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  3. The history of responses to the work of the artist Sandro Botticelli (1444 - 1510) suggests that widespread appreciation by crit

The history of responses to the work of the artist Sandro Botticelli (1444 - 1510) suggests that widespread appreciation by crit

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问题     The history of responses to the work of the artist Sandro Botticelli (1444 - 1510) suggests 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 fellows 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 outside 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 midnineteenth 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 the 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 the 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.
We can learn from the text that art critics have a history of______.
选项 A、suppressing painters’ art initiatives
B、favoring Botticelli’ s best paintings
C、rejecting traditional art characteristics
D、undervaluing Botticelli’s achievements
答案D
解析 文章的第一段最后一句话“Even when anti—academic art historians…，Botticelli’s work remained outside of accepted taste…．”，就算当时很多正统的艺术风格被批判，波提切利的作品也没有引起重视，认为他的作品不随人们的口味，既满足不了专业人士的品位，也不能满足业余人士的欣赏要求。这里的undervalue的意思是“低估，没有重视”，故应选D。
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