passage 16 马蒂斯的作品很难理解

★★★★

文章讲解：

①Matisse’s art, with its spectacular immediacy and its mysterious depths, poses confounding problems for analysis. ②When Hilary Spurling writes of The Piano Lesson that “the picture cannot be confined to any single source or meaning,” she might be writing of any of Matisse’s works. ③Picasso’s themes, with their collage of traditional signs and symbols, are far more susceptible to conventional iconographic analysis than anything in Matisse. ④Similarly, the cubism of Picasso and Braque, while rejecting traditional perspective, can nevertheless be studied as an inversion of traditional norms, using the same tools that one uses to study those norms. ⑤But the solutions that Matisse arrives at are always idiosyncratic and tend to be unrelated to any system of ideas. ⑥Intuition is his only system. 

①

 ↓

② + （③+④）↔ ⑤

                             ↓

                            ⑥ 

1. The passage suggests which of the following about Braque’s cubism? 间接细节，有结构题的做法

A

A. It lends itself more readily to systematic analysis than does Matisse’s work. 

B. It is more radical in terms of form than most paintings by Matisse. 没有radical的证据

C. It was influenced by Matisse’s idiosyncratic and intuitive approach. 没有受M影响的证据

D. It cannot be confined to any single source or meaning. 无关，any single source or meaning说的是钢琴课

E. It is overly dependent on traditional signs and symbols.  相反，同时也没有overly的证据

For the following question, consider each of the choices separately and select all that apply.

2. The passage identifies which of the following as a reason that Matisse’s art can confound analysis? 直接细节，定位全文

AB

A. Traditional analytical tools are not well suited to Matisse’s art.  符合③④

B. Matisse’s art is marked by a freedom from systematic influence.  符合，第五句说到没有体系

C. The norms that Picasso and Braque rejected were not ones that Matisse rejected 没有M reject的证据

背景拓展：

Matisse [mə'ti:s] 马蒂斯（法国画家、雕刻家和版画家）

Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.

亨利·马蒂斯（Henri Matisse，1869—1954），法国著名画家、雕塑家、版画家，野兽派创始人和主要代表人物，代表作有《豪华、宁静、欢乐》《生活的欢乐》《开着的窗户》《戴帽的妇人》等。

【在1905年的巴黎秋季沙龙中，一群青年美术家的作品参展，他们是H.马蒂斯﹑A.德兰﹑A.马尔凯﹑H.芒金﹑M.de弗拉曼克﹑G.鲁奥等人。在他们的作品中间，有一件展品比较写实，风格如意大利文艺复兴时代雕塑家多纳太罗的作品。批评家L.沃塞列斯在描述该展品时，用了”在一群野兽中间的一位真正的艺术家”这样一句话，把马蒂斯等年轻画家的画比作野兽，故名。】

文中提到的《钢琴课》（1916－1917）是他最具特色、最成功的立体主义作品。马蒂斯在不改变视点的前提下，将大块的鲜明色彩作抽象的安排。达到既富于装饰性，又具有空间深度的效果。