新托福TPO 3綜合寫作詳細(xì)解析：倫勃朗
閱讀材料：
Rembrandt is the most famous of the seventeenth-century Dutch painters. However, there are doubts whether some paintings attributed to Rembrandt were actually painted by him. One such painting is known as attributed to Rembrandt because of its style, and indeed the representation of the womans face is very much like that of portraits known to be by Rembrandt. But there are problems with the painting that suggest it could not be a work by Rembrandt.
倫勃朗是十七世紀(jì)荷蘭最富盛名的畫家。然后，對(duì)于有些畫作是否確實(shí)出自他手卻是頗有爭(zhēng)議的。有一副有爭(zhēng)議的畫歸于倫勃朗名下是因?yàn)槠滹L(fēng)格屬于倫勃朗，同時(shí)畫上女子的面龐也同倫勃朗其他畫作中的人物非常類似的。然而，這幅畫中存在的一些問(wèn)題卻表明這幅畫不是倫勃朗的作品。
First, there is something inconsistent about the way the woman in the portrait is dressed. She is wearing a white linen cap of a kind that only servants would wear-yet the coat she is wearing has a luxurious fur collar that no servant could afford. Rembrandt, who was known for his attention to the details of his subjects clothing, would not have been guilty of such an inconsistency.
首先，這幅畫上的一個(gè)問(wèn)題就是畫中女子的衣著有些不協(xié)調(diào)。她帶著一個(gè)白色的亞麻帽子，這是一種仆人才會(huì)戴的帽子。但是穿的衣服卻有一個(gè)奢華的皮草領(lǐng)子，這樣的衣服是仆人階層所不能承受的。以關(guān)注作品服飾細(xì)節(jié)著稱的倫勃朗是不會(huì)在作品中發(fā)這樣的錯(cuò)誤的。
Second, Rembrandt was a master of painting light and shadow, but in this painting these elements do not fit together. The face appears to be illuminated by light reflected onto it from below. But below the face is the dark fur collar, which would absorb light rather than reflect it. So the face should appear partially in shadow-which is not how it appears. Rembrandt would never have made such an error.
第二，倫勃朗是光影大師，但是在這幅作品中光影卻是不協(xié)調(diào)的。人物的面龐被來(lái)自下面的光照亮了，但是面部下面卻是深色的皮草領(lǐng)子。這個(gè)深色的皮草領(lǐng)子應(yīng)該是吸光而不是反光的，所以面部應(yīng)該呈現(xiàn)的是半明半暗的狀態(tài)，而不是全部都是亮的。倫勃朗是絕不會(huì)犯這樣的錯(cuò)誤的。
Finally, examination of the back of the painting reveals that it was painted on a panel made of several pieces of wood glued together. Although Rembrandt often painted on wood panels, no painting known to be by Rembrandt uses a panel glued together in this way from several pieces of wood.
最后，對(duì)于畫作背側(cè)的檢查發(fā)現(xiàn)這幅畫的木板是有幾塊木頭粘在一起的。盡管倫勃朗常常會(huì)在木板上作畫，但是尚未發(fā)現(xiàn)倫勃朗使用幾塊拼接的木板作畫。
For these reason the painting was removed from the official catalog of Rembrandts paintings in the 1930s.
因?yàn)樯鲜鲈颍@幅畫在1930年代從倫勃朗的官方畫作目錄中移除了。
閱讀部分需要提取的觀點(diǎn)是：
Main point: The painting is not a work by Rembrandt.
Sub point 1: There is something inconsistent about the way the woman in the portrait is dressed.
Sub point 2: Light and shadow do not fit together.
Sub point 3: Panel made of several pieces of wood glued together which is never done by Rembrandt.
