When in 1897 Admiral Sir Henry Rawson brought to London over 1,000

Question

When in 1897 Admiral Sir Henry Rawson brought to London over 1,000 bronze statues and plaques from the ancient African cities of Benin and Ife, he set off a shockwave in the art world that reverberated throughout the twentieth century. These “Benin Bronzes” made many Europeans appreciate African art for the first time as “art.” Previously, they had viewed all African art as the quaint artifacts of a primitive society. Indeed, when the bronzes first came on display, many viewers conjectured that they must have been created by Portuguese merchants, Egyptian travelers, or one of the lost tribes of Israel, because they could not accept that an African society could create such advanced art.

The reason the Benin Bronzes caused such a stir was that they were in many ways similar to art that Europeans already considered “important,” such as the bronze sculptures of Archaic Greece. The Benin Bronzes were created using the lost-wax method, the same method used in Archaic Greece, and this technique allowed the sculptors to create works that were strikingly realistic. European audiences at the time prized realism as the highest criterion of art, and because of this the Benin Bronzes were judged inherently superior to the majority of African art, which has traditionally valued symbolism and abstraction above realism.

The display of the Benin Bronzes spurred a newfound interest in African art, which in turn exercised a great influence over the development of modern art. During the twentieth century, many of the prevailing ideas about art were revised. Modern artists embraced symbolism and abstraction, and they began to look to African works for inspiration. By the mid-twentieth century an art scholar could look at an abstract sculpture from the Yoruba culture and recognize in it thematic elements similar to those found in the modern sculptures considered “great art” in Paris or New York, such as works by Brancusi or Picasso. The art world still considers the Benin Bronzes to be some of the great treasures of African history, but now it also appreciates the bold imagery, symbolism, and beauty of other traditional African art forms.    1 
 1. The role of the Benin Bronzes in the art world, as described in the passage, is most like which of the following?

A. The discovery of a new plant with medicinal properties spurs interest in the other little-known plants in the new plant’s biological family.
B. Surrealism becomes very popular during the 1930’s because of artists such as Salvador Dali, but is soon surpassed in popularity by Abstract Expressionism.
C. A blockbuster musical from the 1950s is revived in the 1990s after decades of obscurity and takes the theater world by storm.
D. Traditional African textiles inspire a new line of clothing that is very popular for two seasons.
E. A monument sculptor begins working in bronze because the material’s malleability and durability are best suited to the needs of the monument he is planning.

2 
 2. What is the primary purpose of the passage?

A. To draw a connection between the Benin Bronzes and the work of Brancusi
B. To demonstrate the inherent superiority of African art over European art
C. To challenge the reader’s preconceptions about artistic beauty
D. To educate the reader about an important development in art history
E. To argue for a new appreciation of the merits of the Benin Bronzes

3 
 3. According to the passage, what trend in twentieth century art led to a greater appreciation of the majority of African art?

A. An increased emphasis on realism as a measure of value.
B. A decline in racist and imperialist perspectives.
C. An increased appreciation of symbolism and abstraction.
D. The emergence of artists such as Picasso and Brancusi.
E. The exhibition of the Benin Bronzes at the Victoria and Albert Museum.

4 
 4. According to the passage, an average European art enthusiast in 1896 would most likely make which of the following statements about African art?

A. “Though it pains me to say it, the finest African arts were all created by outsiders, such as European traders or the Greeks in Egypt.”
B. “I enjoy the primitive nature of African wood-carvings, and some of the tribal masks have a quaint appeal, but I could not honestly regard them as art.”
C. “The strength of African art is in its rich tradition of symbolism and abstraction, which give it an emotional vibrancy that traditional French and German paintings simply cannot match.”
D. “The European art most comparable to the sculptures of the Yoruba culture is the bronze statuary of Archaic Greece.”
E. “African art is both beautiful and terrible, coming as it does from the true heart of darkness.”

5 
 5. The passage mentions Picasso primarily in order to

A. Demonstrate the inferiority of most African art when compared to truly “great” art
B. Prove that European artists stole the ideas of African artists without giving them credit
C. Lend weight to the argument by mentioning a name readers are likely to have heard
D. Demonstrate the level of appreciation art scholars had developed for African art by the mid-twentieth century
E. Establish the superiority of Yoruba sculpture to the less advanced work of Benin and Ife

YogeshBardia · Answer

Q1. I think C is he only option where we talk about something which was existing before, but whose re-discovery shook the entire industry and how they thought about it.

