2018年公共英語(yǔ)五級(jí)閱讀理解模擬題（6）

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　　The history of responses to the work of the artist Sandro Botticelli ( 1444 - 1510 ) suggests that widespreadappreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease with Botticel-li' s work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the nexttwo centuries, academic art historians defamed Botticelli in favor of his fellows Florentine, Michelangelo. Evenwhen anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adoptedby their predecessors, Botticelli' s work remained outside of accepted taste, pleasing neither amateur observers norconnoisseurs. (Many of his best paintings, however, remained hidden away in obscure churches and privatehomes. )

　　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 tothese observers to exhibit the traditional characteristics of the fifteenth-century Florentine art. For example, Botticellirarely 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 wasvery different from that of his contemporaries. Although he was thoroughly exposed to classical art, he showed littleinterest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjectsadopted astyle 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 traditionof the fifteenth century Florentine art, his reputation began to grow. Analyses and assessments of Botticelli made be-tween 1850 and 1870 by the artists of the Pre-Raphaelite movement, as well as by the writer Pater ( although he, un-fortunately, based his assessment on an incorrect analysis of Botticelli' s personality), inspired a new appreciation ofBotticelli throughout the English-speaking world. Yet Botticelli' s work, especially the Sistine frescoes, did not gen-erate 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 Flor-entines--features such as skillful representation of anatomical proportions, and of the human figure in motion. How-ever, Home argued that Botticelli did not treat these qualities as ends in themselves--rather, that he emphasizedclear depletion of a story, a unique achievement and one that made the traditional Florentine qualifies less central.

　　Because of Home' s emphasis crucial to any study of art, the twentieth century has come to appreciate Botticelli' s a-chievements.

　　61. Which of the following would be the best title for the text?

　　[A] The Role of Standard Art Analyses and Appraisals

　　[B] Sandro Botticelli: From Rejection to Appreciation

　　[C] The History of Critics' Responses to Art Works

　　[D] Botticelli and Florentine: A Comparative Study

　　62. We can learn from the text that art critics have a history of__________

　　[A] suppressing painters' art initiatives

　　[B] favoring Botticelli' s best paintings

　　[C] rejecting traditional art characteristics

　　[D] undervaluing Botticelli's achievements

　　63. The views of Vasari and Home on Botticelli' s products are __________

　　[A] identical

　　[B] complementary

　　[C] opposite

　　[D] similar

　　64. The word "connoisseurs" ( Paragraph 1 ) most probably means__________

　　[A] representatives in the Pre-Raphaelite Movement

　　[B] people who are in favor of Florentine

　　[C] critics who are likely to make assessments

　　[D] conservatives clinging to classical art

　　65. What does the author think of Botticelli' s representation skills?

　　[A] They are to be fully appreciated.

　　[B] They evolve from an uncertain source.

　　[C] They underlie his personality.

　　[D] They conform to the classical style.

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　　答案及解析

　　61.B【解析】文章一開(kāi)始就說(shuō)“…suggests that widespread appreciation by critics is a relatively recent phenomenon.”桑德羅•波提切利作品被關(guān)注是最近才有的現(xiàn)象，接下來(lái)作者說(shuō)明被拋棄的原因以及重新被認(rèn)識(shí)的原因。所以整篇文章都是圍繞他的作品是如何被拒絕后來(lái)又被欣賞的。故應(yīng)選B。

　　62.D 【解析】文章的第一段最后一句話“Even when anti-academic art historians…，Botticelli’s work remained outside of accepted taste，…”，就算當(dāng)時(shí)很多正統(tǒng)的藝術(shù)風(fēng)格被批判，波提切利的作品也沒(méi)有引起重視，認(rèn)為他的作品不隨人們的口味，既滿足不了專業(yè)人士的品位，也不能滿足業(yè)余人士的欣賞要求。這里的undervalue的意思是“低估，沒(méi)有重視”，故應(yīng)選D。

　　63.C【解析】瓦薩利在文中第一段說(shuō)到“Vasari expressed an unease with Botticelli’s work，…”說(shuō)明他的態(tài)度是反對(duì)的，后來(lái)在最后一段倒數(shù)第二句“However，Home argued that Botticelli…emphasized clear depletion of a story，a unique achievement…”表明霍姆的態(tài)度是肯定的。故應(yīng)選C。

　　64.C【解析】從第一段最后一句話“Botticelli’s work remained outside of accepted taste，pleasing neither amateur observers nor connoisseurs.”可知，作者講述了那些評(píng)論家，不管是業(yè)余的還是職業(yè)的，他們都不滿意他的作品風(fēng)格。所以這個(gè)詞的意思可能是“對(duì)作品做出評(píng)論的那些業(yè)余人士”。故應(yīng)選c。

　　65.A【解析】從文章最后一句話“Because of Home’s emphasis crucial to any study of art，the twentieth century has come to appreciate Botticelli’s achievements.”可以看出，作者認(rèn)為波提切利的作品在二十一世紀(jì)會(huì)被重新的認(rèn)識(shí)，人們會(huì)重新認(rèn)識(shí)他作品的成就。故應(yīng)選A。