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Frank Lloyd Wright is best known as a revolutionary American architect.A hallmark of his work is sensitivity to the natural environment—Fallingwater, the house he built over a waterfall, is a prime example.But Mr.Wright had a second career as a collector of and dealer in Japanese block prints, continuing this business until his death in 1959 at the age of 91.At times, he made more money selling prints than he did from architecture.
A small but insightful exhibition at the Art Institute of Chicago, comprising prints, architectural drawings from Mr.Wright's studio and archival objects, highlights the Japan's deep influence on his work.
Mr.Wright was first captivated by Japanese art in 1893, when he saw Japan's pavilions at the sprawling world fair in Chicago.His interest in Japan's art and culture blossomed during several trips there starting in 1905.He opened an office in Japan in 1915 and lived there for a few years while building the Imperial Hotel in Tokyo.“At last I had found one country on earth where simplicity, as nature, is supreme,” he wrote.
He returned from his first trip to Japan with hundreds of ukiyoe prints, planning to sell them in America.Mr.Wright often sold his clients art to Hang on the walls he had built, explaining that they complemented his streamlined interiors.Japanese prints, especially traditional bird and flower images, had easily understandable motifs.
The prints were a commercial hit but Mr.Wright was also personally enthralled by them.“A Japanese artist grasps form always by reaching underneath for its geometry, never losing sight of its spiritual efficacy,” he wrote in The Japanese Print, a slim, 35-page book published in 1912.“These simple coloured engravings are indeed a language whose purpose is absolute beauty.”
According to Janice Katz, associate curator of Japanese art at the Art Institute of Chicago, Mr.Wright favoured prints by Utagawa Hiroshige, a Japanese artist who emphasized environment over human structures.Prints such as Mr.Hiroshige's “Goyu: Women Stopping Travellers” show buildings from a wide perspective.The flattened space and naturalistic detail of prints influenced architectural drawings in Mr.Wright's studio.
For instance, a vertical scroll-like drawing called Perspective of Frank Lloyd Wright's Thomas P.Hardy House, Racine, Wisconsin leaves most of the brown page blank except the top right corner where a house perches precariously.A flowering branch, like those in bird and flower prints, pokes into the blank space.The draft was made by Marion Mahony Griffin, who worked for Mr.Wright.An architect in her own right, Ms Griffin later incorporated elements of Japonism in own work.Another drawing, Perspective View of Marion Mahony Griffin and Walter Burley Griffin's Rock Crest/Rock Glen, Mason City, Iowa, shows clouds and buildings nestled among lush foliage.It is rendered in gouache on a horizontal slice of pale green satin with two side panels that echo Japanese hand scrolls.
Mr.Wright was also influential in cultivating American interest in Japanese prints.In 1906 he exhibited his collection of Hiroshige prints at the Art institute.Two years later he loaned several pieces to the institute for what Ellen Roberts, associate curator of American art at the institute, reckons was the largest display of Japanese prints in America at the time.Mr.Wright designed the installation for that exhibition, including sleek furniture and special frames reminiscent of screens.
It is unfortunate then that the institute's current show lacks pointed comparisons between Japanese design and actual Wright buildings.Still, it sheds new light on Mr.Wright's signature works.The long horizontal lines of the Robie House in Chicago's Hyde Park reflect the flat landscape of America's mid-west—yet they also evoke Japan's minimalist sensibility.Closeness to the earth is the stuff of expansive American prairies but also of traditional Japan.As Mr.Wright wrote in his autobiography: “Why are we so busy elaborately trying to get earth to heaven instead of seeing this simple Shinto wisdom of sensibly getting heaven decently to earth?”
1
The function of the first paragraph is to
A.serve as a prelude to the key event in the passage.
B.bring into focus an artist's less-known aspect of career.
C.introduce the author's comments on art.
D.foreshadow the unexpected ending of the passage.
本题答案：
  • A
  • B
  • C
  • D
  • 参考答案：B
  • 系统解析：
    篇章题。作者在第一段首先总结了著名建筑设计师赖特的成就，接着概括地指出赖特的艺术生涯中不为人知的另一面——在日本版画方面的成就；作者在后面的段落中围绕这一主题展开，描述了赖特如何接触到日本版画，为何对其着迷，他的几次日本之行，日本版画对其画作的深远影响，以及他如何将日本版画介绍给美国大众，综上所述，第一段在全文中的作用是将读者的注意力聚焦于一位知名艺术家的艺术生涯中不为人知的另一面，故选[B]。纵观全文，作者详述了赖特另一个方面的艺术成就，不仅只有一个关键事件，故排除[A]；作者也未发表对现代艺术的任何个人的评价，故排除[C]；第一段的作用也不是给出人意料的结尾作铺垫，相反，结尾不出乎意料，而是对首段的呼应，故排除[D]。
2
According to the passage, the Art Institute of Chicago
A.was Frank Lloyd Wright's major studio in the US
B.was a major organizer for the 1893 world fair in Chicago.