Q2. I am confused between C and D. First C, the author challenges the preconceptions of the europeans and how they acknowledged the african art later on, but is the author challenging the reader or not? I can't figure that out. I think he's not. For D, The author tells a lot about the connection of benin bronzes and its effect on the art industry during twentieth century and I think this was the main point of the passage. Answer D, in my humble opinion.

Q3. From the second paragraph  "European audiences at the time prized realism as the highest criterion of art, and because of this the Benin Bronzes were judged inherently superior to the majority of African art, which has traditionally valued symbolism and abstraction above realism. ", we can choose option-A.

Q4. From paragraph-1 " Previously, they had viewed all African art as the quaint artifacts of a primitive society. Indeed, when the bronzes first came on display, many viewers conjectured that they must have been created by Portuguese merchants, Egyptian travelers, or one of the lost tribes of Israel, because they could not accept that an African society could create such advanced art. ", we can conclude thier disregards for African art as "Art" and so we can choose B.

Q5. From this " By the mid-twentieth century an art scholar could look at an abstract sculpture from the Yoruba culture and recognize in it thematic elements similar to those found in the modern sculptures considered “great art” in Paris or New York, such as works by Brancusi or Picasso. " we can say that they started acknowledging African Art as "Art", and kind of thought of it as superior to European art, and comparing it with Picasso's and Brancunsi's art. So we can choose D. I thought B was kind of based on the same point, but the author never mentions the European artists stealing African art styles and not giving them credits. But rather them(European Artists) being inspired from African Art.

Abhishek_007 · Answer

1. The role of the Benin Bronzes in the art world, as described in the passage, is most like which of the following?

A. The discovery of a new plant with medicinal properties spurs interest in the other little-known plants in the new plant’s biological family. 
- Incorrect. This analogy doesn't capture the impact of the Benin Bronzes on the art world and the subsequent interest in African art.

B. Surrealism becomes very popular during the 1930’s because of artists such as Salvador Dali, but is soon surpassed in popularity by Abstract Expressionism. 
- Incorrect. This analogy describes the popularity of art movements over time but doesn't capture the influence of the Benin Bronzes on the perception of African art.

C. A blockbuster musical from the 1950s is revived in the 1990s after decades of obscurity and takes the theater world by storm. 
  - Correct. This analogy best captures the idea that the Benin Bronzes, after being brought to London, sparked a renewed interest in African art, similar to how a revived musical could take the theater world by storm.

D. Traditional African textiles inspire a new line of clothing that is very popular for two seasons. 
- Incorrect. This analogy focuses on a short-term popularity of a specific product but doesn't convey the lasting impact on the art world as seen with the Benin Bronzes.

E. A monument sculptor begins working in bronze because the material’s malleability and durability are best suited to the needs of the monument he is planning. 
- Incorrect. This analogy describes a practical choice made by a sculptor but doesn't capture the broader impact on the art world.

---

2. What is the primary purpose of the passage?

A. To draw a connection between the Benin Bronzes and the work of Brancusi 
- Incorrect. The passage mentions Brancusi but doesn't primarily focus on drawing a direct connection between Brancusi's work and the Benin Bronzes.

B. To demonstrate the inherent superiority of African art over European art 
- Incorrect. The passage does not argue for the inherent superiority of African art over European art; it discusses the changing perceptions of African art.

C. To challenge the reader’s preconceptions about artistic beauty 
- Incorrect. While the passage challenges historical perceptions of African art, the primary focus is on the impact of the Benin Bronzes on the art world.

D. To educate the reader about an important development in art history  
   - Correct. The passage provides historical information about the Benin Bronzes and their influence on the perception of African art, contributing to a significant development in art history.

E. To argue for a new appreciation of the merits of the Benin Bronzes 
- Incorrect. While the passage discusses the appreciation of the Benin Bronzes, the broader focus is on their impact on the art world and the development of modern art.

---

3. According to the passage, what trend in twentieth-century art led to a greater appreciation of the majority of African art?

