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  3. The fact that people go to the Louvre museum in Paris to see the original painting Mona Lisa when they can see a reproduction an

The fact that people go to the Louvre museum in Paris to see the original painting Mona Lisa when they can see a reproduction an

admin2022-07-19  73
问题     The fact that people go to the Louvre museum in Paris to see the original painting Mona Lisa when they can see a reproduction anywhere leads us to question some assumptions about the role of museums of fine art in today’s world. But despite an implicit recognition that the spread of good reproductions can be culturally valuable, museums continue to promote the special status of original work. Unfortunately, this seems to place severe limitations on the kind of experience offered to visitors.
    One limitation is related to the way the museum presents its exhibits. As repositories of unique historical objects, art museums are often called "treasure houses". We are reminded of this even before we view a collection by the presence of security guards, attendants, ropes and display cases to keep us away from the exhibits. In many cases, the architectural style of the building further reinforces that notion. In addition, a major collection like that of London’s National Gallery is housed in numerous rooms, each with dozens of works, any one of which is likely to be worth more than all the average visitor possesses. In a society that judges the personal status of the individual so much by their material worth, it is therefore difficult not to be impressed by one’s own relative "worthlessness" in such an environment.
    Furthermore, consideration of the "value" of the original work in its treasure house setting impresses upon the viewer that, since these works were originally produced, they have been assigned a huge monetary value by some person or institution more powerful than themselves. Evidently, nothing the viewer thinks about the work is going to alter that value, and so today’s viewer is deterred from trying to extend that spontaneous, immediate, self-reliant kind of reading which would originally have met the work.
    The visitor may then be struck by the strangeness of seeing such diverse paintings, drawings and sculptures brought together in an environment for which they were not originally created. This "displacement effect" is further heightened by the sheer volume of exhibits. In the case of a major collection, there are probably more works on display that we could realistically view in weeks or even months.
    This is particularly distressing because time seems to be a vital factor in the appreciation of all art forms. A fundamental difference between paintings and other art forms is that there is no prescribed time over which a painting is viewed. By contrast, the audience encounters an opera or a play over a specific time, which is the duration of the performance. Similarly, novels and poems are read in a prescribed temporal sequence, whereas a picture has no clear place at which to start viewing, or at which to finish.
    Thus art works themselves encourage us to view them superficially, without appreciating the richness of detail and labor that is involved.
The writer says that today, viewers may be unwilling to criticize a work because________.
选项 A、they lack the knowledge needed to support an opinion
B、they fear it may have financial implications
C、they have no real concept of the work’s value
D、they feel their personal reaction is of no significance
答案D
解析 本题关键词为viewers和criticize a work，问题是作者认为如今的参观者不愿意对一件艺术品做出点评的原因是什么。可以定位到原文第三段。根据第三段第二句话：显然，无论参观者对作品持有什么看法，都不会对作品价值有任何影响(alter that value)。因此，现今的参观者不愿意对艺术品做出自己的点评是因为参观者的态度无足轻重(no significance)，选项D与原文是相同含义，是正确答案。其他选项在文中并未提及，属于无中生有。
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