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  3. Passage Three (1) In the northern Italian city of Treviso, a Polish pianist, Slawomir Zubrzycki, sits down at an instrument

Passage Three (1) In the northern Italian city of Treviso, a Polish pianist, Slawomir Zubrzycki, sits down at an instrument

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问题     Passage Three
    (1)  In the northern Italian city of Treviso, a Polish pianist, Slawomir Zubrzycki, sits down at an instrument that resembles a harpsichord and starts pumping a pedal with his right foot. As his hands float over the keyboard, the sound reaching his audience is as singular as it is beautiful: simultaneously reminiscent of the harpsichord, organ and a string quartet. The instrument is based on sketches Leonardo da Vinci made in his notebooks of a "viola organista" with the dream of simulating a viola ensemble that could be played from a keyboard. Hitting one or more keys brings the same number of strings inside the casing into contact with one of four bow-wheels spun by the pedal.
    (2)  Mr Zubrzycki’s concert was among the more unusual commemorations of the 500th anniversary of da Vinci’s death, which falls on May 2nd. It was also a reminder that, even in an age of polymaths, the breadth of the Tuscan master’s interests was exceptional. It encompassed not only painting, architecture, mathematics, engineering and numerous branches of science, but music too. " How many specialists would we need today to attempt Leonardo’s researches?" asks Martin Kemp, emeritus professor of the history of art at Oxford University. "At least 13. Maybe more. "
    (3)  Like many an autodidact, da Vinci was long on inquisitiveness but short on intellectual self-discipline. He had astonishing powers of observation, an extraordinary talent for making connections between different areas of knowledge, a readiness to challenge contemporary beliefs and an uncanny ability to anticipate future discoveries. But his life yielded an endless succession of untested contraptions, unpublished studies and unfinished artworks.
    (4)   Anniversaries are normally opportunities for reappraising the legacy of the great man or woman concerned. Da Vinci’s highlights the fact that, outside the field of painting, his legacy—as distinct from his genius—was modest. He had brilliant intuitions in fields as diverse as anatomy and hydraulics, but because he failed to publish his theories and findings, hundreds of years were to pass before they were discovered by someone else.
    (5)   Even his artistic oeuvre, though sublime, is minute. Fewer than 20 finished works are generally attributed to da Vinci. He failed to complete some of his most important commissions such as the "Adoration of the Magi". His ill-fated experimentation with materials ruined others, including "The Last Supper". Hence the paucity (缺乏) of exhibitions devoted to his art in what should be his year of years. Florence is commemorating him with a show devoted to his master, Verrocchio.
    (6)  Born in 1452, the son of a notary and a peasant woman, da Vinci had a lonely childhood and— probably left-handed—grew up something of a misfit. He spent much of his life outside his native Tuscany in Milan, Rome and finally France as the guest of King Francis I.  He died at Amboise in 1519.
    (7)  Such is the status he has acquired as the definitive, universal genius that the few questions raised in his quincentenary year are being put almost surreptitiously, as in a show at the Scuderie del Quirinale in Rome that largely comprises models based on da Vinci’s designs. It opens with a display of treatises and often exquisite drawings by other Tuscan artist-engineers, including Francesco di Giorgio Martini, that show da Vinci was far from unique in combining technology with painting—and that some of his peers managed to get a lot more built or printed than he did.
    (8)  Paradoxically, the most direct applications of da Vinci’s researches outside art are to be found within his art. His understanding of physics, botany and geology vastly enhanced his painting. His study of light enabled him to develop sfumato (晕染法) , the technique that gives the outlines of his subjects their naturally undefined quality. "And if he hadn’t studied anatomy, he wouldn’t have been able to paint the most enigmatic smile in the history of painting," says Fiorenzo Galli, the director-general of the Leonardo da Vinci National Museum of Science and Technology in Milan.
    (9)  The "Mona Lisa" has become the world’s best-known painting. Da Vinci’s "Vitruvian Man" is the world’s best-known drawing. Does that make him the greatest artist in the Western tradition? Even Professor Kemp, who has spent a lifetime studying da Vinci’s achievements, hesitates to go that far, stressing instead the Tuscan master’s huge influence on other painters. "If you were looking for someone who did as much to divert the stream of art, then you would have to keep searching until you came to Picasso," he says. Da Vinci revolutionised Madonna and Child compositions, and altered the portrayal of narrative subjects and the way portraits were composed. Jonathan Nelson, who teaches art history at Syracuse University in Florence, notes that he was also the first artist to give women realistic bodies " with anatomically identifiable musculature, but looking soft and feminine".
    (10)  The notion that da Vinci stands alongside Michelangelo and Raphael at the very pinnacle of artistic achievement is nonetheless relatively modern. Until well into the 19th century, he was seen as a genius, but on a level below the others. As Donald Sassoon, a British historian, has recounted in his book, "Becoming Mona Lisa" , published in 2001, it was anti-clerical French historians who initiated the "cult of Leonardo" , seeing in him an ally in the fight against religious obscurantism: " He was not afraid to dissect corpses; he did not paint halos on his religious figures...Unlike Raphael and Michelangelo, he was never the servant of popes. He put Man at the centre of creation. "
    (11)  Those and other factors have endeared him to a wider, contemporary public. Da Vinci abhorred the slaughter of animals and was probably a vegetarian. He satisfies the modern requirement for artists to be outsiders with an eccentric streak. And his creative record chimes perfectly with the spirit of an age that tolerates, even venerates, unfinished work—all the more so if it is cryptic. Surveying the events this year to celebrate da Vinci’s genius, Professor Nelson says "/ think these shows tell us more about us than about him. "
Concerning the comment on da Vinci, which of the following does Professor Kemp probably agree with?
选项 A、He was the greatest artist in the Western world.
B、He guided a number of contemporaneous painters.
C、His artistic achievements were equal to that of Picasso.
D、He had the courage to open up a new artistic trend.
答案D
解析 推断题。根据题干中的人名关键词Professor Kemp定位至第九段。该段第三句提出了达.芬奇是否是西方历史上最伟大的艺术家这一问题，而第四、五句指出，研究达.芬奇成就的坎普教授评价说，达·芬奇对其他画家影响巨大，并且在改变艺术潮流方面的成就与毕加索相当，这与[D]表述一致，故为正确答案。本段第四句中提到坎普并不敢对前一句的问题做出直接肯定的回答，可知[A]不符合原文；影响其他画家并不等同于引领他们，故[B]不准确；[C]是对本段第五句的曲解，原句的意思是后来的画家中只有毕加索在改变艺术潮流方面可与达.芬奇比肩，而不是说两者艺术成就相同，故也排除。
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