Art historian: More than any other genre of representational painting,

2 points to note:

1. A - - - > B - - - > C
still-life painting lends itself naturally to art whose goal is the artist’s self-expression --- > artist invariably chooses, modifies, and arranges the objects to be painted --- > the artist has considerably more control over the composition and subject of a still-life painting

2. C > Z (other genre of representational painting); .
We cannot comment on any other genre of representational painting separately that how much control the artist has.



(A) Landscape painting and portraiture are the artistic genres that lend themselves most naturally to the mere reflection of a preexisting external reality.
Opposite is given .: the artist has considerably more control over the composition and subject of a still-life painting than over those of a landscape painting or portrait

(B) The only way in which artists control the composition and subject of a painting is by choosing, modifying, and arranging the objects to be represented in that painting.
Alert: We don’t know if there are other factors that leads to C
Reject1: Which painting - representational, non-representational , still-life? The point is very open. It doesn't say all paintings, it talks about a painting.
Reject2: The conclusion is based on comparison of 2 paintings . This option doesn't add value to the information what we are looking for . ( we are looking to support what can make more control over the composition and subject of a still-life painting than over those of a landscape painting or portrait)

(C) Nonrepresentational painting does not lend itself as naturally as still-life painting does to the goal of the artist’s self-expression.
More than any other genre of representational painting, -- > we can not comment on Nonrepresentational

(D) In genres of representational painting other than still-life painting, the artist does not always choose, modify, and arrange the objects to be painted.
the artist has considerably more control over the composition and subject of a still-life painting (artist invariably chooses, modifies, and arranges the objects to be painted) than over those of a landscape painting or portrait.)
Given C > Z
Say: B--- > C; Y -- >Z
If C > Z
Thus B > Y

(E) When painting a portrait, artists rarely attempt to express themselves through the choice, modification, or arrangement of the background elements against which the subject of the portrait is painted.
Opposite is given