（1） 下線部［1］を和訳しなさい。 （2） 下線部［2］を和訳しなさい。 （3） 下線部［3］を和訳しなさい。 （4） 下線部［4］の理由を、わかりやすく説明しなさい。 （5） 下線部［5］を和訳しなさい。157 My choice of colors does not rest on any scienti■c theory; it is based on observation, on feeling, on the experience of my sensibility. ［1］ Inspired by certain pages of Delacroix, an artist like Signac is preoccupied with complementary colors, and the theoretical knowledge of them will lead him to use a certain tone in a certain place. But I simply try to put down colors which render my sensation. There is an impelling proportion of tones that may lead me to change the shape of a ■gure or to transform my composition. Until I have achieved this proportion in all the parts of the composition, I strive towards it and keep on working. ［2］ Then a moment comes when all the parts have found their de■nite relationships, and from then on it would be impossible for me to add a stroke to my picture without having to repaint it entirely. [...] What interests me most is neither still life nor landscape, but the human ■gure. It is that which best permits me to express my so-to-speak religious feeling towards life. I do not insist upon all the details of the face, on setting them down one-by-one with anatomical exactitude. ［3］ If I have an Italian model who at ■rst appearance suggests nothing but a purely animal existence, I nevertheless discover his essential qualities, I discover amid the lines of the face those which suggest the deep gravity that persists in every human being. A work of art must carry within itself its complete significance and impose that upon the beholder even before he recognizes the subject matter. ［4］ When I see the Giotto frescoes at Padua I do not trouble myself to recognize which scene of the life of Christ I have before me, but I immediately understand the feeling that emerges from it, for it is in the lines, the composition, the color. The title will only serve to con■rm my impression. ［5］ What I dream of is [...] an art that could be for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming in■uence on the mind, something like a good armchair that provides relaxation from fatigue.※必要に応じて原文の一部を省略するなどした。MATISSE ON ART edited by Jack Flam. Copyright ©1995 by Jack Flam. English translation copyright ©1995 by Jack Flam.Underlying text and illustrations by Matisse. Copyright © 1995, 1973 by Succession Henri Matisse. (University of California Press) Reprinted by permission of Georges Borchardt, Inc., for Jack Flam. 2022年1月25日（火）実施著作権保護のため掲載を控えております各専攻、研究領域ごとに実施2022年1月25日（火）実施2022年1月25日（火）実施問題 ｜ 次の英文を読んで、設問に日本語で答えなさい。問題 ｜ 「つくる」「考える」「伝える」の関係について、 1,200字以内で論じなさい。各専攻、研究領域ごとに実施芸術学専攻面接提出論文英語 ［60分］小論文 ［90分］
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