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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2024-05-20  19
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), megeneration 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, keeping together outstanding groups of works, assembled with personal flair, in buildings designed to enhance them. 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] What can we learn about museums of the 1990s and 2000s from the passage?
选项 A、They were characterized by democratic visions.
B、They were designed by architects designated by collectors.
C、They were built to express individualism and egoism.
D、They were built to promote Thatcher-Reagan aspirations.
答案 B
解析 细节推断题。第二段主要介绍个人博物馆的特点。结合第一段末句提到，全球的收藏者都希望由自己选定的建筑师设计属于自己的博物馆，在那些玻璃和钢铁结构上永远留下他们的名字，所以答案为B)“它们由收藏家指定的建筑师设计”。
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