觀點(diǎn)抽出方法：
這篇文章的閱讀部分可以說(shuō)是非常和諧的，無(wú)論是main point還是sub points都是非常清晰明了的。
但是需要注意的是這篇文章段內(nèi)展開(kāi)是需要仔細(xì)看的。很多的時(shí)候大家都認(rèn)為只要知道point就夠了，其他的就聽(tīng)就行了。但是，三分鐘的時(shí)間我們真的足夠可以把這篇文章仔細(xì)看完，甚至做好筆記。如果你聽(tīng)力足夠好，不看可以，但是什么樣才是足夠好呢？聽(tīng)力部分TPO滿分算嗎？答：不算。聽(tīng)力部分是泛聽(tīng)，還有題目和套路去輔助你。但是綜合寫作部分就沒(méi)有這么好，這么慢的速度，這么短的文章，怎么可能聽(tīng)個(gè)大概就放過(guò)你們呢？
如果閱讀部分的展開(kāi)是基于事實(shí)的，那么一定一定要認(rèn)真看，對(duì)于我們聽(tīng)力部分有很好的促進(jìn)作用。事實(shí)是不能被反駁的，有黑色的領(lǐng)子是不會(huì)變的，光影不協(xié)調(diào)是不會(huì)變的，拼接木版是不會(huì)變的。那么在聽(tīng)力部分只能是基于這些事實(shí)進(jìn)行explanation。這樣，談的話題都會(huì)是離不開(kāi)閱讀部分的細(xì)節(jié)的。不看的話就以為這你要在聽(tīng)力的時(shí)候記相當(dāng)多的內(nèi)容。
聽(tīng)力部分有人問(wèn)要不要記筆記。如果你是個(gè)正常人，不是超長(zhǎng)的，那么就要記。因?yàn)椴皇锹?tīng)個(gè)大概就可以了，要有細(xì)節(jié)和reasoning，正常人是記不住的。
很奇怪嗎？lecture部分也有reasoning？當(dāng)然，你要反駁一個(gè)觀點(diǎn)，沒(méi)有推理怎么可以？不是你堆砌聽(tīng)到內(nèi)容就可以了，寫出的文章要經(jīng)得起問(wèn)why。
在聽(tīng)力部分，我們可以猜到的是這幅畫還是倫勃朗的畫作。但是passage部分的理由都是基于事實(shí)且非常充分?？磥?lái)，無(wú)論怎樣，這些細(xì)節(jié)都是lecture部分繞不過(guò)去滴。
Everything you just read about Portrait of an Elderly Woman in a White Bonnet is true, and yet after a thorough re-examination of the painting, a panel of experts has recently concluded that its indeed a work by Rembrandt. Here is why.
剛才你讀到的關(guān)于戴白帽的老嫗的說(shuō)法都是真的。但是經(jīng)過(guò)專家小組對(duì)這幅畫徹底的檢查，最近確定這幅畫確實(shí)是倫勃朗的作品。原因如下：
First, the fur collar. X-rays and analysis of the pigments in the paint have shown that the fur collar wasnt part of the original painting. The fur collar was painted over the top of the original painting about a hundred years after the painting was made. Why? Someone probably wanted to increase the value of the painting by making it look like a formal portrait of an aristocratic lady.
首先是皮草領(lǐng)子。專家小組用X光檢查并分析了畫上的顏料，發(fā)現(xiàn)這個(gè)皮草領(lǐng)子不是原畫作的組成部分。這個(gè)皮草領(lǐng)子是在成畫后一百年之后直接畫在原畫上面的。這么做的目的是什么呢？可能是有人想讓這幅畫看起來(lái)像是一個(gè)貴族女子的正式畫像，以為這樣可以提高畫的價(jià)值。
Second, the supposed error with light and shadow. Once the paint of the added fur color was removed, the original painting could be seen. In the original painting, the woman is wearing a simple collar of light-colored cloth. The light-colored cloth of this collar reflects light that illuminated part of the womans face. Thats why the face is not in partial shadow. So in the original painting, light and shadow are very realistic and just what we could expect from Rembrandt.
