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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 author mentions the fact that many of Botticelli’s best painting were " hidden away in obscure churches and private homes" (Para. 1) in order to_________.
选项 A、indicate the difficulty of trying to determine what an artist’s best work is
B、persuade the reader that an artist’s work should be available for general public viewing
C、prove that academic art historians had succeeded in keeping Botticelli’s work from general public view
D、suggest a reason why, for a period of time, Botticelli’s work was not generally appreciated
答案D
解析 推断题。文章第一段末尾说，波提切利的许多佳作都被束之高阁，放在一些偏远的教堂和人家。问题问的是为什么作者会提到这一点。[A]“为了说明确定某个艺术家的最好作品是什么难度很大”，[B]为了让读者相信艺术家的作品应当向大众开放”，[C]“为了证明艺术历史学家成功地将波提切利的作者置于公众视野之外”，这些选项都是想当然，与文章内容不相符。[D]“为了说明为什么很长一段时间以来，波提切利的作品没有得到大众的欣赏”，与文章的内容相符，是正确答案。
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