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Updated on: 04 Apr 2020, 08:10
Originally posted by Carcass on 09 Jan 2019, 13:02.
Last edited by Sajjad1994 on 04 Apr 2020, 08:10, edited 2 times in total.
Last edited by Sajjad1994 on 04 Apr 2020, 08:10, edited 2 times in total.
Updated - Complete topic (883).
Kudos
Bookmarks
Question 1
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
25%
(medium)
Question Stats:
71% (02:18) correct
29%
(02:27) wrong
based on 422
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
35%
(medium)
Question Stats:
64% (01:15) correct 36%
(01:32) wrong
based on 413
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
A
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
35%
(medium)
Question Stats:
60% (01:01) correct 40%
(01:15) wrong
based on 401
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
65%
(hard)
Question Stats:
39% (00:52) correct 61%
(00:58) wrong
based on 376
sessions
History
Date
Time
Result
Not Attempted Yet
A serious critic has to comprehend the particular content, unique structure, and special meaning of a work of art. And here she faces a dilemma. The critic must recognize the artistic element of uniqueness that requires subjective reaction; yet she must not be unduly prejudiced by such reactions. Her likes and dislikes are less important than what the work itself communicates, and her preferences may blind her to certain qualities of the work and thereby prevent an adequate understanding of it. Hence, it is necessary that a critic develop a sensibility informed by familiarity with the history of art and aesthetic theory. On the other hand, it is insufficient to treat the artwork solely historically, in relation to a fixed set of ideas or values. The critic's knowledge and training are, rather, preparation of the cognitive and emotional abilities needed for an adequate personal response to an artwork's own particular qualities.
B
(A) treats an artwork in relation to a fixed set of ideas and values
(B) brings to her observation a knowledge of art history and aesthetic theory
(C) allows more time for the observation of each artwork
(D) takes into account the preferences of other art critics
(E) limits herself to that art with which she has adequate familiarity
B
(A) doing so would lead the critic into a dilemma
(B) doing so can blind the critic to some of the artwork's unique qualities
(C) doing so can insulate the critic from personally held beliefs
(D) subjective reactions can produce a biased response
(E) critics are not sufficiently familiar with art history
A
(A) Art speaks to the passions as well as to the intellect.
(B) Most works of art express unconscious wishes or desires.
(C) The best art is accessible to the greatest number of people.
(D) The art produced in the last few decades is of inferior quality.
(E) The meaning of art is a function of the social conditions in which it was produced.
D
(A) an attack on sentimentality
(B) an example of successful art criticism
(C) a critique of artists' training
(D) a warning against extremes in art criticism
(E) an analogy between art criticism and art production
09 Jan 2019, 13:37
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3 mins 9 secs and got 3 out of 4. 
missed the last one due to unnecessary haste.
According to the author, a serious art critic may avoid being prejudiced by her subjective reactions if she
(A) treats an artwork in relation to a fixed set of ideas and values Opposite - this is mentioned in the next context.
(B) brings to her observation a knowledge of art history and aesthetic theory Verbatim from the passage.
(C) allows more time for the observation of each artwork Irrelevant. Possible real-world trap.
(D) takes into account the preferences of other art critics Out of scope.
(E) limits herself to that art with which she has adequate familiarity TRAP - this could be a contrived way of looking at it but the author does not imply this even though he mentions familiarity - it is with the context of history and aesthetic theory.
Detail question, nicely in order in which the details appear in the passage - however, the options on this one are tricky
The author implies that it is insufficient to treat a work of art solely historically because
(A) doing so would lead the critic into a dilemma Opposite - the dilemma will be cleared by looking at a piece of art via the lens of history.
(B) doing so can blind the critic to some of the artwork's unique qualities Bingo - overdoing the history and aesthetic aspect can lead the critic to ignore the art for its individuality.
(C) doing so can insulate the critic from personally held beliefs Opposite - same as option A.
(D) subjective reactions can produce a biased response Opposite - again related to why a historical approach is useful. Discard.
(E) critics are not sufficiently familiar with art history Irrelevant and out of scope. Discard.
