题目

英语翻译
publishers desired to let the past go while making new things look familiar.They
also wanted to shed a positive light on the rate by which commercialization began to
infiltrate the realm of fine art.Towards the end of the nineteenth century France was losing its position as the world’s cultural leader.The country could no longer compete with the industrial successes of America and Germany.After accepting this defeat and realizing this “tendency towards industrial stagnation,” France focused instead more on succeeding with “artisanal work of high quality as the source of French modernity.” Since “French taste conflicted with mass production,” they countered “industrial rivalry with traditions of quality.”3 France’s “protectionist” effort was a result of a concern that quality would be compromised if art were mass produced.France had a legitimate reason to worry that good French taste was being ruined,since by 1890,many French artisanal exports such as furniture,ceramics

提问时间：2021-04-09

答案

出版商希望让过去去看待事物,而作出新的熟悉.他们还想积极的显示商品化开始渗入艺术领土域.19世纪末法国丢失它作为世界文化领导的地位.这个国家不再能与美国和德国的工业成功竞争.在接受这个失败和体会到“倾向以后往工业停滞”后,法国的重点更多的集中于“高品质的手工工作作为法国现代源成功了.” 由于“法国品味冲突与大规模生产”,他们抵抗“工业竞争以质量的传统.” 3、法国的“保护主义”的努力是一个值得关注的结果,质量会受到影响,如果艺术被大量生产.法国有一个合法的理由担心,好的法国品味被破坏,到1890年以来,法国许多手工产品出口,如家具,陶瓷和珠宝经历了大幅下降.4、维护旧层次结构是危险.就Lautrec状况,平版印刷的支持者立即开始努力,重新定义和改写限量版的彩色版画.通过只更改 chromolithographies 的名称为 lithographies en couleurs,出版商和交易商的心理技巧的一种对消费者所扮演促进会模仿传统理想的一个术语.