品就可以供全世界的收藏家收藏。收入的增长使他得以进行庞大的项目，并按他认为的雕塑需要的规模开展工作。

评论家们起始认为Moore(的作品)的革命性削弱了，但1950年Moore的个站立铜像系列的出现证明了他们的想法是错误的，这些铜像外形严峻、棱角分明、呈镂空型并充满明显的威胁感。Moore在20世纪50年代还通过《持盾战士》和《倒下的战士》等作品丰富了他的创作对象类型。这些是Moore很少使用的男性人形的例子，这要归功于他51年对希腊的访问，使他有机会研究古代艺术作品。

在晚年，Moore 创立了 Henry Moore基金会，以促进艺术欣赏并展示他的作品。Moore个获得国际声誉的英国现代雕塑家，并且他仍然被认为是20世纪最重要的雕塑家