美术英语教程大学英语拓展课程系列

T r a n s l a t i o n s
Unit 1
1.Meyer opened the bidding at $55 million, matching the record price paid for a
Picasso at auction.
迈耶开出起拍价5500万美元，该价格相当于以往毕加索作品的最高竞拍价
2.Standing near the front of the room, Weitman bid up to $79 million by
detecting signals from someone in the room, a classic auction ruse meant to preserve the anonymity of a bidder.
维特曼站位靠近拍卖会场的前部，通过捕捉来自会场内其他一些人的信号（这样做是
一个典型的拍卖计策旨在保护竞拍者的身份）为其竞拍，把价格推升至7900万美元
3.The hammer came down, the painting went to weitman’s collector for $104
million with buyer’s premium, and the audience broke into applause.
拍卖槌落下，这幅画被维特曼代理的收藏者以亿美元附带买家附加费的价格收入囊中，
观众们爆发出掌声
4.Picasso’s portrait of a moody adolescent in blue overalls, a garland of roses
on his head, and an unlit pipe in his hand dating from the artist’s Rose
period [1905-6], was bought by Whitney for $50,000 in 1950.
毕加索这幅肖像画表现的是一个穿蓝色工装的忧郁少年，头戴玫瑰花环，手持一个未
点燃的烟斗，这幅作品可追溯到画家的粉红色时期[1905-1906]，被
惠特尼在1950年以5万美元买下
5.Daix surmises that Picasso would have been pleased to compete with van
Gogh for such prices, that his work would get as much recognition as that of a painter for whom he had a lot of respect and admiration
戴克斯推断毕加索将会很高兴与凡高以这样的价格竞争，而且他的作品能与他尊敬和仰慕的画家同样受到赞誉
Unit 2
1.It is important for us not to deceive ourselves into believing that we can
understand the intention of an African sculptor simply by looking at his work.
这对于我们来说很重要不要自欺欺人的认为知识简单看非洲雕塑作品就能够理解一个非洲雕塑家的创作意图
2.In the case of the masks made by the Kalabari of the Niger Delta, Horton has
discovered that is because the painting is not simply an enrichment of the sculpture, but is the means whereby the spirit is brought to occupy the mask.
以位于尼日尔三角洲的卡拉巴瑞族制作的面具为例，霍顿发现因为彩绘不仅仅可以使雕塑面具丰富多彩，还是招魂于其上的手段
3.While the Fang argue that the statues represent age, the ancestors, and their
august powers in their descendants’ affairs, they also recognize the infantile qualities of the figures themselves.
虽然范族人有理由证明雕塑代表年龄、祖先及对其后代事物的威慑力，他们也承认人物本身具有婴儿特征
4.In Western society, when art critics speak of “art for art’s sake”, they mean
that the artist produces an object which is valued for itself, which attempts neither to instruct nor to edify, a product in which the artist is concerned exclusively with the solution of artistic problems of composition, color or form.
在西方社会，当艺术评论家说道“艺术至上主义”时，他们的意思是创作自身具有价值的创作，他们既不教授也不教诲，艺术家只关注构图，色彩、造型这些艺术难题的解决之道
5.Yet they do have a social function which is entirely independent of the subject
represented: that of establishing prestige, brass being regarded as a
semi-precious metal; only the wealthy can afford to buy them, and they are displayed in the home both as objects of beauty and as status symbols
然而他们的确具有完全独立的主题表现的社会官能：树立威望，黄铜被认为是贵重金属，只有富有的人能支付的起购买这种材质的艺术品，因而它们作为美与声望的象征陈列于家中
Unit 3
1.Resultantly, they mean many different things to different people. It is not even
possible to be too specific about what the word “exhibition” means, and even more “professional” ones.
因此，它们对于不同的人来说意味颇多。

