2. 外语
  3. That Louise Johannes is believed by many critics to be the greatest twentieth-century sculptor is all the more remark- able beca

That Louise Johannes is believed by many critics to be the greatest twentieth-century sculptor is all the more remark- able beca

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问题      That Louise Johannes is believed by many critics to be the greatest twentieth-century sculptor is all the more remark- able because the greatest resistance to women artists has been, until recently, in the field of sculpture. 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 talented sculptors in the United States before the 1940’s,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 was the work of women.
     By far the most outstanding of these women is Louise Johannes, who in the eyes of many critics is the most original female artist alive today. One famous and influential critic Hilton Kramer, said of her work, "For myself, I think Ms Johannes succeeds where the painters often fail."
     Her works have been compared to the Cubist constructions of Picasso, the Surrealistic objects of Miro and the Merzbau of Schwitters. Johannes would be the first to admit that she has been influenced by all of these, as well as by African 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. Johannes 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 black, or more rarely white or gold, and places them in boxes. These assemblages, walls, even entire environments create a mysterious, almost awe-inspiring atmosphere. Although she has denied any symbolic or religious intent in her works, their three-dimensional grandeur and even their rifles, such as Sky Cathedral and Night Cathedral, suggest such connotation. In some ways, her most ambitious works are closer to architecture than to traditional sculpture, but then neither Louise Johannes nor her art fits into any neat category.
The author quotes Hilton Kramer in paragraph two most probably in order to illustrate which of the following?
选项 A、The realism of Johannes’ work.
B、The unique qualities of Johannes’ style.
C、The extent of critical approval of Johannes’ work.
D、A distinction between sculpture and painting.
答案C
解析 文章第一段讲了美国雕塑的发展，并提到美国大部分的雕塑作品是在 1945年后制作的。作者是在叙述评论家时提到Louise Johannes的，显然是以她为例子说明评论家如何评价Louise Johannes的作品。
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