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1.CR
答案：
CC
2.RC
The relationship between patrons and artists during the Renaissance period was a complex and evolving one, marked by a gradual shift from the medieval feudalistic system to a more modern, capitalistic approach. As artists began to distinguish themselves from the guild system and establish their individual identities, they found themselves navigating a delicate balance between the demands of their patrons and their own artistic vision. In the early stages of the Renaissance, artists were still heavily reliant on patronage for their livelihood and were often subject to religious guidelines and subject matter, which limited their ability to explore more personal means of expression. However, with the rise of secular art collectors, such as the Medici family, a more contemporary artist-patron relationship began to emerge. Patrons would outline the material, size, and general subject matter of a commission, but would leave the aesthetic decisions regarding composition to the judgment of the artist. Despite this growing recognition of the artist's expertise, evidence of a lord-servant dynamic persisted in various documents from the period. Artists such as Domenico Venenziano, Matteo de' Pasti, and Fra Filippo Lippi often referred to themselves as "servants" or "slaves" to their patrons, highlighting the lingering influence of the medieval feudalistic system. However, these declarations of subservience may have also been a form of diplomacy, as artists sought to build trust and establish good relations with their patrons in order to secure future commissions and enhance their reputations. As the Renaissance progressed, patrons became increasingly aware of the aesthetic mastery of artists, and detailed instructions in commission contracts became less common. In most cases, artists were trusted to handle the imagery and composition based on their expertise in painting similar religious subjects. There were, however, a few exceptional cases where patrons provided specific instructions, such as the German patrons of Matteo Giovanni who requested imagery in line with their cultural tastes, or the highly personal commission of a belt buckle by Marco Perenti for Filippo Strozzi. Interestingly, artists themselves began to assert their expertise and offer advice to their patrons regarding materials, aesthetics, and even the scope of the commissioned work. Pierro de' Medici's request for a change in a commission was denied by Benozzo Gozzoli, while Antonio Del Pollaivolo suggested that his patron consider a grand equestrian portrait instead of a simple bust. This growing confidence in their artistic skill was recognized by patrons, who sometimes conceded to the will of the artist, as seen in the case of Donatello's rejected sculpture or the Marquis of Mantua's acknowledgment of the "fanciful" nature of masters like Mantegna. The increasing recognition of individual artistic styles and the emphasis on drawing from nature, as advocated by Leon Battista Alberti, further solidified the idea of the artist as a unique creative force. Patrons began to recognize this "divine power" in Renaissance artists and granted them greater aesthetic freedom in their commissions. In conclusion, the evolution of patron-artist relations during the Renaissance was characterized by a gradual shift towards a more collaborative and respectful dynamic, as artists gained recognition for their individual styles and expertise. While traces of the feudalistic system persisted, the growing appreciation for the artist's "divine power" led to a more balanced relationship between patron and artist, setting the stage for the modern conception of the artist as an independent creative entity. The primary purpose of the passage is to: A. Critique the feudalistic system of patronage in the Renaissance B. Examine the changing nature of patron-artist relations during the Renaissance C. Highlight the importance of religious subject matter in Renaissance art D. Analyze the impact of the Medici family on Renaissance art E. Discuss the influence of Leon Battista Alberti on Renaissance artists
According to the passage, which of the following factors contributed to the shift in patron-artist relations during the Renaissance? A. The decline of religious art commissions B. The emergence of secular art collectors C. The increasing prevalence of detailed commission contracts D. The growing influence of the guild system E. The rise of the middle class
The author mentions the exceptional cases of commission contracts with detailed instructions in order to: A. Demonstrate the superior artistic skill of certain patrons B. Highlight the importance of cultural tastes in Renaissance art C. Provide evidence of the lord-servant dynamic in patron-artist relations D. Illustrate the rarity of such instances in the context of the changing patron-artist dynamic E. Suggest that artists lacked the expertise to handle complex commissions
The passage suggests that artists such as Domenico Venenziano, Matteo de' Pasti, and Fra Filippo Lippi referred to themselves as "servants" or "slaves" to their patrons primarily to: A. Express their genuine subservience to their patrons B. Highlight the continued influence of the medieval feudalistic system C. Build trust and establish good relations with their patrons D. Secure higher pay for their commissions E. Demonstrate their humility and lack of artistic skill
Which of the following best describes the Marquis of Mantua's attitude towards working with the artist Mantegna? A. Frustration with Mantegna's lack of artistic skill B. Admiration for Mantegna's innovative style C. Acceptance of the inherent challenges of working with masters D. Preference for a more subservient artist E. Reluctance to grant Mantegna aesthetic freedom in his commissions 答案： BBDCC
3.DI
答案：
BCBB
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发表于 2024-3-5 11:39:42
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