originally passed off as Greek. In medieval Europe. because art was celebrated1 more for its devotional uses than for its provenance2 or the ingenuity3 of its creators the faking of art was virtually nonexistent. The modern age of faking began in the ltalian Renaissance4, with
two linked developments a passionate5 identification with the world of antiquity6 and a growing sense of inpidual artistie identity A patron of the young Michelangelo prevailed upon the artist to make his Seulpture Sleeping Chpld look as though it had been
buried in the earth so that it will be taken for antique, and you will sell it much better. Within a few years however beginning with his first masterpiece the Bacchus, Michelangelo had shown his contemporaries that great art can assimilate and transcend7 what came
before resulting in a wholly original work. Soon his genius made him the object of imitators.
Fake? also reminds us that in certain cuitures authenticity9 is a foreign concept This is true of much African art when the authenticity of an object is
considered by collectors to depend on its function As an illustration, the study commpares two versions of a chi wara mask made by the Bambara people of Mali One has pegs10 allowing it to be attached to a cap for its intended ceremonial purpose. The second, otherwise
identical, lacks the pegs and is a replica11 made for sale African carving12 is notoriously difficult to date, but even if the ritual mask is recent, made perhaps to replace a damaged predecessor13, and the replica much older, only the ritual mask should be seen as authentic8
for it is tied to the form s original function. That at least is the consensus14 of the so-called experts. One wonders whether the Bambaran artists would agree
21. The passage can best be described as doing which one of the following?
recondciling varied15 points of view
chronicling the evolution of a phenomenon
exploring a complex question
advocating a new approach
rejecting an inadequate16 explanation
22. Which one of the following best expresses the author s main point?
The faking of art has occurred throughout history and in virtually every culture.
Whether a work of art is fake or not is less important than whether it has artistic17 merit
It is possible to show that a work of art is fake, but the authenticity of a work cannot be proved conclusively
A variety of circumstances make it difficult to determine whether a work of art can appropriately be called a fake
Without an international market to support it, the faking of art would cease.
23. According to the passage an artwork can be definitively18 classified as a fake if the person who created it
consciously adopted the artistic style of an influential19 mentor
deliberately20 imitated a famous work of art as a learning exercise
wanted other people to be fooled by its appearance
made multiple, identical copies of the work available for sale
made the work re百度竞价推广ble the art of an earlier era.
24. The author provides at least one example of each of the following EXCEPT:
categories of art that are neither wholly fake not wholly original
cultures in which the faking of art flourished
qualities that art collectors have prized in their acquisitions
cultures in which the categories fake and original do not apply
contemporary artists whose works have inspired fakes
25. The author implies which one of the following about the artistie merits of fakes?
Because of the circumstances of its production a fake cannot be said to have true artistic merit
A fake can be said to have artistic merit only if the attempted deception21 is successful
A fake may or may not have artistic merit in its own right, regardless of the circumstances of its production
Whether a fake has artistic merit depends on whether its creator is accomplished22 as an artist
The artistic merit of a fake depends on the merit of the original work that inspited the fake
26. By the standard described in the last paragraph of the passage, which one of the following would be considered authentic?
an ancient Roman copy of an ancient Greek sculpture
a painting begun by Renaissance master and finished by his assistants after his death
a print of a painting signed by the artist who painted the original
a faithful replica of a ceremonial crown that preserves all the details of and is indistinguishable from the original
a modern reconstruction23 of a medieval altarpiece designed to serve its traditional role in a service of worship
22. Which one of the following best describes how the last paragraph functions in the context of the passage?
It offers a tentative answer to a question posed by the author in the opening paragraph
It summarizes an account provided in detail in the preceding paragraph
It provides additional support for an argument advanced by the author in the preceding paragraph
It examines another facet of a distinction developed in the preceding paragraphs
It affirms the general principle enunciated at the beginning of the passage
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