雅思阅读真题（Part 3）

200 years of Australian landscapes at the royal academy in London

伦敦皇家艺术学院澳洲风景画200年展

本篇也叫：澳洲风景画展、澳大利亚风景画、皇家艺术学院澳洲展、澳洲风景画200年、澳大利亚风景画200年、伦敦澳洲风景画展

Part 3 · 考频：超高频 · 最近考试：2026.1.25上海财经大学

本篇为雅思阅读真题（Part 3）《200 years of Australian landscapes at the royal academy in London》，共 14 题，2026.1.25上海财经大学雅思考试真题回忆，页面提供完整原文、题目、答案与解析，并支持在线机考模式免费练习。本页同时提供 Markdown 版本 供 AI 助手与搜索引擎直接读取。

文章大意

文章介绍伦敦皇家艺术学院举办的“澳大利亚”风景画展，梳理从殖民时期到当代的澳洲艺术演变，并讨论英国策展视角引发的争议。澳大利亚评论家乔安娜·门德尔松质疑选品保守，认为英国仍以自身风景画传统审视前殖民地艺术。

题目原文

This exhibition promises to chart the evolution of a nation through its art, but not everyone agrees with the reasons behind the choice of artwork.

 

A 

For the casual viewer, the exhibition of landscapes, Australia, selected by the Royal Academy of Art, will be a spectacular guide through Australian art history. Included in the exhibition are a range of artists and styles, dating from the earliest days of colonial art and progressing through expressionism and modernism to the greats of the 20th century, culminating with the current generation of Australian artists. It is hardly surprising, then, that this results in a flexible, wide-ranging notion of landscape.

 

B 

But this landmark exhibition gives rise to some questions, and perhaps problems, regarding Britain's relationship with its former colony. By choosing a style of painting at which British artists excel, the Academy could be seen as inviting criticism that hints at a telling attitude towards Australian art by comparison. But it is the very theme of landscape that provides the strongest connection to Australian art from Britain. To consider it condescending is perhaps too strong, but for Joanna Mendelssohn, an Australian critic and Associate Professor at the University of NSW's College of Fine Arts (COFA), there is a suggestion that British artistic values have directed this exhibition, rather than allowing Australia the freedom to demonstrate its maturity.

What Mendelssohn found surprising about this exhibition was that the underlying rules for the selection of works seemed to have been so conservative. Since the landscape is a very strong British artistic theme, it appeared to her that when the British looked to the art of a former colony, there was a tendency for them to think that those colonies would continue to be like the British themselves. In reviewing Australia, the British insisted on looking at the genre of landscape painting.

 

C 

Because of colonial ties, it was inevitable during Australian art's formative years that it would reflect Britain's devotion to the beloved landscape before its own character and idiosyncrasies took shape. And while Mendelssohn's concern over the exhibition's conventional selection is valid, the Academy is nevertheless embracing the peculiarities of Australian art from the mid-19th century onward, albeit within the boundaries of landscape.

 

D 

Australia is curated by Kathleen Soriano, director of exhibitions at the Royal Academy. "Certainly the influence of English, French, or German art is much more evident in the early periods, in the early 1800s to mid-1800s," she says. "What I wanted to show was how Australian art develops a real distinctiveness, associated with the landscape and the light.

 

E 

The fusion of tradition of the European kind with something more specifically Australian, and often personal, is crucial to the exhibition, and extends particularly to some of the more contemporary artists involved. Sydney-born video artist Shaun Gladwell is a good example of this. Gladwell's most famous piece, which is featured in the exhibition, is Storm Sequence (2000), a video of Gladwell skateboarding on the Bondi seafront as one of Sydney's signature brutal storms lingers offshore. It is his acknowledgment of landscape (or seascape) tradition, colored by Gladwell's own individualism. "To exhibit my work in this show might make some sense because I was interested in Turner and the idea of atmosphere affecting vision, something I was really interested in around the time of Storm Sequence. I was thinking about this tradition of Romantic landscape, but I wanted to make it personal,' says Gladwell. But he didn't want to just embark on borrowing imagery from elsewhere. He wanted to bring it to his experience and his world through skateboarding and beach culture.

 

F 

So while it may seem narrow for Britain to reduce Australian art to the genre of landscape, there can be little denying that British landscape painting is still relevant to a current generation of Australian practitioners, however indirectly.

