托福阅读真题+题目+答案：Academic Art and the Salon

托福阅读真题+题目+答案：Academic Art and the Salon

The origin of the modern academy of art is associated with Leonardo da Vinci at the end of the fifteenth century, after which the idea gained strength in Italy during the sixteenth century as painters and sculptors sought to elevate their position from craftspeople in guilds to creative artists. The academy in its modern sense really began in the seventeenth century, when academies of arts and letters and of science were established in many countries of Europe. They aimed to promote a rational, logical approach to these fields of human endeavor. In the case of the arts, they helped to bring about a new understanding of the term "art," which had previously been used to mean technical skill or accomplishment, but which gradually acquired "higher" associations of intellectual seriousness.

1.According to paragraph 1, painters and sculptors in the sixteenth century attempted to do which of the following?

A.Imitate the type of art associated with Leonardo da Vinci

B.Enhance the position of arts over sciences

C.Strengthen the expansion of guilds

D.Raise their status in society

2.According to paragraph 1, what was a goal of the academies of arts and letters and the academies of sciences in the seventeenth century?

A.Promoting the idea that reason and logic were important to art

B.Expanding the technical accomplishment of painters and sculptors

C.Creating closer links between artists and trained craftspeople

D.Discouraging the association of art with intellectual pursuits

The academies that were established throughout Europe in the seventeenth and eighteenth centuries sought both to regulate and advance the professional practice of art, and to act as training institutions for young artists. Academic practice and theory were based on the study of officially approved models (students were required to spend many hours copying plaster casts of classical sculpture) and the belief that art was governed by rules akin to the laws of nature or grammatical structures. These precepts were challenged by the Romantic notion of individual genius, which cast the true artist as a rebel who necessarily rejected rules and conventions. In reality, the divide was sometimes less clear-cut than this: for example, J. M. W. Turner, the British artist who revolutionized landscape painting and was acknowledged as an important influence by many later avant-garde artists, remained a passionately loyal member of London's Royal Academy.

3.In paragraph 2, why does the author mention "J. M. W. Turner"?

A.To suggest that British artists were more revolutionary than artists of other nations

B.To provide an example of an artist who rejected the academy and yet was able to be successful

C.To point out the strong divide between avant-garde artists and members of London's Royal Academy

D.To support the claim that divisions between conventional and nontraditional were not always absolute

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