题型：阅读理解 题类：常考题 难易度：普通
上海市奉贤区2019届高三上学期英语期末考试试卷
The haunting paintings of Helene Schjerfbeck, on show in the final leg of a travelling tour that has already attracted thousands of visitors in Hamburg and the Hague, may come as a surprise to many. Few outside the Nordic(北欧的) world would recognize the works of this Finnish artist who died in 1946. More people should. The 120 works have at their core 20 self-portraits, half the number she painted in all. The first, dated 1880, is of a wide-eyed teenager eager to absorb everything. The last is a sighting of the artist's ghost-to-be.
Prematurely gifted, Schjerfbeck was 11 when she entered the Finnish Art Society's drawing school. “The Wounded Warrior in the Snow”, a history painting, was bought by a private collector and won her a state travel grant when she was 17. Schjerfbeck studied in Paris, went on to Pont-Aven, Brittany, where she painted for a year, then to Tuscany, Cornwall and St Petersburg. During her 1887 visit to St Ives, Cornwall, Schjerfbeck painted “The Convalescent”. A child wrapped in a blanket sits supported up in a large wicker(柳条编制的) chair, toying with a sprig(小枝条). The picture won a bronze medal at the 1889 Paris World Fair and was bought by the Finnish Art Society. To a modern eye it seems almost sentimental(感伤的) and is made up for only by the somewhat astonished, sad expression on the child's face, which may have been inspired by Schjerfbeck's early experiences. At four, she fell down a flight of steps and never fully recovered.
In 1890, Schjerfbeck settled in Finland. Teaching exhausted her, she did not like the works of other local painters, and she was further isolated when she took on the care of her mother. “If I allow myself the freedom to live an isolated life”, she wrote, “then it is because it has to be that way.” In 1902, Schjerfbeck and her mother settled in the small, industrial town of Hyvinkaa, 50 kilometres north of Helsinki. Isolation had one desired effect for it was there that Schjerfbeck became a modern painter. She produced still lives and landscapes but above all moody yet sharp portraits of her mother, local school girls, women workers in town.
“I have always searched for the dense depths of the soul, which have not yet been discovered by humans themselves”, she wrote, “where everything is still unconscious -- there one can make the greatest discoveries.” She experimented with different kinds of underpainting, scraped and rubbed, made bright rosy red spots; doing whatever had to be done to capture the subconscious — her own and that of her models. In 1913, Schjerfbeck was rediscovered by an art dealer and journalist, Gosta Stenman. Once again she was a success.
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