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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  16
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] The word "connoisseurs" (Para. ) most probably means ______.
选项 A、representatives in the Pre-Raphaelite Movement
B、people who are in favor of Florentine
C、critics who are likely to make assessments
D、conservatives clinging to classical art
答案 C
解析 题干问：“‘connoisseurs’(第一段)最可能的意思是……”。在第一段作者讲述了那些评论家，不管是业余的还是职业的，他们对于波提切利作品的评价；所以选项C“可能作出评论的评论家”是该单词最可能表达的含义。而选项A“是拉菲尔前派运动的代表人物”，选项B“喜欢佛罗伦萨的人”和选项D“遵从传统艺术的守旧者”都与原文不相符合。
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