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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 original The Last Supper is not displayed at the show because________.
选项 A、its replica looks better
B、it cannot be moved
C、it is not kept in London
D、it does not fit into the theme of the show
答案B
解析 细节题。第五段前两句提到《最后的晚餐》是一幅壁画且损坏严重。可见，无法把原作搬来参展，因此选[B]。该段第二句提到复制品明显比不上真迹，故可排除[A]；第三段末尾提到梵蒂冈、布拉格、克拉科夫、巴黎等地也把作品借给本次展览，可见，原作未保存在伦敦并不是未能参展的原因，因此排除[C]；尽管第六段首句指出本次展览是分主题陈列的，但第一段指出该展览是迄今为止最隆重的达.芬奇画展，汇集了达.芬奇存世画作中的一半，可见，本次展览力求尽可能多地将达.芬奇的作品拿来展出，作品主体只是陈列时的分类依据而非入选标准，故排除[D]。
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