2. 外语
  3. In this part of the Reading section, you will read 2 passages. You will have 40 minutes to read the passages and answer the ques

In this part of the Reading section, you will read 2 passages. You will have 40 minutes to read the passages and answer the ques

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问题     In this part of the Reading section, you will read 2 passages. You will have 40 minutes to read the passages and answer the questions.
    Most questions in the Reading section are worth 1 point, but the last question for each passage is worth more than 1 point. The directions for the last question include the point value of the question.
    Some passages will include a word or phrase that is underlined. You can see its definition or an explanation in the Glossary box.
    Within each part in the real test, you can go on to the next question by clicking the Next icon. You may skip questions and go back to them later. If you want to go back to previous questions, click the Back icon. You may click the Review icon at any time and the review screen will show you which questions you have answered and which you have not. From the review screen, you can go directly to any question you have already seen in the Reading section.
Mannerism
    In the wake of the High Renaissance, European art seemed to have no frontiers left to explore. Mannerism, the style characteristic of the Late Renaissance, filled the gap between the Renaissance and Baroque periods. The style broke from the balanced beauty of the Renaissance and reflected the turmoil and confusion of Europe during the 16th century. At that time the Reformation threatened the authority of the Catholic Church, and the Church’s rigorous response cast a suspicious eye toward anything new. The uniqueness of Mannerist art may be seen as an attempt by the artists of Rome, Florence, and Mantua to free themselves of not only political and religious oppression but also the oppression of the Renaissance masters’ perfection.
    While the artists of the High Renaissance pursued grace, beauty, and harmony, Mannerist artists did not seem to be interested in their predecessors’ sensibilities. Using Renaissance techniques and materials, the mannerists rendered contorted and exaggerated figures often in improbable poses. They used strange colors in deliberately unrealistic perspective with themes that included both Christianity and bizarre mythological symbolism. While neither explicitly heretical nor abstract by modern standards, Mannerist art suggested an odd spirit and became popular not only in Italy but in many parts of Europe.
    Rosso Fiorentino typifies Mannerist art in his subtly disturbing style. For example, saints who are gracefully depicted in High Renaissance art often seem tired in Rosso’s work.
(A) His choices in composition, form, and color also seem unsettling compared to typical Renaissance work. In Rosso’s masterpiece, The Descent from the Cross, the wind blows across the clothing of frantic figures as they bring down the body of Christ.
(B) In the foreground, however, there is no evidence of wind at all on the mourners’ calm, stiff clothing.
(C) Notably, all of these figures avert their gaze from the viewer except one woman.
(D)
    Rosso’s contemporary, Jacopo da Pontormo, executed the same theme in a somewhat less dramatic fashion. The Deposition from the Cross, which is considered one of his best works, features oddly posed figures clothed in vividly contrasting blues and reds. Pontormo depicts impossible perspective, spatial depth and lighting in the painting. The lighting from the right does not seem especially unusual until one considers a cloud in the sky, which is lit from the left. Such peculiar visual devices of modeling, color, perspective, and lighting characterize Pontormo’s work as well as Mannerist art in general.
    Perhaps the best-known Mannerist, El Greco departed the most from the Renaissance period’s clarity, harmony, and beauty. His brushwork was not as sharp as that of the High Renaissance masters, evoking more primitive as well as more modern styles. El Greco is known for his fantastical compositions, including distorted figures and colors that seemed to leap off the painting surface. His work was so strange that people wondered if he was visually impaired or mentally disturbed. El Greco’s work was sometimes moving, but it was also troubling with the intense religious themes and mysterious symbolism.
    Mannerist art was not just a reflection of the 16th-century Europe’s troubles; it was considered a response to the seemingly unsurpassable idealism of the High Renaissance. The Mannerists subtly sought to stimulate the mind, not to inspire religious feelings and actions as most Renaissance art did. The style produced exciting manipulation of form, color, light, perspective, and theme that was indeed appreciated by contemporary intellectuals. Although it was and still is criticized by some as a corruption of Renaissance classicism, Mannerism in fact inspired the emotion of the Baroque period that followed. Moreover, the Mannerists’ deliberate movement away from observed reality was the first step toward the abstraction of later styles such as Surrealism, Fauvism, and Cubism.
The author mentions Pontormo in order to
选项 A、contrast his inferior execution with the skillful technique of Rosso.
B、detail the peculiar painting techniques of High Renaissance artists.
C、offer an additional example who differed from High Renaissance artists.
D、show evidence of a painting style that would inspire future art movements.
答案C
解析 判断意图题 这是判断作者意图的问题。作者在第二段、第三段和第四段依次说明了三位具有代表性的风格主义艺术家的绘画风格。虽然对罗索和蓬托莫的绘画风格进行了比较，但是没有说明谁在绘画技巧上更胜一筹，因此A项不正确。因为本文主要介绍风格主义艺术家，而非盛期文艺复兴艺术家，所以B项不正确。作者将蓬托莫作为风格主义艺术家的代表之一，因此C项是正确答案。风格主义激发了未来艺术运动的灵感，这一点在文章最后有所论及，但作者提及蓬托莫不是为了得出这样的结论，因此D项不正确。
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