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  3. In the history of arts patronage (赞助), entrepreneurs-turned-connoisseurs (艺术

In the history of arts patronage (赞助), entrepreneurs-turned-connoisseurs (艺术

游客2024-05-08  20
问题     In the history of arts patronage (赞助), entrepreneurs-turned-connoisseurs (艺术品鉴赏家) are a young development. The world’s greatest museums—the Louvre, Hermitage, Prado—began as lavish civilization-is-power statements by monarchs and emperors; private individuals did not emerge as significant museum patrons before the 19th century. Until a generation ago, those wanting to leave their mark in bricks usually did so in a room of their own in a state museum: the Duveen Galleries at Tate Britain, the Abby Aldrich Rockefeller Gallery at New York’s Museum of Modern Art. But in the past 15 years, that has changed: worldwide, collectors seek immortality in glass and steel, through a museum of their own, designed by an architect of their choosing.
    These are not latter-day Henry Tates or Pavel Tretyakovs, democratic visionaries who paid for buildings and donated core collections to kick-start evolving national, state-run institutions. Museum builders of the 1990s and 2000s, by contrast, are products of late capitalism, dedicated to more personal projects, with an individualistic flavor. They represent the legacy of Thatcher-Reagan words of choice, private philanthropy (慈善机构), me-generation celebrity.
    Together, these and scores more bring diversity and flatten old geographical hierarchies. In Istanbul, collector Sakip Sabanci’s museum, founded in 2002, is the first ever to show western modernism in Turkey. Thanks to Dominique de Menil, the greatest collection of paintings by Cy Twombly, who lives in Italy, is on permanent show in Houston, Texas, in a gallery designed in 1995 by Renzo Piano. In 1996 the late collector and dealer Heinz Berggruen launched his Museum Berggruen in Berlin, giving Germany its only Picasso collection.
    Is all for the best in the best of all possible worlds? Certainly, more private museums mean more art on display for more people to see. Today’s collectors are reluctant to bequeath (把......赠送给) to established museums, where space shortages mean works may go straight into storerooms and stay there. By contrast, a dedicated museum maintains the integrity of a collection and keeps together outstanding groups of works. Renzo Piano’s light, see-through 1997 construction for Ernst Beyeler’s cherry-picked modernist paintings in Basel is the shining European example. For contemporary work, private collectors have particular advantages: free of state bureaucracy, they can respond quickly to the fast pace, and show work in ways that are too radical for traditional museums. [br] Why are collectors nowadays unwilling to donate their collections to public museums?
选项 A、Far more arts collections are presented for public institutions to choose from.
B、Their collections might not be displayed due to the limited space.
C、Their collections are inferior in value to those in public institutions.
D、They have fun showing and enjoying their collections of arts privately.
答案 B
解析 细节辨认题。定位句指出，如今的收藏家不愿将藏品捐赠给知名博物馆，在那里，展区短缺意味着有些作品可能会被直接搬入储藏室，再也没有与世人见面的机会。原文用where引导的非限制性定语从句提供了答案。
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