A. An increased emphasis on realism as a measure of value. 
- Incorrect. The passage mentions that European audiences prized realism, but the trend that led to a greater appreciation of African art was the increased appreciation of symbolism and abstraction.

B. A decline in racist and imperialist perspectives. 
- Incorrect. While the passage suggests that the Benin Bronzes challenged preconceptions, it does not specifically mention a decline in racist and imperialist perspectives as the main trend.

C. An increased appreciation of symbolism and abstraction.  
   - Correct. The passage explicitly states that modern artists embraced symbolism and abstraction, leading to a greater appreciation of African art.

D. The emergence of artists such as Picasso and Brancusi. 
- Incorrect. While Picasso and Brancusi are mentioned in the passage, the main trend is the shift towards symbolism and abstraction.

E. The exhibition of the Benin Bronzes at the Victoria and Albert Museum. 
- Incorrect. The exhibition is a part of the historical context, but the primary trend is the increased appreciation of symbolism and abstraction.

---

4. According to the passage, an average European art enthusiast in 1896 would most likely make which of the following statements about African art?

A. “Though it pains me to say it, the finest African arts were all created by outsiders, such as European traders or the Greeks in Egypt.” 
- Incorrect. The passage mentions that viewers conjectured the Benin Bronzes might have been created by outsiders, but this statement goes beyond what the passage suggests.

B. “I enjoy the primitive nature of African wood-carvings, and some of the tribal masks have a quaint appeal, but I could not honestly regard them as art.”  
   - Correct. The passage states that previously Europeans viewed all African art as the artifacts of a primitive society.

C. “The strength of African art is in its rich tradition of symbolism and abstraction, which give it an emotional vibrancy that traditional French and German paintings simply cannot match.” 
- Incorrect. This statement goes beyond what the passage suggests about the perception of African art in 1896.

D. “The European art most comparable to the sculptures of the Yoruba culture is the bronze statuary of Archaic Greece.” 
- Incorrect. This statement is not attributed to the average European art enthusiast in 1896; it refers to the Benin Bronzes and Yoruba sculptures.

E. “African art is both beautiful and terrible, coming as it does from the true heart of darkness.” 
- Incorrect. This statement is a more extreme view and not directly supported by the passage.

---

5. The passage mentions Picasso primarily in order to

A. Demonstrate the inferiority of most African art when compared to truly “great” art 
- Incorrect. The passage does not aim to show the inferiority of African art but rather highlights Picasso's inspiration from African works.

B. Prove that European artists stole the ideas of African artists without giving them credit 
- Incorrect. The passage does not suggest theft of ideas but rather a recognition of thematic elements.

C. Lend weight to the argument by mentioning a name readers are likely to have heard 
- Incorrect. While this choice is partially correct, it does not capture the primary reason for mentioning Picasso in the context of African art influence.

D. Demonstrate the level of appreciation art scholars had developed for African art by the mid-twentieth century  
   - Correct. The passage mentions Picasso to illustrate that, by the mid-twentieth century, art scholars could recognize thematic elements in African art similar to those found in the works of modern artists.

E. Establish the superiority of Yoruba sculpture to the less advanced work of Benin and Ife 
- Incorrect. The passage does not compare Yoruba sculpture directly to Benin and Ife works but rather discusses broader themes of artistic influence and appreciation.

missionmba2025 · Answer

1. The role of the Benin Bronzes in the art world, as described in the passage, is most like which of the following?A. The discovery of a new plant with medicinal properties spurs interest in the other little-known plants in the new plant’s biological family. - Incorrect. This option describes a scenario of discovering related items within a specific category, but it doesn't capture the broader impact and appreciation that the Benin Bronzes had on African art as a whole.
B. Surrealism becomes very popular during the 1930’s because of artists such as Salvador Dali, but is soon surpassed in popularity by Abstract Expressionism. - Incorrect. This option describes the rise and fall of a specific art movement, which is not analogous to the impact of the Benin Bronzes on the appreciation of African art.
C. A blockbuster musical from the 1950s is revived in the 1990s after decades of obscurity and takes the theater world by storm. - Incorrect. This option describes the revival of a specific work rather than a broader impact on a category of art.
D. Traditional African textiles inspire a new line of clothing that is very popular for two seasons. - Incorrect. This option describes a short-lived trend inspired by African art, rather than a lasting impact on the appreciation of African art.
E. A monument sculptor begins working in bronze because the material’s malleability and durability are best suited to the needs of the monument he is planning. -  Correct . This option captures the idea of a significant shift or awakening in the appreciation of a particular art form due to specific examples or influences, similar to how the Benin Bronzes influenced the appreciation of African art.