第二，所謂的光影問(wèn)題。只要把這個(gè)后加上來(lái)的皮草領(lǐng)子移除，我們就能看到原畫。在原畫上，這個(gè)女人穿的是一個(gè)有這單領(lǐng)的淺色袍子。這個(gè)帶領(lǐng)子的淺色袍子能夠把光反射到女人的臉上。這是為什么這個(gè)女人的臉上沒(méi)有呈現(xiàn)出半明半暗的狀態(tài)。所以呢，原畫上的光影是具備倫勃朗應(yīng)該具有的寫實(shí)風(fēng)格的。
Finally, the wood panel. It turns out that when the fur collar was added, the wood panel was also enlarged with extra wood pieces glued to the sides and the top to make the painting more grand and more valuable. So the original painting is actually painted on a single piece of wood, as would be expected from a Rembrandt painting. And in fact, researchers have found that the piece of wood in the original form of Portrait of an Elderly Woman in a White Bonnet is from the very same tree as the wood panel used for another painting by Rembrandt, his Self-portrait with a Hat.
最后，木板的問(wèn)題。研究發(fā)現(xiàn)，在加上皮草領(lǐng)子的同時(shí)，木板也是被認(rèn)為的增大了。有人在原畫的上邊和側(cè)面粘上了木板，以期望可以使這幅畫看起來(lái)更大和更貴重。所以這幅話最初是畫在一個(gè)單塊木板上的，這樣就符合我們對(duì)倫勃朗風(fēng)格的期待了。同時(shí)，研究人員發(fā)現(xiàn)這幅戴白帽的老嫗上所使用的木材同倫勃朗的另一幅畫所使用的木板來(lái)自同一顆樹(shù)。這幅畫是他的戴帽子的自畫像，這一點(diǎn)更有力地說(shuō)明了這幅畫是倫勃朗所作。
文章結(jié)構(gòu)：
第一段：要表達(dá)的內(nèi)容有：passage認(rèn)為這幅畫不是倫勃朗所作；lecture部分認(rèn)可passage部分說(shuō)陳述的事實(shí)，但是這幅畫確實(shí)是倫勃朗的作品。
第二段：passage指出這幅畫作的人物的衣著不協(xié)調(diào)，而這不是倫勃朗的風(fēng)格（具體說(shuō)存在的不協(xié)調(diào)）。Lecture部分說(shuō)這個(gè)別扭的領(lǐng)子是后人加上去的，其目的是提高這幅畫的價(jià)值。（要談到目的）
第三段：passage指出這幅畫作上光影有問(wèn)題（具體說(shuō)存在的問(wèn)題）。Lecture對(duì)這個(gè)問(wèn)題做了解釋，是由于深色的皮草領(lǐng)子造成的，如果移除之后可以發(fā)現(xiàn)原畫衣著的顏色是可以在臉上造成相同的光影效果的。
第四段：passage指出這幅畫是幾塊木板拼接的（要說(shuō)明這不是倫勃朗的風(fēng)格）。Lecture部分分了兩點(diǎn)來(lái)支持自己的觀點(diǎn)。首先，原畫是單塊木板的，拼接是后人加上去的，其目的是提高價(jià)值。其次，這幅畫同倫勃朗的戴帽子的自畫像是源自同一棵樹(shù)的。
TIP：這篇文章在成文的過(guò)程中不可避免的要對(duì)passage部分進(jìn)行一定的轉(zhuǎn)述，僅僅寫TS是不夠的。這是因?yàn)檫@些要轉(zhuǎn)述的細(xì)節(jié)是lecture反駁的基礎(chǔ)，如果回避了，就無(wú)法邏輯清晰了，因?yàn)闀?huì)給讀者天外飛仙之感。在成文的過(guò)程中，lecture部分的細(xì)節(jié)是重中之重，一定要把那些回答why的內(nèi)容體現(xiàn)出來(lái)。這就是為什么要求精聽(tīng)了。聽(tīng)了個(gè)大概，然后開(kāi)始猜細(xì)節(jié)，這樣的結(jié)果只有一種，那就是死的很慘。所以，不要隨便說(shuō)自己聽(tīng)懂了，如果試著一句一句的聽(tīng)寫出來(lái)，或者仔細(xì)看看lecture部分的文本，是很容易發(fā)現(xiàn)自己漏掉了一些好像很小但是卻很重要的部分。
閱讀材料：
Rembrandt is the most famous of the seventeenth-century Dutch painters. However, there are doubts whether some paintings attributed to Rembrandt were actually painted by him. One such painting is known as attributed to Rembrandt because of its style, and indeed the representation of the womans face is very much like that of portraits known to be by Rembrandt. But there are problems with the painting that suggest it could not be a work by Rembrandt.
