In the history of arts patronage(资助，赞助), entrepreneurs-turned-connoisseurs

游客2023-09-07 46

问题    In the history of arts patronage(资助，赞助), entrepreneurs-turned-connoisseurs(艺术品鉴赏家，行家) are a young development. The world’s greatest museums the Louvre, Hermitage, Prado began as lavish civilization-is-power statements by monarchs and emperors; private individuals did not emerge as significant museum patrons before the 19th century. Until a generation ago. those wanting to leave their mark in bricks usually did so in a room of their own in a state museum: the Duveen Galleries at Tate Britain, the Abby Aldrich Rockefeller Gallery at New York’s Museum of Modern Art. But in the past 15 years, that has changed: worldwide, collectors seek immortality in glass and steel, through a museum of their own, designed by an architect of their choosing.
   These are not latter-day Henry Tates or Pavel Tretyakovs, democratic visionaries who paid for buildings and donated core collections to kick-start evolving national, state-run institutions. Museum builders of the 1990s and 2000s, by contrast, are products of late capitalism, dedicated to more personal projects, with an individualistic flavor. They represent the legacy of Thatcher-Reagan words of choice, private philanthropy (慈善机构), me-generation celebrity.
   Together, these and scores more bring diversity and flatten old geographical hierarchies. In Istanbul, collector Sakip Sabanci’s museum, founded in 2002, is the first ever to show western modernism in Turkey. Thanks to Dominique de Menil, the greatest collection of paintings by Cy Twombly, who lives in Italy, is on permanent show in Houston, Texas, in a gallery designed in 1995 by Renzo Piano. In 1996 the late collector and dealer Heinz Berggmen launched his Museum Berggruen in Berlin, giving Germany its only Picasso collection.
   Is all for the best in the best of all possible worlds? Certainly, more private museums mean more art on display for more people to see. Today’s collectors are reluctant to bequeath (遗赠) to established museums, where space shortages mean works may go straight into storerooms and stay there. By contrast, a dedicated museum maintains the integrity of a collection, keeping together outstanding groups of works, assembled with personal flair, in buildings designed to enhance them. Renzo Piano’s light, see-through 1997 construction for Ernst Beyeler’s cherry-picked modernist paintings in Basel is the shining European example. For contemporary work, private collectors have particular advantages: free of state bureaucracy, they can respond quickly to the fast pace, and show work in ways that are too radical for traditional museums.  [br] The passage cites examples of Sakip Sabanci’s and Dominique de Menil museums to ______.

选项 A、prove how private collectors enrich arts collection and flatten geographical hierarchies
B、show the symbolism of the private museums and the aesthetic transformation of a nation
C、explain the fact that the rush of private museums is destabilising the art landscape
D、exemplify the nowadays crisis of shrinking art resources and growing demand

答案 A

解析事实细节题。第三段主要介绍了个人博物馆的积极意义．即丰富了藏品市场，打破了空间隔阂。本段首句就是主题句，本段后面的例子都是用来证明主题句的，故答案为A)。

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In the history of arts patronage(资助，赞助), entrepreneurs-turned-connoisseurs

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