河南安阳市林州市中小学（幼儿园）教师招聘英语学科模拟题6

http://henan.hteacher.net 2023-05-11 17:08 河南教师招聘 [您的教师考试网]

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The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defense of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.

Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.

Photographers’ disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography’s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting—that is, abstract art as developed in different ways by Picasso, Kandinsky, and Matisse—presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.

Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short, an art.

41. What is the author mainly concerned with? The author is concerned with ______.

A. defining the Modernist attitude toward art

B. explaining how photography emerged as a fine art

C. explaining the attitude of serious contemporary photographers toward photography as art and placing those attitudes in their historical context

D. defining the various approaches that serious contemporary photographers take toward their art and assessing the value of each of those approaches

41.【答案】C

【解析】主旨大意题。文章第二段提到了当代严肃的摄影家对摄影作为艺术的态度，并在第三段中把他们这些态度放在历史的进程来观察。故选C。

42. Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in lines 12—13?

A. Objective B. Mechanical.

C. Superficial. D. Paradoxical.

42.【答案】D

【解析】观点态度题。根据第二段最后一句“It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.”可知，这显示了他们在多大程度上简单地将现代主义胜利所强加的艺术概念视为理所当然：艺术越好，它对传统艺术目标的颠覆性就越大，即矛盾的。故选D。

43. Why does the author introduce Abstract Expressionist painter?

A. He wants to provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art.

B. He wants to set forth an analogy between the Abstract Expressionist painters and classical Modernist painters.

C. He wants to provide a contrast to Pop artist and others.

D. He wants to provide an explanation of why serious photography, like other contemporary visual forms, is not and should not pretend to be an art.

43.【答案】A

【解析】细节理解题。根据第三段第二句“For example, those photographers … by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting ....可知，作者想通过抽象表现主义画家摆脱古典现代主义绘画的例子来说明严肃的当代摄影师一样，否认传统上公认的现代艺术目标。故选A。

44. How did the nineteenth-century defenders of photography stress the photography?

A. They stressed photography was a means of making people happy.

B. It was art for recording the world.

C. It was a device for observing the world impartially.

D. It was an art comparable to painting.

44.【答案】D

【解析】细节理解题。根据文章第一段第二句“Throughout the nineteenth century, the defense of photography was identical with the struggle to establish it as a fine art.”可知，他们认为摄影是一种艺术。故选D。

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