倫勃朗是十七世紀(jì)荷蘭最富盛名的畫家。然后，對(duì)于有些畫作是否確實(shí)出自他手卻是頗有爭(zhēng)議的。有一副有爭(zhēng)議的畫歸于倫勃朗名下是因?yàn)槠滹L(fēng)格屬于倫勃朗，同時(shí)畫上女子的面龐也同倫勃朗其他畫作中的人物非常類似的。然而，這幅畫中存在的一些問(wèn)題卻表明這幅畫不是倫勃朗的作品。
First, there is something inconsistent about the way the woman in the portrait is dressed. She is wearing a white linen cap of a kind that only servants would wear-yet the coat she is wearing has a luxurious fur collar that no servant could afford. Rembrandt, who was known for his attention to the details of his subjects clothing, would not have been guilty of such an inconsistency.
首先，這幅畫上的一個(gè)問(wèn)題就是畫中女子的衣著有些不協(xié)調(diào)。她帶著一個(gè)白色的亞麻帽子，這是一種仆人才會(huì)戴的帽子。但是穿的衣服卻有一個(gè)奢華的皮草領(lǐng)子，這樣的衣服是仆人階層所不能承受的。以關(guān)注作品服飾細(xì)節(jié)著稱的倫勃朗是不會(huì)在作品中發(fā)這樣的錯(cuò)誤的。
Second, Rembrandt was a master of painting light and shadow, but in this painting these elements do not fit together. The face appears to be illuminated by light reflected onto it from below. But below the face is the dark fur collar, which would absorb light rather than reflect it. So the face should appear partially in shadow-which is not how it appears. Rembrandt would never have made such an error.
第二，倫勃朗是光影大師，但是在這幅作品中光影卻是不協(xié)調(diào)的。人物的面龐被來(lái)自下面的光照亮了，但是面部下面卻是深色的皮草領(lǐng)子。這個(gè)深色的皮草領(lǐng)子應(yīng)該是吸光而不是反光的，所以面部應(yīng)該呈現(xiàn)的是半明半暗的狀態(tài)，而不是全部都是亮的。倫勃朗是絕不會(huì)犯這樣的錯(cuò)誤的。
Finally, examination of the back of the painting reveals that it was painted on a panel made of several pieces of wood glued together. Although Rembrandt often painted on wood panels, no painting known to be by Rembrandt uses a panel glued together in this way from several pieces of wood.
最后，對(duì)于畫作背側(cè)的檢查發(fā)現(xiàn)這幅畫的木板是有幾塊木頭粘在一起的。盡管倫勃朗常常會(huì)在木板上作畫，但是尚未發(fā)現(xiàn)倫勃朗使用幾塊拼接的木板作畫。
For these reason the painting was removed from the official catalog of Rembrandts paintings in the 1930s.
因?yàn)樯鲜鲈?，這幅畫在1930年代從倫勃朗的官方畫作目錄中移除了。
閱讀部分需要提取的觀點(diǎn)是：
Main point: The painting is not a work by Rembrandt.
Sub point 1: There is something inconsistent about the way the woman in the portrait is dressed.
Sub point 2: Light and shadow do not fit together.
Sub point 3: Panel made of several pieces of wood glued together which is never done by Rembrandt.
