是德国工业联盟的奠基人和整个活动的开创者，他是一位教师、外交家、古董鉴赏家出身的设计艺术运动组织者。

A．格罗佩斯

B．彼得·贝伦斯

C．米斯·凡德洛

D．穆特修斯

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• In the history of arts patronage(资助，赞助), entrepreneurs-turned-connoisseurs(艺术品鉴赏家，行家) are a young development. The world's greatest museums the Louvre, Hermitage, Prado began as lavish civilization-is-power statements by monarchs and emperors; private individuals did not emerge as significant museum patrons before the 19th century. Until a generation ago. those wanting to leave their mark in bricks usually did so in a room of their own in a state museum: the Duveen Galleries at Tate Britain, the Abby Aldrich Rockefeller Gallery at New York's Museum of Modern Art. But in the past 15 years, that has changed: worldwide, collectors seek immortality in glass and steel, through a museum of their own, designed by an architect of their choosing.

  These are not latter-day Henry Tates or Pavel Tretyakovs, democratic visionaries who paid for buildings and donated core collections to kick-start evolving national, state-run institutions. Museum builders of the 1990s and 2000s, by contrast, are products of late capitalism, dedicated to more personal projects, with an individualistic flavor. They represent the legacy of Thatcher-Reagan words of choice, private philanthropy (慈善机构), me-generation celebrity.

  Together, these and scores more bring diversity and flatten old geographical hierarchies. In Istanbul, collector Sakip Sabanci's museum, founded in 2002, is the first ever to show western modernism in Turkey. Thanks to Dominique de Menil, the greatest collection of paintings by Cy Twombly, who lives in Italy, is on permanent show in Houston, Texas, in a gallery designed in 1995 by Renzo Piano. In 1996 the late collector and dealer Heinz Berggmen launched his Museum Berggruen in Berlin, giving Germany its only Picasso collection.

  Is all for the best in the best of all possible worlds? Certainly, more private museums mean more art on display for more people to see. Today's collectors are reluctant to bequeath (遗赠) to established museums, where space shortages mean works may go straight into storerooms and stay there. By contrast, a dedicated museum maintains the integrity of a collection, keeping together outstanding groups of works, assembled with personal flair, in buildings designed to enhance them. Renzo Piano's light, see-through 1997 construction for Ernst Beyeler's cherry-picked modernist paintings in Basel is the shining European example. For contemporary work, private collectors have particular advantages: free of state bureaucracy, they can respond quickly to the fast pace, and show work in ways that are too radical for traditional museums.

  How did the Louvre, Hermitage, and Prado museums originate according to the passage?

  A．Donations of the richest collectors.

  B．Patronage of private individuals.

  C．Collections of connoisseurs.

  D．Encouragements and approval by rulers.

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• 邓拓是一个______的文人，擅长书画，对历史文物研究有精深造诣，堪称优秀的鉴赏家、收藏家；他喜爱诗词，兴之所至，情之所系，时有绝唱；他独创“燕山夜话”杂文文体，厚积薄发，______，一时间风行全国，______。依次填入划横线部分最恰当的一项是（　　）。

  A、学富五车　文不加点　家喻户晓

  B、殚见洽闻　三纸无驴　万人空巷

  C、伐功矜能　哀梨并剪　脍炙人口

  D、才华横溢　言简意赅　洛阳纸贵

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