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  3. The history of responses to the work of the artist Sandro Botticelli (1444-1

The history of responses to the work of the artist Sandro Botticelli (1444-1

游客2025-04-22  23
问题     The history of responses to the work of the artist Sandro Botticelli (1444-1510) suggests gests that widespread appreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease with Botticelli’s work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamed Botticelli in favor of his fellow Florentine, Michelangelo. Even when anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors, Botticelli’s work remained out side of accepted taste, pleasing neither amateur observers nor connoisseurs.  (Many of his best paintings, however, remained hidden away in obscure churches and private homes. )
    The primary reason for Botticelli’s unpopularity is not difficult to understand: most observers, up until the mid-nineteenth century, did not consider him to be noteworthy, because his work, for the most part, did not Seem to these observers to exhibit the traditional characteristics of fifteenth-century Florentine art. For example, Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro.
    Another reason for Botticelli’s unpopularity may have been that his attitude toward the style of classical art was very different from that of his contemporaries. Although he was thoroughly exposed to classical art, he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style that was only slightly similar to that of classical art.
    In any case, when viewers began to examine more closely the relationship of Botticelli’s work to the tradition of fifteenth-century Florentine art, his reputation began to grow. Analyses and assessments of Botticelli made between 1850 and 1870 by the artists of the Pre-Raphaelite movement, as well as by the’ writer Pater (although he, unfortunately, based his assessment on an incorrect analysis of Botticelli’s personality), inspired a new appreciation of Botticelli throughout the English-speaking world. Yet Botticelli’s work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines-features such as skillful representation of anatomical proportions, and of the human figure in motion. However, Home argued that Botticelli did not treat these qualities as ends in themselves-rather, that he emphasized clear depletion of a story, a unique achievement and one that made the traditional Florentine qualities less central. Because of Home’s emphasis crucial to any study of art, the twentieth century has come to appreciate Botticelli’s achievements. [br] We can learn from the text that art critics have a history of ______.
选项 A、suppressing painters’ art initiatives
B、favoring a Botticelli’s best paintings
C、rejecting traditional art characteristics
D、undervaluing Botticelli’s achievements
答案 D
解析 题干问：“我们从本文可以知道，艺术的批评家们长期都……”。正确选项为 D“低估了波提切利所取得的成就”。而选项A“压抑了艺术家们的艺术创造性”，在文中没有提及，选项B“喜爱波提切利最好的作品”和选项C“抛弃了传统的艺术特征”都和原文的意思相反。
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