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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.
The text suggests that Vasari would most probably have been more enthusiastic about Botticelli’s work if it_________.
选项 A、had not revealed Botticelli’s inability to depict story clearly
B、had not seemed to Vasari to be so similar to classical art
C、could have been appreciated by amateur viewers as well as by connoisseurs
D、could have been included more easily in Vasari’s discussion of art history
答案D
解析 推断题。文章第一段第二句讲到“Vasari在1550年写的文章中对Botticelli的作品表示了不安的态度，因为他承认很难把波提切利的作品融入自己的艺术史进化理论框架。”这句话无疑是说，如果瓦萨利能够很轻松地将波提切利融入自己的艺术发展史理论，那么他就不会对波提切利表示这种不安的情绪，因为那将表明波提切利的艺术发展是符合艺术史论的。因此，正确答案是[D]。
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