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

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

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问题     This 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 fellow 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 mid-nineteenth 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 fifteenth-century Florentineart. 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 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.
It can be inferred that the author of the text would be likely to find most beneficial a study of an artist that_________.
选项 A、avoided placing the artist in an evolutionary scheme of the history of art
B、analyzed the artist’s work in relation to the artist’s personality
C、analyzed the artist’s relationship to the style and subject matter of classical art
D、analyzed the artist’s work in terms of both traditional characteristics and unique achievements
答案D
解析 推断题。题干问作者对于如何评价艺术家的看法问题。相关信息在文章的最后一段的结尾部分。由于Home强调一个天才的艺术家是如何反映传统而且去超越传统的，这是任何艺术研究的关键要点，正因为如此，20世纪人们才开始欣赏波提切利的成就。可以看出，作者看重的是一个艺术家如何去反映传统而且超越传统，从四个选项中发现，[A]“避免将艺术家放在艺术史的发展框架内去看待”，[B]“分析艺术家的作品和艺术家人格的关系”和[C]“分析艺术家与古典艺术的风格和主题的关系”均不是本文作者的意图所在，只有[D]“按照传统特点和艺术家独特的成就来分析艺术家的作品”是作者所肯定的，应当选[D]。
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