『新东方在线托福听力』为托福考生准备了ETS托福TPO/Official 48 Lec 1听力练习：According to the professor, what characteristics of Large Dark Red Leaves on White indicate that it could not be a photograph?原文题目答案解析，TPO/Official 48 Lec 1听力原文范文音频翻译。

托福TPO/Official 48 Lec 1听力原文According to the professor, what characteristics of Large Dark Red Leaves on White indicate that it could not be a photograph?【新东方在线】

旁白：听一个艺术史课的部分谈话。

Narrator: Listen to part of a talk in an art history class.

教授：所以今天我们将继续讨论美国20世纪摄影。

Professor: So today we are going to continue our discussion of 20th century photography in the United States.

上次我们谈论阿尔弗雷德·斯蒂格利茨，我们看到他的目标之一是把美国引入到欧洲艺术。

Last time we were talking about Alfred Stieglitz and we saw that one of his goals was to introduce Americans to European Art.

今天，我们将讨论来自从20世纪初的另一个摄影师。是的，珍妮弗？

Today, we are going to look at another photographer from the early 20th century. Yes, Jennifer?

学生：在我们开始讲新摄影师前，我有一个关于斯蒂格利茨的问题。

Student: Before we get to that, I had a question about Stieglitz.

学生：好吧，斯蒂格利茨和乔治亚欧姬芙结婚。对吗？

Student: Well, Stieglitz was married to Georgia O'Keeffe. Right?

教授：没错。施蒂格利茨与她结婚，促进了她的工作，而且，实际上在他们结婚的时候，他还为她拍了一些她的非常棒的肖像照片。

Professor: That's right. Stieglitz was married to her, promoted her work and actually, took some amazing portraits of her when they were married.

教授：有人不熟悉这一点，我们在谈论美国画家：乔治亚•欧姬芙。

Professor: For anyone who's not familiar with this, we are talking about the American painter: Georgia O'Keeffe.

学生：好。好吧，我想知道……乔治亚•欧姬芙。

Student: Ok. Well, I was wondering... Georgia O'Keeffe.

你知道我听到她的名字这么多次，看到她的一些作品。

You know I've heard her name so many times and I've seen some of her work.

但是在关于那个时期的摄影师的任何书中，她都没有被提到。

But she's not mentioned in any of our reading about photographers from that time.

教授：哦。好吧，欧姬芙真的更像是一个画家。

Professor: Oh. Well, O'Keeffe was really more of a painter.

学生：我也以为她也是一个摄影师。

Student: I thought she was a photographer, too.

我的意思是，我刚在前几天的博物馆看到她的一张照片。

I mean, I just saw one of her photographs in a museum the other day.

我想它被称为“白色中的红叶”或类似的。

I think it was called “ Red Leaves on White ” or something like that.

教授：正确！是。 《白色中的大红色叶子》是完整的标题。

Professor: Oh, right! Yes.“ Large Dark Red Leaves on White ”is the complete title.

这是欧姬芙一个相当知名的画。

It's a fairly well-known painting by O'Keeffe.

学生：哦，哦，好吧。我在想什么？

Student: Oh, oh, okay. What was I thinking?

教授：不，不。那真的是一个很好的观察。

Professor: No, no. That's a really good observation.

我的意思是按时间上来说，这是不可能的。

I mean chronologically that would be impossible.

当她画这幅画，彩色电影甚至还没有发明。

When she did that painting, color film hadn't even been invented yet.

也没有正确的技术，来放大图片来显示那么多的细节。

Neither had the right technology to blow pictures up that big to show that much detail.

但是这幅画和她的其它一些画作确实揭示了摄影的影响，像，呃，她会剪裁她的图像。

But that painting and some of her other paintings do reveal the... the influence of photography, like, uh, she would crop her images.

她会围绕图像的一部分，例如，就只是在中心部分，然后切掉某些部分，框架外的部分，以创建她想要的效果，就按照摄影师的方式来做。

She would make a frame around part of an image, say, just the very center and then cut off certain parts, the parts outside that frame, to create the effect she wanted, the way a photographer does.

这些画就像你今天看到的，是你的照片中一个人或一朵花的特写。

And those paintings are close-ups, like you might see today, of a person or a flower in a photograph.

现在，那些技术果断是由之后的摄影师使用。

Now, those techniques were certainly around and being used by photographers then.

但只是在照片上，那些照片较小，不如欧姬芙画的大。

But just in photographs, which were smaller not as big as what O'Keeffe was painting.

此外，欧姬芙跟从一位叫Arthur Wesley Dow的艺术家学习。

Also, O'Keeffe studied under an artist named Arthur Wesley Dow.

这是DOW，D-O-W，他主张专注于简单的基本形式，

That's DOW, D-O-W, who advocated focusing on simple basic forms,

如花的线条及其花瓣，他想要的形式是和他们的初始设置状态分开。

like the lines of a flower and its petals and he wanted forms to be isolated from their original settings.

他相信，通过这样做，一个艺术家可以揭示一个对象的，它的本质。

He believed that, by doing that, an artist could reveal an object's, its essence.

他会做的事情像……像让他的学生们选取一个简单的普通形式，如一个叶子，并探索各种方法将其装入一个正方形，也许弯曲它，使整个叶子适合框架。 Pierr？

He'd do things like... like... have his students take a simple ordinary form, like a leaf, and explore various ways of fitting all of it into a square, maybe bending it around to make the whole thing fit into the frame. Pierr?

学生：听起来好像欧姬芙大部分的想法都是借来的。

Student: It sounds like maybe O'Keeffe borrowed most of her ideas.

我们可能认为是欧姬芙的东西，其实是她从别人那里得到了。

The stuff we might think of as being hers, she got them from other people.

