2. 外语
  3. The crucial years of the Depression, as they are brought into historical focus, increasingly emerge as the decisive decade for A

The crucial years of the Depression, as they are brought into historical focus, increasingly emerge as the decisive decade for A

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问题    The crucial years of the Depression, as they are brought into historical focus, increasingly emerge as the decisive decade for American art, if not for American culture in general. For it was during this decade that many of the conflicts which had blocked the progress of American art in the past came to a head and, sometimes boiled over. Janus-faced, the thirties look backward, sometimes as far as the Renaissance; and at the same time forward, as far as the present and beyond. It was the moment when artists, like Thomas Hart Benton, who wished to turn back the clock to regain the virtues of simpler times came into direct conflict with others, like Stuart Davis and Frank Lloyd Wright, who were ready to come to terms with the Machine Age and to deal with its consequences.
   America in the thirties was changing rapidly. In many areas the past was giving way to the present, although not without a struggle. A Predominantly rural and small town society was being replaced by the giant complexes of the big cities; power was becoming increasingly centralized in the federal government and in large corporations. As a result, traditional American types such as the independent farmer and the bureaucrat. Many Americans, deeply attached to the old way of life, felt disinherited. At the same time, as immigration decreased and the population became more homogeneous, the need arose in art and literature to commemorate the ethnic and regional differences, that were fast disappearing. Thus, paradoxically, the conviction that art, at least, should serve some purpose or carry some message of moral uplift grew stronger as the Puritan ethos lost its contemporary reality. Often this elevating message was a sermon in favor of just those traditional American virtues, which were now threatened with obsolescence in a changed social and political context.
   In this new context, the appeal of the paintings by the Regionalists and the American Scene painters often lay in their ability to recreate an atmosphere that glorified the traditional American values-self-reliance tempered with good-neighborliness, independence modified by a sense of community, hard work rewarded by a sense of order and purpose. Given the actual temper of the times, these themes were strangely anachronistic, just as the rhetoric supporting political isolationism was equally inappropriate in an international situation soon to involve America in a second world war Such themes gained popularity because they filled a genome need for a comfortable collective fantasy of a God-fearing, white-picketfence America, which in retrospect took on the nostalgic appeal of a lost Golden Age.
   In this light, an autonomous art-for-art’s sake was viewed as a foreign invader liable to subvert the native American desire for a purposeful art. Abstract art was assigned the role of the villainous alien; realism was to personify the genuine American means of expression. The argument drew favor in many camps: among the artists, because most were realists; among the politically oriented intellectuals, because abstract art was apolitical; and among museum officials, because they were surfeited with mediocre imitations of European modernism and were convinced that American art must develop its own distinct identity. To help along this road to self-definition, the museums were prepared to set up an artificial double standard, one for American art, and another for European art. In 1934, Ralph Flint wrote in Art News, "We have today in our midst a greater array of what may be called second, third, and fourthstring artists than any other country. Our big annuals are marvelous outpourings of intelligence and skill; they have all the diversity and animation of a fine-ring circus."
According to the passage, in the 1930s, abstract art was seen as ______.
选项 A、uniquely America
B、uniquely European
C、imitative of European modernism
D、counter to American regionalism
答案C
解析 文章最后一段说：本土的美国艺术是一种有目的性的(purposeful)艺术，因而这种为艺术而艺术(art for art’s sake)，即抽象艺术就被视为是外来的侵入者，与此相对的现实主义(realism)应致力于使真正的美国式表达个性化。支持这种论调的有许多团体：艺术家，因为艺术家大多是现实主义者；有政治倾向的知识分子，因为抽象艺术是不关心政治的；博物馆官员，因为他们厌烦了对欧洲现代主义的平庸模仿，他们认为美国艺术应该发展自己独特的个性。从这段话可以分析出，这三种人都是反对抽象艺术而支持美国本土艺术的，他们厌恶的理由：非现实主义、非政治化、是对欧洲现代主义的平庸模仿恰恰是抽象艺术的特点。所以抽象艺术被看作是欧洲现代主义的模仿，答案C正确。
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