Now we are going back to the start of the passage - another detail implication type question.
The passage suggests that the author would be most likely to agree with which of the following statements?
(A) Art speaks to the passions as well as to the intellect. BINGO - this is the dilemma the author is talking about in the first few lines of the passage.
(B) Most works of art express unconscious wishes or desires. Out of scope.
(C) The best art is accessible to the greatest number of people. Out of scope by a large margin.
(D) The art produced in the last few decades is of inferior quality. Laughably irrelevant
(E) The meaning of art is a function of the social conditions in which it was produced. Real world trap - but in the context of the question and the passage irrelevant. Discard.
Finally the main point question with extremely tricky options. I fell prey to this one due to haste :-|
The author's argument is developed primarily by the use of
(A) an attack on sentimentality Laughably irrelevant to anything being discussed in the passage.
(B) an example of a successful art criticism TRAP! The author does talk about the characteristics of successful art criticism but gives no example - Beware!
(C) a critique of artists' training No training mentioned, however, anyone who reads the last line for main point trick might fall for it.
(D) a warning against extremes in art criticism BINGO - bu POE as well as the dilemma and also a suggestion that a critics job cannot be taught - the author is warning against wrong ( i.e extreme) criticism.
(E) an analogy between art criticism and art production Irrelevant, production is never mentioned.
missed the last one due to unnecessary haste.Passage is talking about the necessary requirements for successful art criticism.
In comprehending the particular content, unique structure, and special meaning an art critique faces a dilemma - critic must recognize the artistic element of uniqueness that requires subjective reaction; yet she must not be unduly prejudiced by such reactions. The passage goes on to detail why "a sensibility informed by familiarity with the history of art and aesthetic theory" is necessary at the same time overreliance on history alone too is harmful.
Detail question - also the main suggestion of the passage to get rid of the dilemma mentioned.In comprehending the particular content, unique structure, and special meaning an art critique faces a dilemma - critic must recognize the artistic element of uniqueness that requires subjective reaction; yet she must not be unduly prejudiced by such reactions. The passage goes on to detail why "a sensibility informed by familiarity with the history of art and aesthetic theory" is necessary at the same time overreliance on history alone too is harmful.
According to the author, a serious art critic may avoid being prejudiced by her subjective reactions if she
(A) treats an artwork in relation to a fixed set of ideas and values Opposite - this is mentioned in the next context.
(B) brings to her observation a knowledge of art history and aesthetic theory Verbatim from the passage.
(C) allows more time for the observation of each artwork Irrelevant. Possible real-world trap.
(D) takes into account the preferences of other art critics Out of scope.
(E) limits herself to that art with which she has adequate familiarity TRAP - this could be a contrived way of looking at it but the author does not imply this even though he mentions familiarity - it is with the context of history and aesthetic theory.
Detail question, nicely in order in which the details appear in the passage - however, the options on this one are tricky
The author implies that it is insufficient to treat a work of art solely historically because
(A) doing so would lead the critic into a dilemma Opposite - the dilemma will be cleared by looking at a piece of art via the lens of history.
(B) doing so can blind the critic to some of the artwork's unique qualities Bingo - overdoing the history and aesthetic aspect can lead the critic to ignore the art for its individuality.
(C) doing so can insulate the critic from personally held beliefs Opposite - same as option A.
(D) subjective reactions can produce a biased response Opposite - again related to why a historical approach is useful. Discard.
(E) critics are not sufficiently familiar with art history Irrelevant and out of scope. Discard.
Now we are going back to the start of the passage - another detail implication type question.
The passage suggests that the author would be most likely to agree with which of the following statements?
(A) Art speaks to the passions as well as to the intellect. BINGO - this is the dilemma the author is talking about in the first few lines of the passage.
(B) Most works of art express unconscious wishes or desires. Out of scope.
(C) The best art is accessible to the greatest number of people. Out of scope by a large margin.
(D) The art produced in the last few decades is of inferior quality. Laughably irrelevant
(E) The meaning of art is a function of the social conditions in which it was produced. Real world trap - but in the context of the question and the passage irrelevant. Discard.
