51搜题 > “鉴赏家”标签
In the history of arts patronage(资助,赞助), entrepreneurs-turned-connoisseurs(艺术品鉴赏家,行家) are a young development. The world's greatest museums the Louvre, Hermitage, Prado began as lavish civilization-is-power statements by monarchs and emperors; private individuals did not emerge as significant museum patrons before the 19th century. Until a generation ago. those wanting to leave their mark in bricks usually did so in a room of their own in a state museum: the Duveen Galleries at Tate Britain, the Abby Aldrich Rockefeller Gallery at New York's Museum of Modern Art. But in the past 15 years, that has changed: worldwide, collectors seek immortality in glass and steel, through a museum of their own, designed by an architect of their choosing.

These are not latter-day Henry Tates or Pavel Tretyakovs, democratic visionaries who paid for buildings and donated core collections to kick-start evolving national, state-run institutions. Museum builders of the 1990s and 2000s, by contrast, are products of late capitalism, dedicated to more personal projects, with an individualistic flavor. They represent the legacy of Thatcher-Reagan words of choice, private philanthropy (慈善机构), me-generation celebrity.

Together, these and scores more bring diversity and flatten old geographical hierarchies. In Istanbul, collector Sakip Sabanci's museum, founded in 2002, is the first ever to show western modernism in Turkey. Thanks to Dominique de Menil, the greatest collection of paintings by Cy Twombly, who lives in Italy, is on permanent show in Houston, Texas, in a gallery designed in 1995 by Renzo Piano. In 1996 the late collector and dealer Heinz Berggmen launched his Museum Berggruen in Berlin, giving Germany its only Picasso collection.

Is all for the best in the best of all possible worlds? Certainly, more private museums mean more art on display for more people to see. Today's collectors are reluctant to bequeath (遗赠) to established museums, where space shortages mean works may go straight into storerooms and stay there. By contrast, a dedicated museum maintains the integrity of a collection, keeping together outstanding groups of works, assembled with personal flair, in buildings designed to enhance them. Renzo Piano's light, see-through 1997 construction for Ernst Beyeler's cherry-picked modernist paintings in Basel is the shining European example. For contemporary work, private collectors have particular advantages: free of state bureaucracy, they can respond quickly to the fast pace, and show work in ways that are too radical for traditional museums.

How did the Louvre, Hermitage, and Prado museums originate according to the passage?

A.Donations of the richest collectors.

B.Patronage of private individuals.

C.Collections of connoisseurs.

D.Encouragements and approval by rulers.

阅读下面的文字,完成11~14题。

董师傅游湖

宗璞

董师傅在一所大学里做木匠已经二十几年了,做起活儿来得心应手,若让那些教师们来说,已经超乎技而近乎道了。他在校园里各处修理门窗,无论是教学楼、办公楼、教师住宅或学生宿舍。都有他的业绩。在一座新造的仿古建筑上,还有他做的几扇雕花窗户,雕刻十分精致,那是他的杰作。

董师傅精通木匠活儿,也对校园里的山水草木很是熟悉。若是有人了解他的知识,可能聘他为业余园林鉴赏家,其实他自己也不了解。一年年花开花落,人去人来;教师住宅里老的一个个走了,学生宿舍里小的一拨拨来了。董师傅见得多了,也没有什么特别感慨的。家里妻儿都很平安,挣的钱足够用了,日子过得很平静。

校园里有一个不大的湖,绿柳垂岸,柳丝牵引着湖水,湖水清澈,游鱼可见。董师傅每晚收拾好木工工具,便来湖边大石上闲坐,点上一支烟,心静如水,十分自在。

不知为什么,学校里的人越来越多,校园渐向公园靠拢。每逢节日,湖上亭榭挂满彩灯,游人如织。一个“五一”节,董师傅有一天假。他傍晚便来到湖边,看远处楼后夕阳西下,天渐渐暗下来,周围建筑物上的彩灯突然一下子都亮起来,照得湖水通明。他最喜欢那座塔,一层层灯光勾勒出塔身的线条;他常看月亮从塔边树丛间升起。这时月亮却看不见。也许日子不对,也许灯太亮了。他并不多想,也不期望。他无所谓。

有人轻声叫他,是前日做活儿那家的女工,是他的大同乡,名唤小翠。她怯怯地说:“奶奶说我可以出来走走,现在我走不回去了。”董师傅忙灭了烟,站起身说:“我送你回去。”想一想,又说:“你看过了吗?”小翠仍怯怯地说:“什么也没看见,只顾看路了。”董师傅一笑,领看小翠在熙攘的人群中沿着湖边走,走到一座小桥上,指点说:“从这里看塔的倒影最好。”通体发光的塔,在水里也发着光。小翠惊呼道:“还有一条大鱼呢!”那是一条石鱼,随着水波荡漾,似乎在光辉中跳动。又走过一座亭子,那是一座亭桥,从亭中可以环顾四周美景。远岸丁香、连翘在灯光下更加似雪如金,近岸海棠正在盛期,粉嘟嘟的花朵挤满枝头,好不热闹。亭中有几幅楹联,他们并不研究。董师傅又介绍了几个景点,转过山坡,走到那座仿古建筑前,特别介绍了自己的创作——雕花窗户。小翠一路赞叹不已,对雕花窗户没有评论。董师傅也不在意,只说:“不用多久,你就惯了,就是这地方的熟人了。大家都是这样的。”他顿了一顿,又说:“可惜的是,有些人整天对着这湖、这树,倒不觉得好看了。”

