首页
外语
计算机
考研
公务员
职业资格
财经
工程
司法
医学
专升本
自考
实用职业技能
登录
外语
The crucial years of the Depression, as they are brought into historical focus, increasingly emerge as the decisive decade for A
The crucial years of the Depression, as they are brought into historical focus, increasingly emerge as the decisive decade for A
admin
2011-03-26
39
问题
The crucial years of the Depression, as they are brought into historical focus, increasingly emerge as the decisive decade for American art, if not for American culture in general For it was during this decade that many of the conflicts which had blocked the progress of American art in the past came to a head and sometimes boiled over. Janus-faced, the thirties look backward, sometimes as far as the Renaissance; and at the same time forward, as far as the present and beyond. It was the moment when artists, like Thomas Hart Benton, who wished to turn back the clock to regain the virtues of simpler times came into direct conflict with others, like Stuart Davis and Frank Lloyd Wright, who were ready to come to terms with the Machine Age and to deal with its consequences.
America in the thirties was changing rapidly. In many areas the past was giving way to the present, although not without a struggle. A predominantly rural and small town society was being replaced by the giant complexes of the big cities; power was becoming increasingly centralized in the federal government and in large corporations. As a result, traditional American types such as the independent farmer and the small businessman were being replaced by the executive and the bureaucrat. Many Americans, deeply attached to the old way of life, felt disinhereited. At the same time, as immigration decreased and the population became more homogeneous, the need arose in art and literature to commemorate the ethnic and regional differences that were fast disappearing. Thus, paradoxically, the conviction that art, at least, should serve some purpose or carry some message of moral uplift grew stronger as the Puritan ethos lost its contemporary reality. Often this elevating message was a sermon in favor of just those traditional American virtues which were now threatened with obsolescence in a changed social and political context.
In this new context, the appeal of the paintings by the Regionalists and the American Scene painters often lay in their ability to recreate an atmosphere that glorified the traditional American values-self-reliance tempered with good-neighborliness, independence modified by a sense of community, hard work rewarded by a sense of order and purpose. Given the actual temper of the times, these themes were strangely anachronistic, just as the rhetoric supporting political isolationism was equally inappropriate in an international situation soon to involve America in a second world war Such themes gained popularity because they filled a genuine need for a comfortable collective fantasy of a God-fearing, white-picket-fence America, which in retrospect took on the nostalgic appeal of a lost Golden Age.
In this light, an autonomous art-for-art’s sake was viewed as a foreign invader liable to subvert the native American desire for a purposeful art. Abstract art was assigned the role of the villainous alieen; realism was to personify the genuine American means of expression. The argument drew favor in many camps: .among the artists, because most were realists; among the politically oriented intellectuals, because abstract art was apolitical; and among museum officials, because they were surfeited with mediocre imitations of European modernism and were convinced that American art must develop its own distinct identity. To help along this road to self-definition, the museums were prepared to set up an artificial double standard, one for American art, and another for European art. In 1934, Ralph Flint wrote in Art News, "We have today in our midst a greater array of what may be called second-, third, and fourth-string artists than any other country. Our big annuals are marvelous outpourings of intelligence and skill; they have all the diversity and animation of a fine-ring circus."
According to the passage, in the 1930s, abstract art was seen as ______.
选项
A、uniquely America
B、uniquely European
C、imitative of European modernism
D、counter to American regionalism
答案
A
解析
转载请注明原文地址:https://jikaoti.com/ti/zpXYFFFM
0
考博英语
相关试题推荐
CasaltalianaTwentyyearsago,itwasdifficulttofindfreshpastainBritainwithoutgoingtoanItalianrestaurant.
•Readtheadvertisementbelowaboutacompany.•Choosethecorrectwordtofilleachgap,fromA,B,orContheoppositepa
Wednesday’sSalesMeetingwillbegin15minutesearlierthanplanned—boardroomasusual.Whathaschanged?
FunctionsofaPropertyManagementCompanyAPropertylawandregulationsBInspectionreportsCDealingwithemergencycallsan
MostcriticalplotpointsinHarryPotterandtheSorcerer’sStonecamefromJ.K.Rowling’simagination,butFlamelandhispowe
______consideredthehumanbodyaestheticallysatisfactory.
Thereisnothinginscience(staling)thatitisgoodtoattempttosavehumanlives.Savinghumanlives(seems)tobea(genera
Forinstance,thepublicmaynotfullyunderstandthephysicalprinciplesbehindlasers,butitclearlycanappreciatetheextra
In1844,CharlesStun.aBritishsoldierandcolonialadministrator,madeanexpedition______asupposedinlandsea;hisparty
Itwastheresponsibilityofgovernmenttoprovideinstructionsothatthetalentedwouldbeabletoentergovernmentservicean
随机试题
设y=lnx,则y"=()
急性下壁心肌梗死最易合并
在一个包括政府的封闭经济中,C=200+0.8DI,式中C为消费,DI为可支配收入。如果给定投资I=100,政府购买G=300,转移支付TP=150和税率T=0.25。那么:(1)在这个模型中,均衡收入水平Y是多少?(2)投资和政府购买
下列不属于欧洲债券市场的参与者的是()。
将一组被调查者视作一个抽样单位而不是个体的抽样方法叫做()。
护区防护车辆最多的是()。
布鲁纳认为,个体的表征系统包含动作性表征、________、符号性表征三种形式。
对不满16周岁而不予刑事处罚的少年犯罪人可以实行收容教养。这里所说的“不满十六周岁不予刑事处罚”的人,是已满14周岁不满16周岁的不予刑事处罚的少年犯罪人。( )
设函数f(u)可微,且则z=f(4x2一y2)在点(1,2)处的全微分__________。
Atschoolandatwork,Ihavenoticedthatpeoplehavedifferentkindsofworkhabits.Somepeoplearecollaborators,wholiket
最新回复
(
0
)