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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.
According to the text, which of the following is an accurate statement about Botticelli’s relation to classical art?
选项 A、Botticelli more often made use of classical subjects matter than classical style.
B、Botticelli’s interest in perspective led him to study classical art.
C、Botticelli’s style does not share any similarities with classical art.
D、Because he saw little classical art, Botticelli did not exhibit much interest in imitating it.
答案A
解析 细节题。关于波提切利与古典画派的关系，主要在文章的第二段中作了描述。波提切利的大部分作品没有表现出15世纪佛罗伦萨画派的传统特色。他很少采用严格的透视画法的技巧，也不像米开朗基罗，他从不采用明暗法。另外，他对待古典画法的风格也与时人大相径庭。尽管他接触了大量的古典画法，却对借用古典风格没有任何兴趣。像他这样总体上来说是一个古典主题的画家，在风格上却与古典画派的风格很少有共同之处。从四个选项来看，[A]“波提切利更多采用了古典主题，而不是古典风格”，正确地表明了他与古典画派的关系。
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