The history of responses to the work of the artist Sandro Botticelli （1444-1510) suggests

The 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 fellows 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 the fifteenth-century Florentine art. 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 the fifteenth century Horentine 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 a-chievements.

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

The 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 fellows 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'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 the fifteenth-century Florentine art. 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 the 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 4 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 1ess central. Because of Home's emphasis crucial to any study of art, the twentieth century has come to appreciate Botticelli's achievements.

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

Nowadays a demand for this special advertisement has been created because ______.

A．umemployment rate has been climbing

B．there is a lack of jobs available for artist

C．the job history is considered to be a work of art

D．there is a shortage of top level jobs

A．The original work of art increases in value.

B．An artist has greater legal protection.

C．Artists can sell their work abroad.

D．Artists are allowed to make changes in their own works.

The artist's new work resembles the ________ of her previous work.

A．size and shape

B．austerity and refinement

C．polished, vibrantly-colored exteriors

D．symmetry and magnitude

Without the artist's work, the public might not ______ .

A．notice particular shapes and colors

B．see the shapes and colors that express his experience

C．feel his delight in shapes and colors

D．all of the above

Without the artist's work, the public might not ______ .

A．notice particular shapes and colors

B．see the shapes and colors that express his experience

C．feel his delight in shapes and colors

D．all of the above