觀點(diǎn)抽出方法：
這篇文章的閱讀部分可以說(shuō)是非常和諧的，無(wú)論是main point還是sub points都是非常清晰明了的。
但是需要注意的是這篇文章段內(nèi)展開(kāi)是需要仔細(xì)看的。很多的時(shí)候大家都認(rèn)為只要知道point就夠了，其他的就聽(tīng)就行了。但是，三分鐘的時(shí)間我們真的足夠可以把這篇文章仔細(xì)看完，甚至做好筆記。如果你聽(tīng)力足夠好，不看可以，但是什么樣才是足夠好呢？聽(tīng)力部分TPO滿分算嗎？答：不算。聽(tīng)力部分是泛聽(tīng)，還有題目和套路去輔助你。但是綜合寫作部分就沒(méi)有這么好，這么慢的速度，這么短的文章，怎么可能聽(tīng)個(gè)大概就放過(guò)你們呢？
如果閱讀部分的展開(kāi)是基于事實(shí)的，那么一定一定要認(rèn)真看，對(duì)于我們聽(tīng)力部分有很好的促進(jìn)作用。事實(shí)是不能被反駁的，有黑色的領(lǐng)子是不會(huì)變的，光影不協(xié)調(diào)是不會(huì)變的，拼接木版是不會(huì)變的。那么在聽(tīng)力部分只能是基于這些事實(shí)進(jìn)行explanation。這樣，談的話題都會(huì)是離不開(kāi)閱讀部分的細(xì)節(jié)的。不看的話就以為這你要在聽(tīng)力的時(shí)候記相當(dāng)多的內(nèi)容。
聽(tīng)力部分有人問(wèn)要不要記筆記。如果你是個(gè)正常人，不是超長(zhǎng)的，那么就要記。因?yàn)椴皇锹?tīng)個(gè)大概就可以了，要有細(xì)節(jié)和reasoning，正常人是記不住的。
很奇怪嗎？lecture部分也有reasoning？當(dāng)然，你要反駁一個(gè)觀點(diǎn)，沒(méi)有推理怎么可以？不是你堆砌聽(tīng)到內(nèi)容就可以了，寫出的文章要經(jīng)得起問(wèn)why。
在聽(tīng)力部分，我們可以猜到的是這幅畫還是倫勃朗的畫作。但是passage部分的理由都是基于事實(shí)且非常充分?？磥?lái)，無(wú)論怎樣，這些細(xì)節(jié)都是lecture部分繞不過(guò)去滴。
Everything you just read about Portrait of an Elderly Woman in a White Bonnet is true, and yet after a thorough re-examination of the painting, a panel of experts has recently concluded that its indeed a work by Rembrandt. Here is why.
剛才你讀到的關(guān)于戴白帽的老嫗的說(shuō)法都是真的。但是經(jīng)過(guò)專家小組對(duì)這幅畫徹底的檢查，最近確定這幅畫確實(shí)是倫勃朗的作品。原因如下：
First, the fur collar. X-rays and analysis of the pigments in the paint have shown that the fur collar wasnt part of the original painting. The fur collar was painted over the top of the original painting about a hundred years after the painting was made. Why? Someone probably wanted to increase the value of the painting by making it look like a formal portrait of an aristocratic lady.
首先是皮草領(lǐng)子。專家小組用X光檢查并分析了畫上的顏料，發(fā)現(xiàn)這個(gè)皮草領(lǐng)子不是原畫作的組成部分。這個(gè)皮草領(lǐng)子是在成畫后一百年之后直接畫在原畫上面的。這么做的目的是什么呢？可能是有人想讓這幅畫看起來(lái)像是一個(gè)貴族女子的正式畫像，以為這樣可以提高畫的價(jià)值。
Second, the supposed error with light and shadow. Once the paint of the added fur color was removed, the original painting could be seen. In the original painting, the woman is wearing a simple collar of light-colored cloth. The light-colored cloth of this collar reflects light that illuminated part of the womans face. Thats why the face is not in partial shadow. So in the original painting, light and shadow are very realistic and just what we could expect from Rembrandt.
