01. There really is no such thing as Art. There are 02. only artists. Once these were men who took 03. coloured earth and roughed out the forms of 04. a bison on the wall of a cave; today some buy 05. their paints, and design posters for hoardings; 06. they did and do many other things. There is 07. no harm in calling all these activities art …….. 08. we keep in mind that such a word may mean 09. very different things in different times and 10. places, and as long as we realize that Art with 11. a capital A has no existence. ……… Art with a 12. capital A has come to be something of a 13. bogey and a fetish. You may crush an artist 14. by telling him that what he has just done may 15. be quite good in its own way, only it is not 16. ’Art’. And you may confound anyone enjoying 17. a picture by declaring that what he liked in it 18. was not the Art ……… something different. 19. Actually I do not think that there are any 20. wrong reasons for liking a statue or a picture. 21. Someone may like a landscape painting 22. because it reminds him of home, or a portrait 23. because it reminds him of a friend. There is 24. nothing wrong with that. All of us, when we 25. see a painting, are bound to be reminded of a 26. hundred-and-one things which influence our 27. likes and dislikes. As long as these memories 28. help us to enjoy what we see, we need not 29. worry. It is only when some irrelevant 30. memory makes us prejudiced, when we 31. instinctively turn away from a magnificent 32. picture of an alpine scene because we dislike 33. climbing, that we should search our mind for 34. the reason for the aversion which spoils a 35. pleasure we might otherwise have had. There 36. are wrong reasons for disliking a work of art. 37. Most people like to see in pictures what they 38. would also like to see in reality. This is quite a 39. natural preference. We all like beauty in 40. nature, and are grateful to the artists who 41. have preserved it in their works. Nor would 42. these artists themselves have rebuffed us for 43. our taste. When the great Flemish painter 44. Rubens made a drawing of his little boy, he 45. was surely proud of his good looks. He 46. wanted us, too, to admire the child. But this 47. bias for the pretty and engaging subject is apt 48. to become a stumbling-block if it leads us to 49. reject works which represent a less appealing 50. subject. The great German painter Albrecht 51. Dürer certainly drew his aging mother with as 52. much devotion and love as Rubens felt for his 53. chubby child. His truthful study of careworn 54. old age may give us a shock which makes us 55. turn away from it — and yet, if we fight 56. against our first repugnance we may be richly 57. rewarded, for Dürer’s drawing in its 58. tremendous sincerity is a great work. In fact, 59. we shall soon discover that the beauty of a 60. picture does not really lie in the beauty of its 61. subject-matter.
Adaptado de: GOMBRICH, E. H. The Story of Art. London / New York: Phaidon, 2007. p. 15-18.

Select the alternative that could replace the segment are bound to (l. 25) without changing the literal meaning of the sentence.