 

G 

Visitors to the exhibition encounter Australian Aboriginal art first, the idea being that these works warrant a prominent position because they were 'first'. Over the last couple of decades, London has hosted many successful exhibitions of Aboriginal art in smaller spaces, but for Soriano, Australia represents an opportunity to place such art in a broader context, with new relationships to the art of the settlers and white Australia. 'One of the reasons landscape makes sense as being the right theme was because Aboriginal art started in and on the landscape,' she says. '[The exhibition] is a beautiful meshing of the two different kinds of art, that allowed me to bring them together comfortably and honestly within this theme. It was important for me to present Indigenous art to audiences, and I felt it was most authentic that it was seen as part of Australian art history, rather than a separate area with a world of its own.'

 

H 

Meanwhile, Australian critic Mendelssohn also points out that London is increasingly less important to today's generation of artists, and this somewhat weakens the ceremony surrounding the exhibition in London. 'China is the most important art market in the world,' she says. 'If you've made it in Shanghai, you've made it. The world has changed. My students in Australia, who come from all over the world, really want to see Venice Biennale and Art Basel, but they're less interested in going to London. When I was growing up, London was the destination, and then when I was at university all the smart young things wanted to go to New York,' she added. 'Now they want to go everywhere. There's no such thing as the centre and the periphery like there used to be. It's much more complicated.'

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题目与答案

  1. 27 As expected, the artworks chosen for the exhibition reflect a narrow interpretation of landscape.
    • TRUE
    • FALSE
    • NOT GIVEN

    答案：FALSE

    原文定位：It is hardly surprising, then, that this results in a flexible, wide-ranging notion of landscape

    同义替换：「As expected」↔「hardly surprising」，「narrow interpretation」↔「flexible, wide-ranging」

  2. 28 The Academy rejected Australian suggestions for the subject of the exhibition.
    • TRUE
    • FALSE
    • NOT GIVEN

    答案：NOT GIVEN

    同义替换：「The Academy」↔「」，「rejected」↔「」，「Australian suggestions」↔「」，「subject of the exhibition」↔「」

  3. 29 The colonial relationship meant that early Australian landscape painting followed the traditions of English landscape painting.
    • TRUE
    • FALSE
    • NOT GIVEN

    答案：TRUE

    原文定位：Because of colonial ties, it was inevitable during Australian art's formative years that it would reflect Britain's devotion to the beloved landscape before its own character and idiosyncrasies took shape

    同义替换：「relationship」↔「ties」，「early Australian landscape painting」↔「Australian art's formative years」，「followed the traditions」↔「reflect Britain's devotion to the beloved landscape」，「English」↔「Britain」

  4. 30 The exhibition reflects the fact that Australian art developed its own particular qualities.
    • TRUE
    • FALSE
    • NOT GIVEN

    答案：TRUE

    原文定位：What I wanted to show was how Australian art develops a real distinctiveness, associated with the landscape and the light

    同义替换：「particular qualities 」↔「real distinctiveness」，「reflects」↔「show」，「developed」↔「develops」

  5. 31 Contemporary Australian artists have generally rejected British landscape traditions.
    • TRUE
    • FALSE
    • NOT GIVEN

    答案：FALSE

    原文定位：British landscape painting is still relevant to a current generation of Australian practitioners, however indirectly

    同义替换：「Contemporary Australian artists」↔「a current generation of Australian practitioners」，「have generally rejected」↔「is still relevant to」，「British landscape traditions」↔「British landscape painting」

  6. 32 What is the writer's main point in the second paragraph?
    • Australian landscape painting derives from the British tradition.
    • Australian landscape painting is more highly regarded than British.
    • Britain is still imposing its principles on Australian art.
    • British art cannot be compared to Australian art.

    答案：Britain is still imposing its principles on Australian art.

    原文定位：there is a suggestion that British artistic values have directed this exhibition, rather than allowing Australia the freedom to demonstrate its maturity

    同义替换：「Britain」↔「British」，「imposing its principles」↔「British artistic values have directed this exhibition」，「Australian art」↔「Australia」

  7. 33 What does Joanna Mendelssohn find surprising?
    • Modem Australian landscape painting has great variety.
    • The guidelines for the choice of work were very traditional.
    • Landscape painting remains a popular subject for British artists.
    • The British find the Australian landscape unsuitable as a subject.

    答案：The guidelines for the choice of work were very traditional.

    原文定位：What Mendelssohn found surprising about this exhibition was that the underlying rules for the selection of works seemed to have been so conservative

    同义替换：「guidelines」↔「rules」，「choice」↔「selection」，「very traditional」↔「so conservative」

  8. 34 Shaun Gladwell's work is included in the exhibition because
    • it adopts a subjective approach to depicting the landscape.
    • skateboarding is an inspiration to many Australian artists.
    • storms are a significant feature in the Australian landscape.
    • Bondi is an iconic Australian location.

