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  3. Scientist, engineer, musician and great artist, Leonardo da Vinci is the archetypal Renaissance man. This undisputed genius, who

Scientist, engineer, musician and great artist, Leonardo da Vinci is the archetypal Renaissance man. This undisputed genius, who

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问题     Scientist, engineer, musician and great artist, Leonardo da Vinci is the archetypal Renaissance man. This undisputed genius, who lived to be 67, was also one of history’s most accomplished underachievers. He started many projects he did not finish; he accepted commissions he never began; his many planned treatises remained just notes. Only 18 of his paintings survive. Half of them are included in a show that opened on November 9th at London’s National Gallery, making this the most important da Vinci display ever.
    The artist was born near Florence in 1452 and went to Milan at the age of 30. Luke Syson, the show’s curator, has come to believe that the freedom da Vinci enjoyed there as court painter to Ludovico Sforza, Duke of Milan, was the key that unlocked his genius.
    Mr. Syson’s contention that Leonardo’s great breakthrough came in Milan and not later in Florence, as has generally been accepted until now, has captivated curators, collectors and museum directors who have been generous in loaning works to the show; from the Vatican, Prague, Cracow, Paris and the Royal Collection.
    All the pictures on show were painted during da Vinci’s 18 years in Milan. Never has it been possible to see so many of da Vinci’s paintings together. There are also some 50 drawings, including the monumental Virgin and Child with Saint Anne and Saint John the Baptist (sometimes called The Burlington House Cartoon).
    The one picture missing from this period is The Last Supper, which is painted on a wall. This work, which is badly damaged, is represented here by a large photograph and a near-contemporary (though far inferior) copy. In pages from a notebook da Vinci’s slanted "mirror" writing describes the guests at a dinner. With a novelist’s interest in detail, he carefully observed the shrug of one man’s shoulders, the position of another’s hands, the scowl on one face and the frown on yet one more.
    The exhibition is arranged thematically; in addition to "Beauty and Love", there is also "Character and Emotion" and "Body and Soul". The visitor quickly comes face to face with the portrait of Cecilia Gallerani, also known as The Lady with an Ermine. Although the image is familiar from reproductions, the radiance of the painting is surprising. Further along is an unfinished, yet searing, Saint Jerome. For the first time, both versions of The Virgin of the Rocks, one the National Gallery’s own and the other belonging to the Louvre, are shown together.
    The two versions hang at opposite ends of the long exhibition space. The more one looks at the two pictures, the more visible are the differences between them; the strangely formed rocks in the Louvre’s version create a protective atmosphere, whereas in the National Gallery’s painting the rocks seem quite eerie, contributing to the overall sepulchral feel of the work.
    As a philosopher and scientist, da Vinci strove to understand what he observed in his close studies of nature. Art was an expression of his thoughts. The Lady with an Ermine shows the Duke of Milan’s teenage mistress in a fashionable red gown, its slit sleeves revealing a pale underdress. Da Vinci, always fascinated by knots, carefully details the way the black ribbons are tied on Cecilia’s left sleeve. Her right arm is in shadow. The ties on that sleeve are sketchy. The artist has taken into account his observation that visual acuity declines in the dark. The brain fills in necessary information. The sketchiness of the right sleeve helps bring the portrait to life, creating what Walter Pater, a 19th-century British essayist and art critic, described as a "reality which almost amounts to illusion".
    Da Vinci would sometimes spend years thinking about a single painting. Mr. Syson hopes visitors to the National Gallery will, in turn, look long and hard at these works. Advance tickets for entry to the end of the year had sold out by the opening day. The show does not close until February 5th 2012, but advance tickets for its final weeks are going fast. Meanwhile, the only way to get in now is to queue for one of the 500 tickets being held back for sale each morning. The security checks are elaborate, but the wait is well worth it.  
The tone of the author to Leonardo da Vince is________.
选项 A、critical
B、neutral
C、curious
D、praising
答案D
解析 态度题。文章第一段前两句肯定达.芬奇是一位无可争议的天才，文章第八段在描述达.芬奇的画作时以明显赞誉的口气突出了其细腻的画风和强烈的感染力，最后一段末句更是表示达.芬奇的画展绝对值得一看，可见，作者对达.芬奇的语气是赞赏的，故[D]正确。尽管作者在第一段第二句称达.芬奇为“underachiever”，但这只是表示他凭自己的天赋本该取得更高的成就，并非批评之意，因此排除[A]；作者对达.芬奇的赞赏之意表露明显，故可排除[B]；文中对达.芬奇作品的描绘栩栩如生，但并不是为了体现作者的好奇心，而是突出达.芬奇的鲜明画风和独特天赋，故可排除[C]。
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