首页
外语
计算机
考研
公务员
职业资格
财经
工程
司法
医学
专升本
自考
实用职业技能
登录
外语
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
admin
2017-05-11
74
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. 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 Godfearing, white-picket-fence 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 arguments 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 Hint wrote in Art News, " We have today in our midst a greater array of what may be called second-, third-, and fourth string 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. "
The best choice for the title the passage would be______.
选项
A、The Thirties in Art: Reaction and Rebellion
B、America in the Thirties; A Changing Time
C、Thomas Hart Benton and Regionalism
D、American Art: Appeal and Diversity
答案
A
解析
本题是主旨题。通读全文可知,本文主要讲述30年代美国在艺术方面的变化,具有保守和反叛的特点,由此可知A正确。
转载请注明原文地址:https://kaotiyun.com/show/mDFO777K
0
考博英语
相关试题推荐
WithoutwaterfromtheNileRiver,Egypt____afarmingcountryandbecomeadesert.
MoreoftenitisthePresident,andnotthemembersofhiscabinet,_____thepopulace.
Tounderstandthemarketingconcept.itisonlynecessarytounderstandthedifferencebetweenmarketingandselling.Nottooman
Engineeringstudentsaresupposedtobeexamplesofpracticalityandrationality,butwhenitcomestomycollegeeducationIam
Dogsaresocialanimalsandwithoutpropertraining,theywillbehavelikewildanimals.Theywillspoilyourhouse,destroyyou
ToliveintheUnitedStatestodayistogainanappreciationforDahrendorf’sassertionthatsocialchangeexistseverywhere.T
ButprobablythefulleststatementofthedoctrineoftheruleoflawoccursintheworkofWilliamPa-ley,the"greatcodifiero
WhenaScottishresearchteamstartledtheworldbyrevealingthreemonthsagothatithadclonedanadultsheep,PresidentClin
Themostconvincingevidencefortheimportanceofadultinfluenceonachild’sintelligencecomesfromastudyof"atrisk"chil
Theparty’sreducedvotewas_____oflackofsupportforitspolicies.
随机试题
患者,男,16岁。全身水肿,大量蛋白尿,无血尿,肾功能正常,首次经泼尼松40mg/d治疗4周后,水肿明显减轻、尿蛋白有所减少。此时应
33岁男子,自述胸闷、心悸,时有胸痛。体检:心界不大,心尖部第一心音不弱,可闻第4心音,胸骨左缘3、4肋间可闻收缩期粗糙喷射性杂音。心电图示:V3~V4T波倒置
按照税制的结构,通常可将所得税制划分为( )。Ⅰ.分类所得税制Ⅱ.综合所得税制Ⅲ.二元或混合税制Ⅳ.三元税制
(1)迷路回不了家(2)树木被砍走(3)靠触摸路边树木回家(4)眼睛瞎了(5)好心人带路
如果说10年前,中国网民大多还贴着年轻化的标签,那么当下中国网民高达7.1亿的庞大群体,已经让互联网当仁不让地成为群众意见表达的最大平台,成为群众热点难点问题的集散地。对于各级领导干部而言,若还是持有不闻不问、装聋作哑的“鸵鸟心态”,就会在联系服务群众上留
从表中得知2014年1—5月该省城乡建设项目中平均项目规模为41266万元,其中:本年新开工18205万元,较上年同期的增长速度为20.6%,按照这样的增长速度计算,2015年同期开工()。
Isanti-whitebiasaproblem?Anewstudysayswhitesthinkdiscriminationagainstthemisabiggerproblemthananti-blackbias
机器语言和汇编语言都属于()。
Mr.Bascombwasupset.Attimeslikethishewishedhehadneverbecomeacandidateformayor.Everythinghadgonewronglythat
Aconvenientwayistosetthefoodonapieceofaluminumoil,______totheairforhalfanhour,andthencoveritwithadish
最新回复
(
0
)