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Question 1
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
15%
(low)
Question Stats:
80% (03:29) correct
20%
(03:32) wrong
based on 491
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:
75%
(hard)
Question Stats:
32% (01:05) correct 68%
(00:58) wrong
based on 636
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
45%
(medium)
Question Stats:
60% (01:33) correct 40%
(01:37) wrong
based on 595
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
A
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
15%
(low)
Question Stats:
77% (01:10) correct 23%
(01:20) wrong
based on 576
sessions
History
Date
Time
Result
Not Attempted Yet
Art is visible. However, everything one sees is filtered through certain conditions, some of them historical, and others, natural. The historical conditions include the material, which is used — oil, colors, and the canvas; second, a certain style, i.e., a system of rules by which things visible are submitted a priori. There can be a general style, for example, the style of Impressionism, or a particular style, for example, the individual ways in which two painters, both impressionists, paint. The natural conditions include certain unchanging psychological laws of sight, for instance, the effects of colors or optical illusions.
The conditions of art are nothing but a particular way of interpreting reality. To understand this, one can examine the difference between the classical Greek and the classical Egyptian styles. For the Greeks, the reality of the visible was given by the perspective and the situation in which the object appears; for that reason they presented a person in his individual movements. For the Egyptians, however, this was only the appearance of a transitory moment, which, according to their beliefs, was not real. Therefore, the Egyptians searched for the permanent essence and the typical character in their depiction of an object. For the Egyptians, Greek art was an illusion; for the Greeks, on the other hand, Egyptian art was unrealistic constructivism.
The way in which reality appears in art must not be regarded on its own. It is affected by many other systems of recognizing reality, including the political, religious, economic, intellectual, and social — in short, all the phenomena of human life. Moreover, art is always of a certain epoch, with its particular conception of reality. Thus, when discussing, for example, the art of ancient myth, of medieval Christianity, or that of the technological age, one must be aware that myth, Christianity, or technology was the most salient feature of the epoch.
It is paradoxical to understand art as some kind of copy of the fields of experience connected with it. So, for example, it is meaningless for the work of art as such if one compares the landscape of a painting with the landscape, which served the artist as his model. Even if the artist had tried to make what he painted as similar as possible to the model he used, the landscape which he saw is only the matter from which something completely different emerges since he has submitted its view to the a priori conditions of art: namely to the material used (colors, canvas, etc.), to his style, and even to the fact that he paints on a flat surface. Thus one must contemplate a work of art by itself. Even if it is connected to other fields of experience it nevertheless displays something unique which appears in that piece of art and there alone.
The conditions of art are nothing but a particular way of interpreting reality. To understand this, one can examine the difference between the classical Greek and the classical Egyptian styles. For the Greeks, the reality of the visible was given by the perspective and the situation in which the object appears; for that reason they presented a person in his individual movements. For the Egyptians, however, this was only the appearance of a transitory moment, which, according to their beliefs, was not real. Therefore, the Egyptians searched for the permanent essence and the typical character in their depiction of an object. For the Egyptians, Greek art was an illusion; for the Greeks, on the other hand, Egyptian art was unrealistic constructivism.
The way in which reality appears in art must not be regarded on its own. It is affected by many other systems of recognizing reality, including the political, religious, economic, intellectual, and social — in short, all the phenomena of human life. Moreover, art is always of a certain epoch, with its particular conception of reality. Thus, when discussing, for example, the art of ancient myth, of medieval Christianity, or that of the technological age, one must be aware that myth, Christianity, or technology was the most salient feature of the epoch.
It is paradoxical to understand art as some kind of copy of the fields of experience connected with it. So, for example, it is meaningless for the work of art as such if one compares the landscape of a painting with the landscape, which served the artist as his model. Even if the artist had tried to make what he painted as similar as possible to the model he used, the landscape which he saw is only the matter from which something completely different emerges since he has submitted its view to the a priori conditions of art: namely to the material used (colors, canvas, etc.), to his style, and even to the fact that he paints on a flat surface. Thus one must contemplate a work of art by itself. Even if it is connected to other fields of experience it nevertheless displays something unique which appears in that piece of art and there alone.