俩人走到校门口,董师傅在一个小摊上买了两根冰棍。俩人举着冰棍,慢慢走。一个卖花的女孩跑过来,向他们看了看,转身去找别人了。不多时,小翠说她认得路了。董师傅叮嘱小翠,冰棍的木棒不要随地扔,自己转身慢慢向住处走去。他很快乐。

11.这篇小说的主要情节是什么?(4分)

答:

 

 ①大自然是一个五彩缤(分 纷)的世界。那么生活在大自然里的动物,看到的这个大千世界的色彩是否与我们人类一样呢? ②正常人的眼睛,能识别红、橙、黄、绿、青、蓝、紫色,以及它们之间的各种过渡颜色,约有六十多种。动物虽然生活在多(彩 采) 的天地之间,但是反映到许多动物眼里的色彩,却都变成了黑、白、灰三种颜色,这如同我们看黑白电视一样简单。  ③就哺乳动物来说,它们大多是色(盲 忙)。西班牙的斗牛场上,斗牛士用红色的斗篷向公牛挑战,人们原以为是红色激怒了它。其实,公牛是因为斗篷在眼前不断摇晃,受到烦扰而发怒的。如果换上了别种颜色的斗篷,也会使公牛出现同样反应。 ④在松鼠及其同类黄鼠、花鼠的眼中,外界的颜色并没有红色和绿色之分。对于鹿来说,自然界基本是灰白色的。猫、狗、 羊、马等,都过着平淡无奇的灰色生活,就连人类的“近亲”猿猴也是如此。 ⑤飞禽则不然。除了那些过(贯 惯)了夜生活的猫类如猫头鹰等,因视网膜中没有锥状细胞而无法认色外,许多飞禽都有色的感觉。雄鸟常用艳丽的羽毛吸引雌鸟,如果它们感觉不到颜色,雄鸟也就没有什么魅力可言了。当然,鸟类并不能识别所有的颜色,许多鸟类无法分辨蓝色和紫色。鹣鸟、金翠鸟和金刚鹦鹉等鸟的羽毛,杂有蓝和紫两种颜色,必须在强光下,它们的同伴才能看清。 ⑥在水生动物的眼里,外面的世界很精彩。生物学家用染成红色的幼虫喂鲈鱼。习惯后,改用红色的羊毛喂它,鲈鱼也照吃不误。龙虾、小虾、甲鱼以及爬行动物中的乌龟和蜥蜴等,也都有色的感觉。 ⑦昆虫辨色的天赋也不尽相同,蜻蜓(辨辩)色的能力最强;其次是蝴蝶和飞蛾。苍蝇和蚊子也能看见颜色。苍蝇最讨厌蓝色,因而不愿接近蓝色的门窗、天花板和帐幔。蚊子能够辨别出黄、蓝和黑色,并且偏爱黑色。 ⑧翩翩来去于万紫千红花丛中的蜜蜂,按说应是色彩的鉴赏家了。其实蜜蜂是红色盲,红色和黑色在蜜蜂的眼中都是一样的。蜜蜂能够区分青、黄、蓝三色,但把橙、黄、绿混为一色,它们也分不清蓝色和紫色的差别。然而,蜜蜂却能够看见人类看不到的紫外线,并可以准确地把紫外线和各种深浅不同的白色、灰色区别出来。红色盲的蜜蜂,之所以常拜访鲜艳的红色花朵,正是因为这些红色花能够反射太阳光中紫外线的(缘 原)故。 1.短文中括号里的字有一个是正确的,请打上“√”。2.给短文加个合适的题目吧!3.在文中找出它们的近义词写下来。 打扰——( ) 厌恶——( ) 辨别——( ) 拜见——( )4.读意思,在文中找词语。 (1)形容色彩鲜艳繁多。 ( ) (2)事物平常,没有曲折。 ( ) (3)鉴定和欣赏艺术品等。 ( ) (4)自然赋予,生来就具备的。( ) 5.读读下面的句子,并用加横线的词语造句。 (1)红色盲的蜜蜂,之所以常拜访鲜艳的红色花朵,正是因为这些红色花能够反射太阳光中紫外线的缘 故。  (2)如果换上了别种颜色的斗篷,也会使公牛出现同样反应。  6.仔细读文,判断对错。 (1)西班牙斗牛场上,公牛之所以被激怒是因为它对红色有特殊反应。 ( )  (2)猫头鹰不能识别颜色。 ( )  (3)许多鸟类无法分辨蓝色和紫色。 ( )  (4)昆虫辨色能力的强弱依次是蝴蝶、蜻蜓、飞蛾。 ( )  (5)蜜蜂能看见人类看不到的紫外线。 ( ) 7.短文列举了以下几种动物的辨色能力:哺乳动物、( )、 ( )和( )。