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  3. A few years back, the decision to move the Barnes, a respected American art

A few years back, the decision to move the Barnes, a respected American art

游客2024-02-08  55
问题     A few years back, the decision to move the Barnes, a respected American art institution, from its current location in the suburban town of Merion, Pa., to a site in Philadelphia’s museum district caused an argument — not only because it shamelessly went against the will of the founder, Albert C. Barnes, but also because it threatened to dismantle(拆开)a relationship among art, architecture and landscape critical to the Barnes’s success as a museum.
    For any architect taking on the challenge of the new space, the confusion of moral and design questions might seem overwhelming. What is an architect’s responsibility to Barnes’s vision of a marvelous but odd collection of early Modern artworks housed in a rambling(布局凌乱的)1920s Beaux-Arts pile? Is it possible to reproduce its spirit in such a changed setting? Or does trying to replicate(复制)the Barnes’s unique atmosphere only doom you to failure? The answers of the New York architects taking the commission are not reassuring.
    The new Barnes will include many of the features that have become virtually mandatory(强制性的)in the museum world today — conservation and education departments, temporary exhibition space, auditorium, bookstore, cafe — making it four times the size of the old Barnes. The architects have tried to compensate for this by laying out these spaces in an elaborate architectural procession that is clearly intended to replicate the peaceful-ness, if not the fantastic charm, of the old museum.
    But the result is a complicated design. Almost every detail seems to ache from the strain of trying to preserve the spirit of the original building in a very different context. The failure to do so, despite such an earnest effort, is the strongest argument yet for why the Barnes should not be moved in the first place.
    The old Barnes is by no means an obvious model for a great museum. Inside the lighting is far from perfect, and the collection itself, mixing masterpieces by Cezanne, Picasso and Soutine with second-rate paintings by lesser-known artists, has a distinctly odd flavor. But these apparent flaws are also what have made the Barnes one of the country’s most charming exhibition spaces.
But today the new Barnes is after a different kind of audience. Although museum officials say the existing limits on crowd size will be kept, it is clearly meant to draw bigger numbers and more tourist dollars. For most visitors the relationship to the art will feel less immediate. [br] What do we know about the old Barnes from the fifth paragraph?
选项 A、It is a good example of the great modern museums.
B、It is downgraded by the mixture of different paintings.
C、The world-famous painters’ works make it a charming place.
D、It is the seeming imperfection that makes it attractive.
答案 D
解析 根据题干将本题出处定位于第5段末句。第5段末句提到，正是这些表面上的缺点使巴恩斯成为最迷人的博物馆之一，D)是对此句话的同义转述，其中seeming imperfection与apparent flaws同义，故答案为D)。由第5段第2句可知apparent flaws指的就是知名画家和名不见经传画家的画作同挂一室，但这些并没有使巴恩斯降格，而是其更富魅力的关键，故B)不正确，同时也排除C)；第5段说明旧的巴恩斯不是现代伟大博物馆的典范，故排除A)。
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