1. According to the passage, classical Egyptians did not present a person in his individual movements
A. Because the Greeks believed that the reality of the visible was given by the perspective and the situation in which the object appears
B. Because the Greeks did not believe that the reality of the visible was given by the perspective and the situation in which the object appears
C. Because the Egyptians believed that the reality of the visible was given by the perspective and the situation in which the object appears
D. Because the Egyptians did not believe that the reality of the visible was given by the perspective and the situation in which the object appears
E. Because for the Egyptians, Greek art was an illusion.
A. Because the Greeks believed that the reality of the visible was given by the perspective and the situation in which the object appears
B. Because the Greeks did not believe that the reality of the visible was given by the perspective and the situation in which the object appears
C. Because the Egyptians believed that the reality of the visible was given by the perspective and the situation in which the object appears
D. Because the Egyptians did not believe that the reality of the visible was given by the perspective and the situation in which the object appears
E. Because for the Egyptians, Greek art was an illusion.
2. The author mentions which of the following as one of the conditions through which art is seen?
A. Impressionism
B. Optical illusions
C. Nature
D. Perspective
E. Illusions
A. Impressionism
B. Optical illusions
C. Nature
D. Perspective
E. Illusions
3. By asserting that art is filtered through certain conditions, the author suggests which of the following?
A. Even if the artist tried to make what he painted as similar as possible to the model he used, he would not succeed
B. Even if the artist tried to make what he painted as similar as possible to the model he used, it would be impossible to critique it
C. Even if the artist tried to make what he painted as similar as possible to the model he used, the landscape would be affected by many other systems of recognizing reality
D. The way in which reality appears in art influences other systems of recognizing reality, including the political, religious, economic, intellectual, and social
E. The way in which reality appears in art is influenced by other systems of recognizing reality, including the political, religious, economic, intellectual, and social
A. Even if the artist tried to make what he painted as similar as possible to the model he used, he would not succeed
B. Even if the artist tried to make what he painted as similar as possible to the model he used, it would be impossible to critique it
C. Even if the artist tried to make what he painted as similar as possible to the model he used, the landscape would be affected by many other systems of recognizing reality
D. The way in which reality appears in art influences other systems of recognizing reality, including the political, religious, economic, intellectual, and social
E. The way in which reality appears in art is influenced by other systems of recognizing reality, including the political, religious, economic, intellectual, and social
4. The author cites the example of psychological laws of sight, for instance, the effects of colors or optical illusions in order to illustrate
A. Laws of nature, which are not affected by history
B. Laws of nature, which are affected by history
C. Laws of nature, which change history
D. Laws of history, which are affected by nature
E. Laws of history, which are not affected by nature
A. Laws of nature, which are not affected by history
B. Laws of nature, which are affected by history
C. Laws of nature, which change history
D. Laws of history, which are affected by nature
E. Laws of history, which are not affected by nature
GMAT 4 Full tests
23 Nov 2021, 06:13
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Explanation
3. By asserting that art is filtered through certain conditions, the author suggests which of the following?
Difficulty Level: Hard
Explanation
Use POE, let's read each option one by one.
A. Even if the artist tried to make what he painted as similar as possible to the model he used, he would not succeed
This is not the answer, this choice is an example of extreme and could be true answer choice. Although the author has discussed something like this can we surely infer the same? No.
B. Even if the artist tried to make what he painted as similar as possible to the model he used, it would be impossible to critique it.
Out of scope, absurd.
C. Even if the artist tried to make what he painted as similar as possible to the model he used, the landscape would be affected by many other systems of recognizing reality.
This is the second-best choice, in my opinion, this option on might stop for some moment. I will keep it until I find something better.
D. The way in which reality appears in art influences other systems of recognizing reality, including the political, religious, economic, intellectual, and social
Out of scope. This is an example of reverse answer. To state something opposite to the passage.
E. The way in which reality appears in art is influenced by other systems of recognizing reality, including the political, religious, economic, intellectual, and social
This is correct! The author states in paragraph three that the way in which reality appears in art is affected by many other systems of recognizing reality, including the political, religious, economic, intellectual, and social — in short, all the phenomena of human life.
Answer: E
Difficulty Level: Hard
Explanation
Use POE, let's read each option one by one.
A. Even if the artist tried to make what he painted as similar as possible to the model he used, he would not succeed
This is not the answer, this choice is an example of extreme and could be true answer choice. Although the author has discussed something like this can we surely infer the same? No.
B. Even if the artist tried to make what he painted as similar as possible to the model he used, it would be impossible to critique it.
Out of scope, absurd.
C. Even if the artist tried to make what he painted as similar as possible to the model he used, the landscape would be affected by many other systems of recognizing reality.
This is the second-best choice, in my opinion, this option on might stop for some moment. I will keep it until I find something better.
D. The way in which reality appears in art influences other systems of recognizing reality, including the political, religious, economic, intellectual, and social
Out of scope. This is an example of reverse answer. To state something opposite to the passage.
E. The way in which reality appears in art is influenced by other systems of recognizing reality, including the political, religious, economic, intellectual, and social
This is correct! The author states in paragraph three that the way in which reality appears in art is affected by many other systems of recognizing reality, including the political, religious, economic, intellectual, and social — in short, all the phenomena of human life.
Answer: E
thakurarun85
21 Dec 2021, 04:35
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can someone explain question number 4?
