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  3. A primary value in early twentieth-century Modernist architectural theory wa

A primary value in early twentieth-century Modernist architectural theory wa

游客2024-01-10  12
问题     A primary value in early twentieth-century Modernist architectural theory was that of “truth to materials”, that is, it was essential that a building’s design express the “natural” character of the building materials. This emphasis would have puzzled the architects of the Italian Renaissance (sixteenth century), a period widely regarded as the apex of architectural achievement, for Renaissance architects’ designs were determined only minimally by the materials employed. The diversity of Italy’s natural resources provided Renaissance architects with a wide variety of building materials. The builders of the Pitti Palace (1558-1570) used great blocks of Tuscan stone, just as Etruscans living in the same part of Italy had done some twenty centuries earlier. Had the Florentine Renaissance builders aped the Etruscan style, it might be said that their materials determined their style, since Etruscan style matched the massive, stark, solid character of the stone. But these same materials, which so suited the massive Etruscan style, were effectively used by the Florentine Renaissance to create the most delicate and graceful of styles.
    A similar example of identical materials used in contrasting styles characterizes the treatment of Roman travertine marble. When Baroque architects of seventeenth-century Rome desired a massive and solid monumental effect, they turned to travertine marble, whose “natural effect” is, indeed, that of spacious breadth and lofty, smoothly rounded surfaces. Yet during the Renaissance, this same material had been used against its “nature,” in the Florentine tradition of sharply carved detail. Italian Renaissance architecture was shaped less by the “nature” of the materials at hand than by the artistic milieu of Renaissance Italy, which included painting and sculpture as well as architecture. While Roman travertine marble may have lent itself to fine carving, the Florentine passion for fine detail is no less marked in Florentine Renaissance painting than in Florentine Renaissance architecture. Similarly, in the next century, the emphasis on shading and corporeal density in Baroque painting mirrored the use of Roman travertine marble in Baroque architecture to create broad shadow and powerful masses.
    The ingenuity of Renaissance architects extended beyond merely using a material in a way not suggested by its outward natural appearance. If they conceived a design that called for a certain material either too expensive or difficult to work with, they made no scruple about imitating that material. Their marbles and their stones are often actually painted stucco. When the blocks of masonry with which they built were not in scale with the projected scheme, the real joints were concealed and false ones introduced. Nor were these practices confined, as some scholars insist, to the later and supposedly decadent phases of the art. Material, then, was utterly subservient to style. [br] It can be inferred from the passage that the author believes that which of the following is true of painting and architecture of the Baroque era?
选项 A、Both emphasize the “natural” use of materials.
B、Both are derived from the Florentine Renaissance style.
C、Both have been overlooked by twentieth-century Modernists.
D、They have certain visual features in common.
E、They illustrate the degeneration of a style.
答案 D
解析 根据Baroque，本题只能定位到第二段的二六两句。而讨论巴洛克绘画和建筑的，只有第二段第六句。这句话表明巴洛克的绘画模仿了巴洛克建筑的阴影和厚重，因此选项D正确。certain visual features in common指的便是阴影和厚重感。A项干扰选项。根据第二句，巴洛克的建筑确实体现了建材的本质。但是如果要选A，文中还应该说巴洛克的绘画体现了“绘画材料”的本质，但这一点是未被提及的，因此选项A不选。B项根据第二段，巴洛克和文艺复兴不同，因此巴洛克不可能起源于文艺复兴时期。C项文中未提及。E项看不出巴洛克是否体现艺术风格的衰落。
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