2. What is the primary purpose of the passage?A. To draw a connection between the Benin Bronzes and the work of Brancusi - Incorrect. While the passage mentions Brancusi in the context of modern artists being inspired by African art, it is not the primary purpose of the passage.
B. To demonstrate the inherent superiority of African art over European art - Incorrect. The passage discusses how the Benin Bronzes challenged European perceptions of African art, but it does not argue for the superiority of one over the other.
C. To challenge the reader’s preconceptions about artistic beauty - Incorrect. While the passage does challenge the Eurocentric view of art, its primary focus is on the impact of the Benin Bronzes on the appreciation of African art.
D. To educate the reader about an important development in art history -  Correct . The passage informs readers about the significance of the Benin Bronzes in the art world and their influence on the development of modern art.
E. To argue for a new appreciation of the merits of the Benin Bronzes - Incorrect. While the passage discusses the appreciation of the Benin Bronzes, it does so in the context of their broader impact on the art world, rather than arguing for their merits.

3. According to the passage, what trend in twentieth-century art led to a greater appreciation of the majority of African art?A. An increased emphasis on realism as a measure of value. - Incorrect. The passage states that European audiences valued realism but considered the Benin Bronzes inherently superior despite their departure from realism.
B. A decline in racist and imperialist perspectives. - Incorrect. While the passage discusses the shift in perception of African art, it does not attribute it solely to a decline in racist and imperialist perspectives.
C. An increased appreciation of symbolism and abstraction. -  Correct . The passage mentions that modern artists embraced symbolism and abstraction, which led to a greater appreciation of African art that valued symbolism and abstraction over realism.
D. The emergence of artists such as Picasso and Brancusi. - Incorrect. While the passage mentions modern artists being inspired by African art, it does not attribute the appreciation of African art solely to the emergence of specific artists.
E. The exhibition of the Benin Bronzes at the Victoria and Albert Museum. - Incorrect. While the exhibition of the Benin Bronzes may have contributed to the increased appreciation of African art, it was the broader trend of embracing symbolism and abstraction in modern art that led to a greater appreciation of African art.

4. According to the passage, an average European art enthusiast in 1896 would most likely make which of the following statements about African art?A. “Though it pains me to say it, the finest African arts were all created by outsiders, such as European traders or the Greeks in Egypt.” - Incorrect. This statement suggests an acknowledgment of African art's origin, which contradicts the passage's description of Europeans conjecturing that the Benin Bronzes were created by outsiders.
B. “I enjoy the primitive nature of African wood-carvings, and some of the tribal masks have a quaint appeal, but I could not honestly regard them as art.” -  Correct . This statement reflects the Eurocentric view prevalent at the time, as described in the passage.
C. “The strength of African art is in its rich tradition of symbolism and abstraction, which give it an emotional vibrancy that traditional French and German paintings simply cannot match.” - Incorrect. This statement attributes positive qualities to African art, which contrasts with the passage's description of European perceptions of African art as primitive.
D. “The European art most comparable to the sculptures of the Yoruba culture is the bronze statuary of Archaic Greece.” - Incorrect. This statement acknowledges the similarity between African and European art, which contradicts the passage's description of Europeans struggling to accept African art's sophistication.
E. “African art is both beautiful and terrible, coming as it does from the true heart of darkness.” - Incorrect. This statement reflects a derogatory and racially charged view of African art, which is not explicitly mentioned in the passage.

