Whenweconsidergreatpaintersofthepast,thestudyofartandthestudyofillusioncannotalwaysbeseparated.ByillusionImeanthosecontrivancesofcolor,line,shape,andforththatleadustoseemarksonaflatsurfaceasdepictingthree-dimensionalobjectsinspace.ImustemphasizethatIamnotmakingaplea,disguisedorotherwise,fortheexerciseofillusionisttricksinpaintingtoday,althoughIam,infactrathercriticalofcertaintheoriesofnon-representationalart.Buttoargueoverthesetheorieswouldbetomissthepoint.ThatthediscoveriesandeffectsofrepresentationthatweretheprideofearlierartistshavebecometrivialtodayIwouldnotdenyforamoment.YetIbelievethatweareinrealdangeroflosingcontactwithpastmastersifweacceptthefashionabledoctrinethatsuchmattersneverhadanythingtodowithart.Theveryreasonwhytherepresentationofnaturecannowbeconsideredsomethingcommonplaceshouldbeofthegreatestinteresttoarthistorians.Neverbeforehastherebeenanagewhenthevisualimagewassocheapineverysenseoftheword.Wearesurroundedandassailedbypostersandadvertisements,comicsandmagazineillustrations.Weseeaspectsofrealityrepresentedontelevision,postagestamps,andfoodpackages.Paintingistaughtinschoolandpracticedasapastime,andmanymodestamateurshavemasteredtricksthatwouldhavelookedlikesheermagictothe14th?centurypainterGiotto.EventhecrudecoloredrenderingsonacerealboxmighthavemadeGiotto’scontemporariesgasp.PerhapstherearepeoplewhoconcludedfromthisthatthecerealboxissuperiortoaGiotto;Idonot.ButIthinkthatthevictoryandvulgarizationofrepresentationalskillscreateaproblemforbotharthistoriansandcritics.InthisconnectionitisinstructivetoremembertheGreeksayingthattomarvelisthebeginningofknowledgeandifweceasetomarvelwemaybeindangerofceasingtoknow.Ibelievewemustrestoreoursenseofwonderatthecapacitytoconjureupbyforms,lines,shades,orcolorsthosemysteriousphantomsofvisualrealitywecall“pictures.”Evencomicsandadvertisements,rightlyviewed,providefoodforthought.Justasthestudyofpoetryremainsincompletewithoutanawarenessofthelanguageofprose,so,Ibelieve,thestudyofartwillbeincreasinglysupplementedbyinquiryintothe“linguistics”ofthevisualimage.Thewaythelanguageofartreferstothevisibleworldisbothsoobviousandsomysteriousthatitisstilllargelyunknownexcepttoartistswhouseitasweusealllanguage—withoutneedingtoknowitsgrammarandsemantics. Whichofthefollowingbeststatesthatauthor’sattitudetowardcomics,asexpressedinthepassage?
A.They constitute an innovative art from.
B.They can be a worthwhile subject for study.
C.They are critically important to an understanding of modern art.
D.Their visual structure is more complex than that of medieval art.
正确答案是B