C.was the centre for American simplistic art in the early 20th century.
D.held some important exhibitions of Frank Lloyd Wright's works and collections.
本题答案：
  • A
  • B
  • C
  • D
  • 参考答案：D
  • 系统解析：
    细节题。根据第二段可知，芝加哥艺术学院曾举办过赖特先生的作品展，可见，日本文化对其影响深远，作者用了“小型但富有洞察力”来描述此次展览；根据第八段可知，1906年赖特先生在该学院展出了其收藏的日本版画作品，而那些画作是当时在美国展出的最大规模的日本木版画。综上所述，芝加哥艺术学院曾几次举办赖特先生的重要作品和藏品展，故选[D]。作者仅在第二段提到赖特先生在美国的工作室，但并未指明是在芝加哥艺术学院内，故排除[A]；作者虽在文中多次提及芝加哥艺术学院及其展览，但无法就此推断该学院是1893年芝加哥世博会的主要组织者，故排除[B]；从第二、三段可推断出芝加哥艺术学院是20世纪初美国现代艺术的中心之一，但无法推断它是极简艺术的中心，故排除[C]。
3
Which of the following words is NOT used metaphorically?
A.Sprawling (Paragraph Three).
B.Blossomed (Paragraph Three).
C.Pokes (Paragraph Seven).
D.Nestled (Paragraph Seven).
本题答案：
  • A
  • B
  • C
  • D
  • 参考答案：C
  • 系统解析：
    修辞题。根据第七段第二句可知，对画面的描述是“花鸟画中常出现的一个开花的枝丫跃然纸上”，“poke”在此处意为“闯入某个空间”，枝丫被赋予生命，表现出人的动作，为拟人修辞，不存在一事物与另一事物间隐含的相似性比较，不是隐喻，故选[C]。而“sprawling”“blossomed”“nestled”在第三段和第七段中分别指“纷繁杂乱的”“（兴趣）变得浓厚起来”“（云和建筑物）半隐半现于枝叶间”，用的都是隐喻的修辞手法，故排除[A]、[B]和[D]。
4
All the following are features of traditional Japanese block prints EXCEPT
A.conveying spiritual effect through grasp of forms.
B.colored engravings with bird and flower imagery.
C.abrupt human intrusion into the natural environment.
D.flattened space and naturalistic details.
本题答案：
  • A
  • B
  • C
  • D
  • 参考答案：C
  • 系统解析：
    细节题。根据文章第三至六段可知，日本版画的重要特征有以下几点：通过对形式的把握而达到传神、注重对自然的表现超过对人类建筑物和活动的表现、带有花鸟等传统意象的彩色版刻、扁平的画面空间和画作的自然主义细节等；而第七段在介绍赖特工作室的两幅画作时则进一步阐释了日本版画的风格特点，因此[A]、[B]和[D]的表述正确，故排除；而[C]“自然空间中人的突然闯入”与当时日本版画的创作理念相抵触，故选[C]。
5
Which of the following contributions is NOT made by Frank Lloyd Wright?
A.Showing an acute understanding of nature in architectural works.
B.Publishing some books on art and his life.
C.Helping introduce Japanese block prints to the American public.
D.Bridging the distances between heaven and earth in modern paintings.
本题答案：
  • A
  • B
  • C
  • D
  • 参考答案：D
  • 系统解析：
    细节题。纵观全文可知，赖特先生向世人介绍了20世纪初的日本木版画，画家在这些画作中运用不同于当时西方绘画的创作手法和理念来体现对美的追求和对天堂与尘世关系的理解，而以上主要是日本版画家的艺术贡献，赖特先生深受其影响并将其介绍给美国大众，而[D]“他（赖特先生）拉近了现代画作中天堂与尘世的距离”的表述不准确，且过于笼统，故选[D]。根据第一段可知，赖特作品的一个显著特征是对自然环境的敏锐感知，文章的主体部分则阐述注重以简约、抽象的方式呈现自然的日本版画作品对赖特艺术的深远影响，由此可知[A]的表述正确，故排除；根据第五段、第八段以及最后一段可知，[B]、[ C]表述正确，故也排除。
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