5. The passage mentions Picasso primarily in order toA. Demonstrate the inferiority of most African art when compared to truly “great” art - Incorrect. The passage does not suggest that Picasso's mention is intended to demonstrate the inferiority of African art.
B. Prove that European artists stole the ideas of African artists without giving them credit - Incorrect. The passage does not discuss the issue of plagiarism or lack of credit given to African artists by European artists.
C. Lend weight to the argument by mentioning a name readers are likely to have heard -  Correct . The mention of Picasso, a well-known artist, reinforces the idea that modern artists were inspired by African art, lending credibility to the argument presented in the passage.
D. Demonstrate the level of appreciation art scholars had developed for African art by the mid-twentieth century - Incorrect. While Picasso's mention does illustrate the influence of African art on modern artists, it does not specifically address the level of appreciation among art scholars.
E. Establish the superiority of Yoruba sculpture to the less advanced work of Benin and Ife - Incorrect. The passage does not compare the artistic merits of Yoruba sculpture to those of Benin and Ife; rather, it discusses how African art as a whole influenced modern artists.

The answers are
1. E
2. D
3. C
4. B
5. C

Sajjad1994 · Answer

Official Explanation

1. The role of the Benin Bronzes in the art world, as described in the passage, is most like which of the following?

Explanation

In both cases, a previously unknown item is found to have unexpected merits, and this discovery generates interest in items similar to the discovered item.

Correct answer: A

Sajjad1994 · Answer

Official Explanation

2. What is the primary purpose of the passage?

Explanation

The passage provides historical context and information about the impact of the Benin Bronzes on the art world. It discusses how these artifacts challenged European perceptions of African art, leading to a newfound appreciation and influencing the development of modern art. The passage does not explicitly argue for the inherent superiority of African art over European art or primarily aim to challenge preconceptions about artistic beauty. Instead, it presents a historical narrative about the influence of the Benin Bronzes on the appreciation and interpretation of African art in the broader context of art history.

Answer: D

Sajjad1994 · Answer

Official Explanation

3. According to the passage, what trend in twentieth century art led to a greater appreciation of the majority of African art?

Explanation

The passage mentions that during the twentieth century, prevailing ideas about art were revised, and modern artists began to embrace symbolism and abstraction. This shift in artistic preferences contributed to a newfound interest in African art, including works that traditionally valued symbolism and abstraction over realism. The passage specifically notes that modern artists looked to African works for inspiration, and by the mid-twentieth century, art scholars could recognize thematic elements in African sculptures that were similar to those found in modern sculptures considered  "great art"  in Paris or New York, such as works by Brancusi or Picasso. Therefore,  option C  is the correct answer.

Refereence from the passage:  “During the twentieth century, many ideas about art were revised. Modern artists embraced symbolism and abstraction, and they began to look to African works for inspiration.”

Answer: C

Sajjad1994 · Answer

Official Explanation

4. According to the passage, an average European art enthusiast in 1896 would most likely make which of the following statements about African art?

Explanation

The passage mentions that before the Benin Bronzes were brought to London in 1897, many Europeans viewed all African art as the quaint artifacts of a primitive society. Therefore, the prevailing perspective was one that did not consider African art as true  "art"  in the European sense. This aligns with  option B,  where the enthusiast appreciates certain aspects of African art but does not regard them as genuine art.

Answer: B

Sajjad1994 · Answer

Official Explanation

5. The passage mentions Picasso primarily in order to

Explanation

The reference to Picasso serves to illustrate the influence of African art on modern Western art. Picasso, a well-known and influential figure in modern art, is mentioned to demonstrate that even prominent Western artists were inspired by African works. This inclusion helps emphasize the impact of African art on the development of modern art and would likely resonate with readers familiar with Picasso's significance in the art world.

Answer: C

Sajjad1994 · Answer

Question #4  is an easy 500-550 level question. The reason is that answer choices are very easy to right-off, and one is easy to recognize as the correct answer. C, D, and E are nowhere in contention. A is wrong because it uses extreme words for whom we have no support from the passage. It is like translating "I will punish you" into "I will kill you".

Question #5  is bit tricky because of C vs D. D is rather opposite. Lets compare the both.

C. Lend weight to the argument by mentioning a name readers are likely to have heard.   This is all good while we read the passage we can infer C.

D. Demonstrate the level of appreciation      art scholars had developed for African art by the mid-twentieth century   . Do you really think the author named Brancusi or Picasso to demonstrate the level of  African Art?

D is half right and half wrong.

When in 1897 Admiral Sir Henry Rawson brought to London over 1,000

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When in 1897 Admiral Sir Henry Rawson brought to London over 1,000

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615 to 715 in 15 Days (Ria's Strategies)

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