    答案：it adopts a subjective approach to depicting the landscape.

    原文定位：It is his acknowledgment of landscape (or seascape) tradition, colored by Gladwell's own individualism. "To exhibit my work in this show might make some sense because I was interested in Turner and the idea of atmosphere affecting vision, something I was really interested in around the time of Storm Sequence. I was thinking about this tradition of Romantic landscape, but I wanted to make it personal

    同义替换：「adopts a subjective approach」↔「own individualism」，「depicting」↔「acknowledgment」

  9. 35 What was the reason for Soriano including Aboriginal art in the exhibition?
    • It is not well known in London art circles.
    • Aboriginal landscape painting influenced Australian settlers.
    • It is part of the Australian art tradition and not independent of it.
    • Modem Aboriginal painting deals with changes to the landscape.

    答案：It is part of the Australian art tradition and not independent of it.

    原文定位：I felt it was most authentic that it was seen as part of Australian art history, rather than a separate area with a world of its own

    同义替换：「It is part of the Australian art tradition」↔「seen as part of Australian art history」，「not independent of it」↔「rather than a separate area with a world of its own」

  10. 36 By referring to China, Mendelssohn is making the point that
    • having an exhibition in London is not as important as it used to be.
    • young artists in Britain are not interested in Australian art.
    • art from Shanghai is more important than Australian art.
    • New York is still a preferred destination for young artists.

    答案：having an exhibition in London is not as important as it used to be.

    原文定位：London is increasingly less important to today's generation of artists, and this somewhat weakens the ceremony surrounding the exhibition in London

    同义替换：「having an exhibition in London」↔「the exhibition in London」，「not as important as it used to be」↔「is increasingly less important」

  11. In spite of its conservatism, the Royal Academy exhibition
    • reflects the mood created by the natural environment.
    • demonstrates that the dominant art form in Australia is landscape painting.
    • demonstrates an understanding of the historical importance of the land.
    • showcases a very small number of artists.
    • demonstrates a strong European flavour.
    • shows an acceptance of the unique qualities of Australian art.

    答案：shows an acceptance of the unique qualities of Australian art.

    原文定位：And while Mendelssohn's concern over the exhibition's conventional selection is valid, the Academy is nevertheless embracing the peculiarities of Australian art from the mid-19th century onward, albeit within the boundaries of landscape

    同义替换：「In spite of its conservatism」↔「conventional selection is valid」，「shows an acceptance」↔「embracing」，「unique qualities」↔「peculiarities」

  12. Australian art of the early to mid-1800s
    • reflects the mood created by the natural environment.
    • demonstrates that the dominant art form in Australia is landscape painting.
    • demonstrates an understanding of the historical importance of the land.
    • showcases a very small number of artists.
    • demonstrates a strong European flavour.
    • shows an acceptance of the unique qualities of Australian art.

    答案：demonstrates a strong European flavour.

    原文定位：Certainly the influence of English, French, or German art is much more evident in the early periods, in the early 1800s to mid-1800s

    同义替换：「strong European flavour」↔「influence of English, French, or German art」，「demonstrates」↔「is much more evident」

  13. The modern work by Gladwell chosen for the exhibition
    • reflects the mood created by the natural environment.
    • demonstrates that the dominant art form in Australia is landscape painting.
    • demonstrates an understanding of the historical importance of the land.
    • showcases a very small number of artists.
    • demonstrates a strong European flavour.
    • shows an acceptance of the unique qualities of Australian art.

    答案：reflects the mood created by the natural environment.

    原文定位：I was interested in Turner and the idea of atmosphere affecting vision;I was thinking about this tradition of Romantic landscape

    同义替换：「The modern work by Gladwell chosen for the exhibition」↔「Gladwell's most famous piece, which is featured in the exhibition」，「mood created by the natural environment」↔「atmosphere affecting vision」

  14. Including Aboriginal art in the exhibition
    • reflects the mood created by the natural environment.
    • demonstrates that the dominant art form in Australia is landscape painting.
    • demonstrates an understanding of the historical importance of the land.
    • showcases a very small number of artists.
    • demonstrates a strong European flavour.
    • shows an acceptance of the unique qualities of Australian art.

    答案：demonstrates an understanding of the historical importance of the land.

    原文定位：One of the reasons landscape makes sense as being the right theme was because Aboriginal art started in and on the landscape

    同义替换：「demonstrates an understanding」↔「makes sense as being the right theme 」，「historical importance of the land」↔「started in and on the landscape」

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