第二，所謂的光影問(wèn)題。只要把這個(gè)后加上來(lái)的皮草領(lǐng)子移除，我們就能看到原畫。在原畫上，這個(gè)女人穿的是一個(gè)有這單領(lǐng)的淺色袍子。這個(gè)帶領(lǐng)子的淺色袍子能夠把光反射到女人的臉上。這是為什么這個(gè)女人的臉上沒(méi)有呈現(xiàn)出半明半暗的狀態(tài)。所以呢，原畫上的光影是具備倫勃朗應(yīng)該具有的寫實(shí)風(fēng)格的。
Finally, the wood panel. It turns out that when the fur collar was added, the wood panel was also enlarged with extra wood pieces glued to the sides and the top to make the painting more grand and more valuable. So the original painting is actually painted on a single piece of wood, as would be expected from a Rembrandt painting. And in fact, researchers have found that the piece of wood in the original form of Portrait of an Elderly Woman in a White Bonnet is from the very same tree as the wood panel used for another painting by Rembrandt, his Self-portrait with a Hat.
最后，木板的問(wèn)題。研究發(fā)現(xiàn)，在加上皮草領(lǐng)子的同時(shí)，木板也是被認(rèn)為的增大了。有人在原畫的上邊和側(cè)面粘上了木板，以期望可以使這幅畫看起來(lái)更大和更貴重。所以這幅話最初是畫在一個(gè)單塊木板上的，這樣就符合我們對(duì)倫勃朗風(fēng)格的期待了。同時(shí)，研究人員發(fā)現(xiàn)這幅戴白帽的老嫗上所使用的木材同倫勃朗的另一幅畫所使用的木板來(lái)自同一顆樹(shù)。這幅畫是他的戴帽子的自畫像，這一點(diǎn)更有力地說(shuō)明了這幅畫是倫勃朗所作。
文章結(jié)構(gòu)：
第一段：要表達(dá)的內(nèi)容有：passage認(rèn)為這幅畫不是倫勃朗所作；lecture部分認(rèn)可passage部分說(shuō)陳述的事實(shí)，但是這幅畫確實(shí)是倫勃朗的作品。
第二段：passage指出這幅畫作的人物的衣著不協(xié)調(diào)，而這不是倫勃朗的風(fēng)格（具體說(shuō)存在的不協(xié)調(diào)）。Lecture部分說(shuō)這個(gè)別扭的領(lǐng)子是后人加上去的，其目的是提高這幅畫的價(jià)值。（要談到目的）
第三段：passage指出這幅畫作上光影有問(wèn)題（具體說(shuō)存在的問(wèn)題）。Lecture對(duì)這個(gè)問(wèn)題做了解釋，是由于深色的皮草領(lǐng)子造成的，如果移除之后可以發(fā)現(xiàn)原畫衣著的顏色是可以在臉上造成相同的光影效果的。
第四段：passage指出這幅畫是幾塊木板拼接的（要說(shuō)明這不是倫勃朗的風(fēng)格）。Lecture部分分了兩點(diǎn)來(lái)支持自己的觀點(diǎn)。首先，原畫是單塊木板的，拼接是后人加上去的，其目的是提高價(jià)值。其次，這幅畫同倫勃朗的戴帽子的自畫像是源自同一棵樹(shù)的。
TIP：這篇文章在成文的過(guò)程中不可避免的要對(duì)passage部分進(jìn)行一定的轉(zhuǎn)述，僅僅寫TS是不夠的。這是因?yàn)檫@些要轉(zhuǎn)述的細(xì)節(jié)是lecture反駁的基礎(chǔ)，如果回避了，就無(wú)法邏輯清晰了，因?yàn)闀?huì)給讀者天外飛仙之感。在成文的過(guò)程中，lecture部分的細(xì)節(jié)是重中之重，一定要把那些回答why的內(nèi)容體現(xiàn)出來(lái)。這就是為什么要求精聽(tīng)了。聽(tīng)了個(gè)大概，然后開(kāi)始猜細(xì)節(jié)，這樣的結(jié)果只有一種，那就是死的很慘。所以，不要隨便說(shuō)自己聽(tīng)懂了，如果試著一句一句的聽(tīng)寫出來(lái)，或者仔細(xì)看看lecture部分的文本，是很容易發(fā)現(xiàn)自己漏掉了一些好像很小但是卻很重要的部分。