Finally the main point question with extremely tricky options. I fell prey to this one due to haste :-|
The author's argument is developed primarily by the use of
(A) an attack on sentimentality Laughably irrelevant to anything being discussed in the passage.
(B) an example of a successful art criticism TRAP! The author does talk about the characteristics of successful art criticism but gives no example - Beware!
(C) a critique of artists' training No training mentioned, however, anyone who reads the last line for main point trick might fall for it.
(D) a warning against extremes in art criticism BINGO - bu POE as well as the dilemma and also a suggestion that a critics job cannot be taught - the author is warning against wrong ( i.e extreme) criticism.
(E) an analogy between art criticism and art production Irrelevant, production is never mentioned.
General Discussion
tapasgupta
GMAT 1: 550 Q44 V23
Posts: 115
10 Jan 2019, 13:15
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1. According to the author, a serious art critic may avoid being prejudiced by her subjective reactions if she
(A) treats an artwork in relation to a fixed set of ideas and values - Irrelevant
(B) brings to her observation a knowledge of art history and aesthetic theory - "Hence, it is necessary that a critic develop a sensibility informed by familiarity with the history of art and aesthetic theory." This gives the answer
(C) allows more time for the observation of each artwork - out of scope
(D) takes into account the preferences of other art critics - out of scope
(E) limits herself to that art with which she has adequate familiarity - Irrelevant
2. The author implies that it is insufficient to treat a work of art solely historically because
(A) doing so would lead the critic into a dilemma -partial scope
(B) doing so can blind the critic to some of the artwork's unique qualities - as concluded from the last line
(C) doing so can insulate the critic from personally held beliefs - out of scope
(D) subjective reactions can produce a biased response - Irrelevant
(E) critics are not sufficiently familiar with art history - out of scope
3. The passage suggests that the author would be most likely to agree with which of the following statements?
(A) Art speaks to the passions as well as to the intellect. - can be concluded
(B) Most works of art express unconscious wishes or desires. - extreme
(C) The best art is accessible to the greatest number of people. - extreme
(D) The art produced in the last few decades is of inferior quality. - out of scope
(E) The meaning of art is a function of the social conditions in which it was produced. - out of scope
4. The author's argument is developed primarily by the use of
(A) an attack on sentimentality - partial scope, not the primary reason
(B) an example of successful art criticism - no example is given
(C) a critique of artists' training - out of scope
(D) a warning against extremes in art criticism - based on the seriousness of the passage, it can be concluded
(E) an analogy between art criticism and art production - out of scope
(A) treats an artwork in relation to a fixed set of ideas and values - Irrelevant
(B) brings to her observation a knowledge of art history and aesthetic theory - "Hence, it is necessary that a critic develop a sensibility informed by familiarity with the history of art and aesthetic theory." This gives the answer
(C) allows more time for the observation of each artwork - out of scope
(D) takes into account the preferences of other art critics - out of scope
(E) limits herself to that art with which she has adequate familiarity - Irrelevant
2. The author implies that it is insufficient to treat a work of art solely historically because
(A) doing so would lead the critic into a dilemma -partial scope
(B) doing so can blind the critic to some of the artwork's unique qualities - as concluded from the last line
(C) doing so can insulate the critic from personally held beliefs - out of scope
(D) subjective reactions can produce a biased response - Irrelevant
(E) critics are not sufficiently familiar with art history - out of scope
3. The passage suggests that the author would be most likely to agree with which of the following statements?
(A) Art speaks to the passions as well as to the intellect. - can be concluded
(B) Most works of art express unconscious wishes or desires. - extreme
(C) The best art is accessible to the greatest number of people. - extreme
(D) The art produced in the last few decades is of inferior quality. - out of scope
(E) The meaning of art is a function of the social conditions in which it was produced. - out of scope
4. The author's argument is developed primarily by the use of
(A) an attack on sentimentality - partial scope, not the primary reason
(B) an example of successful art criticism - no example is given
(C) a critique of artists' training - out of scope
(D) a warning against extremes in art criticism - based on the seriousness of the passage, it can be concluded
(E) an analogy between art criticism and art production - out of scope