对于“展览”一词的意思甚至没有特别确切的定义，更不用说“专业”的了
2.Surprisingly enough, at the time of writing, this is the one area of exhibition
design still dominated by amateurs.
十分令人惊讶的是，在写该文的时候，在此类设计仍是由外行主宰的展示设计领域3.The exquisite market stall remains commonplace throughout the world.
精美的市场摊仍在世界上随处可见
4.Plastics, for instance, in their crudest form along with detailed specifications
of their properties, could be sold to a manufacturer who might only make part of a product which is passed on to another assembler, who might make the final product to sell to you or me.
例如，以最初形态带有详细性能说明书的塑料可以被卖给可能只制作产品部件的生产商，然后将这些部件卖给另一组装厂，进而生产出最后可能卖给你我的产品
5.Of course, as soon as information is brought in beside the product, things
start to get complicated.
当然，一旦产品边上引入信息，事情就开始变得复杂了
6.In any such display the “curator” should be trying to communicate directly
with the actual user. There is no intermediary here; the basic circumstances are as primitive as the market stall.
在任何此类展览中，“策展人”都应该尽量与实际用户直接沟通，这里没有中间人，最基础的环境和市场摊位一样原是如初
Unit 4
1.He should be dressed in an expensively cut matt black “suit” maybe sipping
a can of the latest fashionable lager and balancing.
他应该身着昂贵的深黑色西装，或许同时品着一听最时髦的拉格，脚穿名牌鞋
2.And anyway it wasn’t fair to all the other talented people working here.
而且无论如何这对在此工作的有才人都不公平
3.Then I realized that it doesn’t affect the way you think about your work, just
the way that you can do it.
然后我意识到这并不影响你思考你设计的方式，而只是影响你设计的方式
4.What CD-ROM should be doing is enabling you to alter the story.
CD-ROM应该做的就是让你能够改变剧情
5.It’s just that most of the software coming out which proclaims interactivity
isn’t.
只是大多数问世的软件都声称具有互动性，其实不然
Unit 5
1.Why is it different with the Graz trade fair poster, which also represents a
tapering shape none of us has seen
对于一个还表现了一个我们从未见过的圆锥体形状的格拉茨商品展销会海报来说有何不同之处
2.Merely to ask this question is to remind the reader at last of the gigantic
over-simplification that lies in discussing the rendering of space without
reference to modeling, that is, the rendering of light and shade.
仅仅问这个问题是为了最后提醒读者，在探讨空间表现的同时没有涉及到造型（即明暗表现），这样做未免过于简单了
3.In light and shade Western artists have discovered a means of vastly reducing
the ambiguity of shapes as seen from one side.
在明暗上西方艺术家发现一种手段可以最大程度的减少形状从侧面看所产生的多义性4.At any rate, the decorators of classical antiquity must have known of our
ability to switch between various readings, even of shaded objects, “as fancy directs” for they used the most striking pattern of this kind, the reversible cubes, on walls and pavements.
不管怎样，古典时期的装饰家一定知道我们能够凭借想象对甚至有明暗的物体作出不同的解读，因为他们在墙面和人行道上采用了这种最为明显的图案
--可逆立方体
5.We begin to see a little more clearly that these tests rely on what Hogarth
called the “mutually compleating of ideas”, the consistent interaction of clues.
我们开始逐清晰的理解到，这些检验依赖贺加斯所谓的“概念的相互完善”即线索的连续互动
Unit 6
1.It was a phenomenon that any designer of today, however, should build into
the masterplan.
然而，当今任何一个设计者都应该把此类情况归纳于总体规划
2.Regional & Town Planning is perhaps the most straightforward of the
categories and includes primarily those projects where a new town or
community has been designed on a previously unoccupied site, much like Brasilia.
区域和城镇规划可能是诸多城市规划领域中最容易理解的，包括对先前无人居住的地点上设计新镇和社区的项目，和巴西利亚很像
3.Here the concept of evolutionary time is illustrated by showing not just the
process of disuse and decay, but the process of revitalization and, sometimes, new use for existing areas.
在此，不仅通过说明废弃和褪变的过程，还通过说明振兴的过程，有时，包括对旧地新用的过程对时间深化的概念进行解释
4.How soon and in what ways the trees and other plant materials will grow is
vitally important.
树木和其他植物的生长时间和方式极为重要
5.One of the examples shows how the necessity of using a retention pond on
the site focused the design into new and unique configuration of benefit, both to the environment and the users of the site.
诸多例子之一表明规划用地有必要用澄清池，使得设计变得新颖独特，其重心兼顾环境和使用者的利益
Unit 7
1.Stored or displayed at his two private Heritage Villages for Arts and Culture,
the first of which was built 30 minutes from downtown Shanghai, Wong’s collection has grown, in a mere five years, to include more than 150 notable structures, clustered on roughly 40 acres.
王先生收藏和展示于他的两个私人的文化艺术遗产村，第一个离上海市中心30分钟车程，仅仅在5年内，其收藏多达150多个着名的建筑结构，集中存放在40英亩的区域内
2.Even more important to Wong, though, is the fact that stones are old,
purchased from a small village that wanted a modern, paved road.
然而，对于王先生更为重要的是。

石头是旧石，从一个需要现代沥青道路的小村庄内买来的
3.After retiring from his Hong Kong-based shipping and textile- manufacturing
businesses in the mid-1990s, he moved part-time to Shanghai and “fell in love with old Chinese architecture”.
在20世纪90年代中期，他从位于香港的船运和纺织制造业企业中退休后，他短期搬到上海，并爱上中式古建筑
4.The buildings that have been restored and reassembled are arrayed in
meticulously laid-out neighborhoods of one- and two-story houses with gray tile roofs and white plaster walls.
经过修复和重新组装的大楼整齐地排列在精心设计的街区中，它们为一层或二层结构，灰瓦铺顶，白灰泥罩面
5.The Qingpu park is almost gone, its cobblestone roads and canals a ghostly
testament to the scale of Wong’s collection.
青浦园几乎消失殆尽，其鹅卵石道路和开凿的运河就像不散的幽魂一般在证明王先生的收藏规模
Unit 8
1.What’s the value of this raw data without someone messing around with it
and creating something useful out of it
没有人运用它并创造新的事物，那么原始数据的价值何在
2.They need to dub the others to help more people understand them, but when
you create everything based on images only, or even with images followed by
a single phrase… that’s so much more powerful!
他们需要给有声广告配音去帮助更多的人理解他们，但是当你创造每样东西只以影像为基础，或甚至在影像过后配一个短语为结束，这样才更有表现力
3.But that would be a misinterpretation of what I’m trying to say
但这将会是对我要表达的一个误解
4.Websites, cell phone companies, video games… everyone is struggling to be
understood by everyone.
网站，移动通讯公司，电子游戏，每个人都拼命让其他每个人理解自己
5.After the advent of “talkies”, most movie directors forgot how it was done
before, and regular movies became huge dialogues with images that barely justified them being called “movies”.
在有声电影出现后，大多数电影导演忘记之前电影的拍摄方式，而常规的电影变成配有影像的大量对白，这几乎不能被称之为电影。