首页
登录
职称英语
Art needs a super-rich elite in order to flourish, according to professor of
Art needs a super-rich elite in order to flourish, according to professor of
游客
2023-12-17
29
管理
问题
Art needs a super-rich elite in order to flourish, according to professor of English at London University, Lisa Jardine. Jardine, who completed a major study into Renaissance art in mid-1997, points to the era as one to emulate an age when millionaire patrons were responsible for many of the world’s great artistic masterpieces.
"Committees do not create good art," she says, referring to the current system of state-sponsored arts funding in Britain. "We need enlightened patrons; this is my passionate plea. If you believe that art is just something that a society ought to have--something that a committee can decide to promote, or not, depending on the acceptability of the artist--then art will be dead in 100 years."
Professor Jardine is a committed socialist. But her new Study of the great Italian Renaissance families of the 15th and l6th centuries--the Medicis and other free-spending dynasties--has fired in her an almost missionary zeal for the rich as great art’s only true promoters.
It was the Renaissance, she points out, that kindled the desire to purchase the rare and beautiful. Merchants and bankers, such as Medicis, used their money to ensure the creation of the finest artifacts.
"These people were powerful. They had status, but they also had taste," says Jardine. "They were supremely cultivated or, if they were not, they knew they needed advice. Today’s art lovers are benefiting from their patronage. ’
For people who visit the great collections in the National Gallery in London, the Vatican museums in Rome and the Louvre in Paris, the Renaissance is one of the most evocative terms in the history of art. It conjures up images of Botticelli angels, a far-off era when some of the greatest artists the world has known were at the height of their powers. To Professor Jardine, however, this is not a long-lost golden age but a time with more similarities than differences to contemporary Europe. "We are the Renaissance’s direct inheritors,’ she explains. "The Renaissance made and shaped the Europe of today."
Jardine sees the Renaissance as the first consumer boom. Its great, memorable works, she argues, came about because of acquisitiveness, bordering on avarice. New-found wealth, often the profits of the silk and spice trades, was spent on exquisite possessions, from jewels and globes to paintings and sculpture.
"Conspicuous consumption was a manifestation of power. It was the key way to demonstrate your prosperity, but at the same time it was a manifestation of taste. Many of those who were collectors during the Renaissance were nouveau riche, but they did have a responsibility; just as the newly rich today have a responsibility to ensure that art flourishes."
Inevitably, under such a system, there will be craftspeople working for very little money, she says. "But that is the price we have to pay to have somebody painting works like the Mona Lisa that challenge society. I only wish’ you could have Utopia and create good art as well."
State sponsorship of the arts in Britain may soon be a thing of the. past. Jardine points to the US where, she says, they understand the importance of the entrepreneurial patron. "We need such patrons in Britain, too."
Britain does have some wealthy families who are interested in the arts. These include the Sainsbury family, owners of one of the country’s largest supermarket chains; and the Saatchi brothers, founders of the world famous international advertising agency of Saatchi&Saatchi. "Firms like Sainsbury’s,"says Jardine, "do their best to patronize young architects, even if it is only to build local supermarkets. ’
At present, however, such patrons are not common. "Art mattered to the patrons of the Renaissance," she says. "The Popes understood that they were spending money for the future when they spent money on books. And for other patrons, like the Medicis, there was a sense of dynastic responsibility. In a culture which values creativity enough, if people spend large sums at the top then you have freedom of expression, and the impact of that art trickles down and affects ordinary people." [br] What is meant by nouveau fiche?
选项
A、People with refined taste.
B、Conspicuous consumers.
C、The newly rich.
D、People with responsibilities.
答案
C
解析
从第八段最后一句的上下文可以猜测出nouveau riche的意思。but后的意思是:他们的确有责任(去保证艺术繁荣),正如今日的新贵有责任去保证艺术繁荣一样。可见“他们”和“新贵”是等同的。“他们”即指nouveau riche。所以nouveau riche的意思是“新贵”。
转载请注明原文地址:https://tihaiku.com/zcyy/3280858.html
相关试题推荐
[originaltext]DianeLarsen-Freemanisawell-knownAmericanprofessorofapp
[originaltext]DianeLarsen-Freemanisawell-knownAmericanprofessorofapp
[originaltext]DianeLarsen-Freemanisawell-knownAmericanprofessorofapp
[originaltext]DianeLarsen-Freemanisawell-knownAmericanprofessorofapp
AdamSmith,theScottishprofessorofmoralphilosophy,wasthrilledbyhisr
[originaltext]Host:Today,I’mveryhappytohaveprofessorPornchaiwithme.H
[originaltext]Host:Today,I’mveryhappytohaveprofessorPornchaiwithme.H
[originaltext]InspectorInterviewer:Accordingto
[originaltext]InspectorInterviewer:Accordingto
[originaltext]InspectorInterviewer:Accordingto
随机试题
A.冷热刺激均疼痛 B.冷测出现一过性疼痛 C.冷热测无反应 D.热痛冷水
导致呼吸减慢的原因应除外:()A.使用麻醉剂后 B.用镇静药过量 C.患
关于胎盘的气体交换功能,下列哪项是不恰当的A.母体的血氧浓度远远高于胎盘中氧浓度
北京是世界闻名的文化古城,多民族特有的文化在这里相互渗透、交融,形成了地方性民俗
《麻醉药品和精神药品管理条例》规定,第二类精神药品零售企业销售第二类精神药品时,
穿刺法适用于检查哪类药材的软化程度A:长条状药材B:粗大块状药材C:团块状药
化学结构为 的药物是A.普萘洛尔 B.尼可刹米 C.吡拉西坦 D.甲
华远公司于2×20年1月1日动工兴建一办公楼,工程采用出包方式,每半年支付一次工
(2017年真题)《国家建筑标准设计图集》(16G101)平法施工图中,剪力墙上
患者,男性,25岁。以饮酒后左上腹疼痛伴恶心、呕吐8小时就诊。该患者腹痛呈持续性
最新回复
(
0
)