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  3. Stupendous prices were paid in a historic sale of 19th- and 20th-century ava

Stupendous prices were paid in a historic sale of 19th- and 20th-century ava

游客2023-12-10  37
问题     Stupendous prices were paid in a historic sale of 19th- and 20th-century avant-garde paintings collected over a lifetime by John Hay Whitney and his wife, Betsy Cushing Whitney.
    Picasso’s "Gargon a la Pipe" (Boy With a Pipe), painted in 1905, shot up to $104.1 million at Sotheby’s during a protracted bidding match over the telephone. That is nearly twice the previous record for the artist: the $55 million paid for "La Femme aux Bras Croises" at Christie’s New York in November 2000.
    The huge figure reflects the double iconic value that the portrait derived from its mastery and from the aura of its owners, the very patrician Whitneys. The portrait is perhaps the artist’s ultimate achievement. Constantly hailed as the giant of modern art, Picasso was probably at his greatest when working under the spell of Old Masters. The rigorous composition, the color balance and the profound psychological probe of the young sitter place the likeness in a category that begins with Italian Renaissance portraitists and continues right through the 19th century with Corot and Degas.
    Bought by Whitney in 1950, the painting was seen at distant intervals in major exhibitions dealing with the artist, from the 1967 Grand Palais retrospective in Paris to the 1996 portrait show at the Museum of Modern Art in New York. The portrait was thus both famous in art history and forgotten. This maximized its impact.
    Not least, "Gargon a la Pipe" epitomized the taste of connoisseurs of the old school who bought on the strength of their convictions, not on advice. They collected for the sake of the art, neither for investment—they were already rich—nor to achieve social status, which they had by birth In short, the Whitney sale marked the end of an era when the old cultivated elite of the Western world dominated the art market.
    Buyers sensed the unique character of the occasion. They responded to pictures that played each other up, linked by affinities that went beyond style or school.
    Edouard Manet’s "Les Courses au Bois de Boulogne" (Races in the Bois de Boulogne) is as important regarding the Impressionist’s painting as "Garcon" is within Picasso’s oeuvre. The complex composition worthy of 17th-century masters is combined with a sketchiness in much of the detail that already heralds the march toward Abstractionism.
    The forward thrust of the horses in the foreground and the tense postures of their riders give the picture a vigor and an authority it shares with the Picasso. And like Picasso’s portrait, it owes a soothing harmony to its color balance. The Manet brought $26.3 million—a figure deemed disappointing by some only because market prices are at an all-time high.
    The same combination of boldness in composition and harmony in the color scheme can again be detected in Claude Monet’s "Bateaux Sur le Galet" (Boats on the Strand), painted in 1884. Here too the work is unusual. The thrust of the brush strokes that define the boats and the close-up view of hulls that seem to burst out of the space in which they are lodged create an Expressionist effect. At $4.46 million, the rare masterpiece was worth every penny of it.
    With remarkable consistency, Whitney sought and found similar characteristics in the work of artists that seemed least likely to display them. Odilon Redon’s admirable still life of flowers in a vase seems compressed in a space too small to contain it. Painted in oil rather than drawn in pastel, the still life has a brilliance in its color harmony that is quite unusual. Curiously, "Fleurs Dans un Vase Vert" cost a comparatively moderate $1.68 million. It was not obvious enough in the context of that evening’s sale.
    The collector’s versatility where style, school and period were concerned was exceptional. He apparently bought with equal relish some paintings as extraordinarily advanced for their time as others seem rooted in timeless classicism.
    "Nature Morte au Purro II" was painted by Matisse around 1904-1905 in the contrasted colors of the Fauves, quickly applied in juxtaposed touches. These distill form and outline. The still life rose to $1.85 million, but did not match the highest expectations pinned on it.
    The Matisse bears a kinship of sorts to one of Paul Signac’s most original compositions, painted in 1887. In the small close-up view of the stern of a boat, the sea and the sky are handled as a shower of broad greenish and bluish specks. The Signac touched a chord. At $1 million it fared better than the Matisse in comparative terms. Given their modernity, neither picture was wildly expensive in today’s market. [br] The relationship between the second and third paragraphs is that
选项 A、the third is a subcategory of the second.
B、the third is the logical cause of the second.
C、the second generalizes and the third gives examples.
D、both present the value of Picasso’s paintings.
答案 B
解析 文中第2段讲述毕加索“拿烟斗的男孩”这幅厕拍卖出1．041亿美元的天价，几乎是以前艺术品价格记录的两倍。第3段第1句“巨大的数目反映了该画源自其作者和主人(贵族惠特尼)的价值”，随后讲毕加索独特的画风和成就。由此可见，两段之间在逻辑上有因果关系，“拿烟斗的男孩”之所以能够以如此高的价格拍卖(第2段)是因为其所体现的价值(第3段)，因此选B。
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