She didn't really have a style of her own.

教授：实际上，所有的艺术家都受到其他艺术家影响，他们的前辈，他们的同龄人，他们的教师的影响……

Professor: Well, virtually, all artists are influenced by other artists, by their predecessors, by their contemporaries, their teachers...

艺术家创作建立在其他艺术家的所做上。但是，如果他们有才华，他们选取一个独特的方向发展自己独特的风格。

Artists build on what other artists have done. But if they are talented, they take it in some unique direction to develop their own distinctive style.

欧姬芙喜欢根据真实对象的创造抽象解释。

O'Keeffe liked to create abstract interpretations of real objects.

在Jennifer提到的那幅画，白色中的大深红叶，除了夸张叶的大小，欧姬芙还给它放置银色或发白的背景。

In the painting Jennifer mentioned, Large Dark Red Leaves on White, in addition to exaggerating the size of the leaf, O'Keeffe juxtaposes it against a silver or whitish background.

所以这更多是一个抽象的设置，等等。

So that's more of an abstract setting for it, and so on.

现在，欧姬芙是第一个根据真实对象的来创造抽象解释的艺术家，但她使用这种方法来表达她的绘画对象的经历体验。

Now, O'Keeffe wasn't the first artist to create an abstract interpretation of a real object but she used that approach to express her experience of the object she was painting.

所以她创造了人们以前没有见过的视角。

So she presented a vision that people hadn't seen before.

它是独一无二的。这是令人信服的。

她没有指望其他人像她一样去体验对象。

She didn't expect other people to experience the object the way she did.

她知道他们会看着她的画，并带上自己的联想，这通常对艺术品来说是真的，我想。

She knew they'd look at her painting and hang their own associations on it, which is true for artwork in general, I think.

That's just the way the human brain works.

但至少他们会仔细看看他们从来没有真正注意的事情。

But at least they'd be taking a careful look at something they'd never really paid much attention to.

What aspect of Georgia O'Keeffe's work do the speakers mainly discuss?

According to the professor, what characteristics of Large Dark Red Leaves on White indicate that it could not be a photograph?

According to the professor, what principles did Arthur Wesley Dow emphasize in his art classes?

In his discussion of O’Keeffe’s style, why does the professor describe Large Dark Red Leaves on White?

According to the professor, what effect did O‘Keeffe expect her paintings to have on viewers?

T: So today we are going to continue our discussion of 20th century photography in the United States. Last time, we were talking about Alfred Stieglitz and we saw that one of his goals was to introduce Americans to European art. Today, we are going to look at another photographer from the early 20th century. Yes, Jenifer. 
J: Before we get to that, I had a question about Stieglitz. 
T: Sure. 
J: Well, Stieglitz was married to Georgia, right? 
T: That’s right. Stieglitz, who was married to her, promoted her work and actually took some amazing portraits of her when they were married. But for anyone who’s not familiar with this, we are talking about the American painter Georgia O’Keeffe. 
J: OK. Well, I was wondering… Georgia O’Keeffe, you know, I’ve heard her name so many times and I’ve seen some of her work. But she’s not mentioned in any of our reading about photographers from that time. 
T: Well, O’Keeffe was really more of a painter. 
J: I thought she was a photographer, too. I mean, I just saw one of her photographs in a museum the other day. I think it was called Red Leaves on White or something like that. 
T: Oh, right, yes! Large Dark Red Leaves on White is the complete title. It’s a fairly well-known painting by O’Keeffe. 
J: Oh… OK. What was I thinking… I guess I should have a closer look. 
T: No…no… That’s a really good observation. I mean, chronologically, that would be impossible… When she did that painting, color film hadn’t even been invented yet, neither had the right technology to blow pictures up that big to show that much detail. But that painting and some of her other paintings do review the influence of photography, like… She would crop her images. She would make a frame around part of an image, say just the very center, and then cut off certain parts, the parts outside that frame, to create the effect she wanted, the way of photographer does. And those paintings are close-ups, like you might see today of a person or a flower in a photograph. Now those technics were certainly around and being used by photographers then. But just in photographs which were smaller, not as big as what O’Keeffe was painting. Also, O’Keeffe studied under an artist named Arthur Wesley Dow. That’s Dow, D-O-W, who advocated focusing on simple basic forms, like the lines of a flower and its pedals. And he wanted forms to be isolated from their original settings. He believed that by doing that an artist could review an object’s… its essence. He do things like… like have his students take a simple ordinary form like… a leaf, and explore various ways of feeding all of it into a square. Maybe bending it around to make the whole thing fit into the frame. Peter ? 
P: It sounds like maybe O’Keeffe borrowed most of her ideas. The stuff we might think of is being hers. She just got them from other people. She didn’t really have a style of her own. 
T: Well, virtually all artists are influenced by other artists, by their predecessors, by their contemporaries, their teachers… Artists build on what other artists have done. But if they are talented, they take it in some unique direction to develop their own distinct style. O’Keeffe like to create abstract interpretations of real objects. In the painting Jenifer mentioned, Large Dark Red Leaves on White, in addition to exaggerating the sides of the leaf, O’Keeffe juxtaposes it against the silver or whitish background, so that's more of an abstract setting formed and so on.
Now O'Keefe wasn't the first artist to create an abstract interpretation of a real object, but she use that approach to express her experience of the object she was painting. So she presented a vision that people hadn’t seen before. It's unique, it's compelling. She didn't expect other people to experience the object the way she did. She knew they'd look at her painting and hang the wrong associations on it, which is proof of her artwork in general I think. That's just the way that human brain works but at least they’d be taking a careful look at something they never really paid much attention to.

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