2. 外语
  3. That Louis Nevelson is believed by many critics to be the greatest twentieth-century sculptor is all the more remarkable because

That Louis Nevelson is believed by many critics to be the greatest twentieth-century sculptor is all the more remarkable because

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问题    That Louis Nevelson is believed by many critics to be the greatest twentieth-century sculptor is all the more remarkable because the greatest resistance to women artists has been, until recently, in the field of sculptor. Since Neolithic times, sculpture has been considered the prerogative of men, partly, perhaps for purely physical reasons: it was erroneously assumed that women were not suited for the hard manual labor required in sculpting stone, carving wood, or working in metal. It has been only during the twentieth century that women sculptors have been recognized as major artists, and it has been in the United States, especially since the decades of the fifties and sixties that women sculptors have shown the greatest originality and creative power. Their rise to prominence parallels the development of sculpture itself in the United States, while there had been a few talent- ed sculptors in the United States before the 1940s, it was only after 1945--when New York was rapidly becoming the art capital of the world--that major sculpture was produced in the United States. Some of the best were the works of women.
   By far the most outstanding of these women is Louis Nevelson, who in the eyes of many critics is the most original female artist alive today. One famous and influential critic, Hilton Krarner, said of her work, "For myself, I think Ms. Nevelson succeeds where the painters often fail."
   Her work have been compared to the Cubist constructions of Picasso, the Surrealistic objects of Miro, and Merzbau of Schwitters. Nevelson would be the first to admit that she has been influenced by all of these, as well as by American sculpture, and by native American and pre-Columbian art, but she has absorbed all these influences and still created a distinctive art that expresses the urban landscape and the aesthetic sensibility of the twentieth century. Nevelson says, "I have always wanted to show the world that art is everywhere except that it has to pass through a creative mind."
   Using mostly discarded wooden objects like packing crates, broken pieces of furniture, and abandoned architectural ornaments, all of which she has hoarded for years, she assembles architectural constructions of great beauty and power. Creating very freely with no sketches, she glues and nails objects together, paints them in boxes. These assemblages, walls, even entire environments create a mysterious, almost awe-inspiring atmosphere. Although she denied any symbolic or religious intent in her works, their three-dimensional grandeur and even their titles, such as Sky Cathedral and Night Cathedral, suggests such connotations. In some ways, her most ambitious works are closer to architecture than to traditional sculpture, but then neither Louis Nevelson nor her art fits into any neat category. (450)
Which of the following is one way in which Nevelson’s art illustrates her theory as it is expressed in paragraph 4?
选项 A、She sculpts in wood rather than in metal or stone.
B、She paints her sculptures and frames them in boxes.
C、She makes no preliminary sketches but rather allows the sculpture to develop as she works.
D、She puts together pieces of ordinary objects once used for different purposes to make her sculptures.
答案D
解析 推理判断题。第三段的末尾Nevelson提出了自己对艺术的看法“I have always wanted to show the world that art is everywhere except that it has to pass through a creative mind．”，艺术是无处不在的，只不过它需要有创造性的心灵去发现。Nevelson用普通的东西作为她雕塑的素材就是她这一思想的明证，因此D项是正确的。
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