巴朗听力文本

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ing in the images of the finished work. It’s rare, in fact, for an artist to use permanent materials to begin a piece of art. And some painters, for example, even sketch onto the surface of the canvas before applying the pigments. Now, architects are especially prone to sketches because, of course, their buildings are so large that an image in smaller scale is necessary to the imagination and implementation of such projects. So, uh, these studies bee the basis for future works. And again, this is very interesting as a record of the creative process. Okay so far? Okay, drawing has several other functions besides as a temporary reference. For centuries, artists have used drawing as a traditional method of education. By copying the great works, especially of the Old Masters, aspiring artists could learn a lot about proportion, how to capture light and shadow and . . . and so forth. In fact, some artists who later achieve recognition, still continue to use this practice to hone their skills or . . . or simply to pay homage to another artist, as is often the case when a work of art originally created in another medium like a sculpture . . . when it’s recreated in the form of a drawing. Many examples of drawings of Michelangelo’s sculptures were recreated by wellknown artists. One that es to mind is the Study of Michelangelo’s Bound Slave by Edgar Degas. The original by Michelangelo was a marble sculpture that was, oh, about seven feet in height, but the small drawing was made in a sketchpad. In any case, the study is also considered a masterpiece, on a small scale, of course. So . . . what additional purposes might be served by the medium of drawing? Well, let’s remember that photography is a relatively new art form, so prior to the use of photographs to record historical events, a quick drawing by an artist was about the only way to preserve a realtime visual account of an important moment. Although a more permanent visual impression might be rendered later, it would be based on memory and not on the artist’s actual observation. Probably the most often cited example of a sketch that preserved an historical record would be the small drawing of Marie Antoite as she was taken to the guillotine in a cart through the streets of Paris JacquesLouis David sketched this famous drawing on a piece of paper about the size of the palm of his hand. And the artist, the artist reporter, is still important even in modern times, when photography isn’t possible, for example, when judges won’t permit cameras in the courtroom. Okay, to review, we’ve talked about three functions for drawing?as a visual aid for the artist to plete a future work, as a method of education for aspiring artists or even practiced artists, and as a way to report an event. But the sketchbook has . . . other possibilities. Sometimes a drawing is the final execution of the art. Picasso produced hundreds of drawings in, well, every conceivable medium, but especially in pencil and crayon. I find it very interesting that Picasso did so much of this kind of work . . . drawing, I mean, in his last years. Some critics have argued that he was just laughing at the art world, which was willing to pay outrageous sums for anything with his name on it, and clearly, a drawing can be executed in a short period of time. But others, other critics, they feel as I do that Picasso was drawing because it was so basic, and because it was so spontaneous and so much fun. And also, think about how difficult it really is to produce a quick drawing with a few lines and, uh, no opportunity to . . . to recreate the original , either by painting it out or remodeling the clay or changing the building materials, or . . . or any of the other methods for revision of a finished artistic work that artists have at their disposal. So, what I’m saying is that drawing when it’s elevated to a finished piece, it must be done with confidence and it must show a high degree of creativity and mastery of the art form. In a way, it harkens back to the beginnings of art itself, when some unknown artist must have stuck a finger in the earth to draw an image or . . . maybe he picked up a stone and made a drawing on the wall of a cave. Okay, so, as a first assignment, I want you to make a couple of sketches yourself. I’m not going to grade them. This isn’t a studio art class. I just want you to use a few basic strokes to capture an image. You can do the first one in pencil, crayon, ink, chalk, or even charcoal . . . whatever you like. Then, I want you to sketch the same image in a different medium. So, if you do a face in pencil, I want you to do the same face but in chalk or crayon. Bring them to class next week and we’ll continue our discussion of drawing, but we’ll talk more about the materials artists use to produce drawings, and, uh, we’ll refer to your sketches as examples. Paragraph 5 Student: Thanks for seeing me, Professor Williams. Professor: Glad to, Alice . What do you have on your mind? Student : Well, I got a little mixed up when I started to go over my notes from the last class, so I had a few questions. Professor: Shoot. Student: Okay. I understand the three basic sources of personnel for multinational panies. That’s fairly selfexplanatory. Professor: Host country, home country, and third country. Student: Right. But then you started talking about staffing patterns that . . . let me see . . . okay . . . you said, staffing patterns may vary depending on the length of time that the multinational pany has been operating, and you gave some examples, but I got confused and now I can’t read my notes. Professor: Okay. Well, one pattern is to rely on home country managers to staff the key positions when the pany opens, but gradually moving more host country nationals into upper management as the pany grows. Student: So, for example, if a French pany opened a f。