GMAT Question of the Day - Daily to your Mailbox; hard ones only

 It is currently 14 Nov 2018, 22:59

### GMAT Club Daily Prep

#### Thank you for using the timer - this advanced tool can estimate your performance and suggest more practice questions. We have subscribed you to Daily Prep Questions via email.

Customized
for You

we will pick new questions that match your level based on your Timer History

Track

every week, we’ll send you an estimated GMAT score based on your performance

Practice
Pays

we will pick new questions that match your level based on your Timer History

## Events & Promotions

###### Events & Promotions in November
PrevNext
SuMoTuWeThFrSa
28293031123
45678910
11121314151617
18192021222324
2526272829301
Open Detailed Calendar
• ### \$450 Tuition Credit & Official CAT Packs FREE

November 15, 2018

November 15, 2018

10:00 PM MST

11:00 PM MST

EMPOWERgmat is giving away the complete Official GMAT Exam Pack collection worth \$100 with the 3 Month Pack (\$299)
• ### Free GMAT Strategy Webinar

November 17, 2018

November 17, 2018

07:00 AM PST

09:00 AM PST

Nov. 17, 7 AM PST. Aiming to score 760+? Attend this FREE session to learn how to Define your GMAT Strategy, Create your Study Plan and Master the Core Skills to excel on the GMAT.

# Given his luminous treatment of light, sky, and water, J.M.W

Author Message
TAGS:

### Hide Tags

Intern
Joined: 09 Jul 2013
Posts: 10
Concentration: Human Resources, Entrepreneurship
Schools: ISB '14
Given his luminous treatment of light, sky, and water, J.M.W  [#permalink]

### Show Tags

23 Aug 2013, 03:42
2
7
Question 1
00:00

based on 80 sessions

42% (03:29) correct 58% (03:38) wrong

### HideShow timer Statistics

Question 2
00:00

based on 73 sessions

28% (01:32) correct 72% (01:22) wrong

### HideShow timer Statistics

Question 3
00:00

based on 73 sessions

47% (01:34) correct 53% (01:15) wrong

### HideShow timer Statistics

The Sublime Art Movement

Given his luminous treatment of light, sky, and water, J.M.W. Turner (1775-1851) is often viewed in hindsight as a precursor of Impressionism. Yet as Turner authority Andrew Wilton has argued, his roots lie in a specifically eighteenth century tradition, that of the "sublime." Before landscape painting was accepted in England as the rendition of everyday reality, it was seen as the expression of a state of spiritual exaltation.

The roots of the notion of the sublime, Wilton notes, go back to antiquity: Longinus observed (according to an eighteenth century paraphrase) that "the effect of the sublime is to lift up the soul...so that participating, as it were, of the splendors of the divinity, it becomes filled with joy and exultation." The sublime, therefore, was understood to produce an effect of elevation toward unity with divine. In its origins, the sublime was associated with literary rather than visual art, as its connotations of power and mystery could most easily be conveyed in words; and its subject matter was epic, historical, or religious. To eighteenth century commentators, Homer, the Bible, and Milton were quintessentially sublime. When the concept was applied to painting, this narrative emphasis was maintained, leading almost by necessity to a focus on the human figure; for Joshua Reynolds, Michelangelo's Sistine Chapel frescoes exemplified the sublime in art. Because it did not show figures (except incidentally) landscape was necessarily seen as inferior.

The transition to the conception that produced Turner's landscapes had several sources. One was the eighteenth century's quasi-religious excitement in the scientific investigation of nature, shown for example when Addison exclaimed upon the astronomer's "pleasing astonishment, to see so many worlds, hanging one above another, and sliding round their axles in such an amazing pomp and solemnity." A second was the rise of a middle class with the leisure to travel, which led to an interest in the Rigged vistas of Wales and Scotland. Finally, James Thomson's immensely popular nature epic "The Seasons" (1726-30) applied blank verse, with its connotations of loftiness, to portrayal of nature's immensities. By the latter part of the century, there was a well-defined notion of the sublime in literature and painting, which included nature while by no means excluding earlier referents. According to Edmund Burke's definitive essay of 1757, the sublime in nature was closely tied up with vastness, lack of habitation and cultivation, and danger— which, as in the reaction to high mountain passes or storms at sea, was conducive to awe. These qualities, as evoked in the painting of landscapes (and urban vistas, an important though subordinate field), produced a series of genres that, Wilton stresses, form the key to Turner's work: the "picturesque sublime," the "terrific" (wild crags, cataracts, etc.), the sublime of the sea, mountains, and darkness, and finally the "architectural sublime" and the urban sublime.
(1) According to the passage, landscapes were not originally seen as embodying the sublime because

(A) the narrative connotations of the sublime implied an emphasis on the human figure X
(B) only religious subjects were seen as embodying the sublime
(C) Michelangelo did not paint landscape
(D) landscape was viewed purely as the visual representation of everyday nature scenes
(E) nature was not conceived as a source of awe and wonder

OA A

(2) The author gives specific examples of all of the following EXCEPT

(A) the conception of the sublime held in antiquity
(B) the subject matter which might be considered as representing the "terrific"
(C) a work of visual art considered as embodying the sublime by an eighteenth century authority
(D) a historical figure exemplifying the sublime
(E) a conception similar to that of the sublime in a nonartistic context

OA B

(3) According to the author, Burke contributed to the development of the concept of the sublime by

(A) classifying the genres of the sublime in art
(B) broadening the conception of the sublime to include nature
(C) giving a more clear cut definition of the sublime than earlier writers
(D) defining some of the qualities in nature that could be considered sublime
(E) rejecting Longinus's identification of the sublime with religious experience

OA D

Intern
Joined: 05 Sep 2013
Posts: 1
Re: Given his luminous treatment of light, sky, and water, J.M.W  [#permalink]

### Show Tags

16 Jul 2014, 07:51
How is the answer to the 2nd question is B and not E?
Retired Moderator
Joined: 18 Sep 2014
Posts: 1128
Location: India
Re: Given his luminous treatment of light, sky, and water, J.M.W  [#permalink]

### Show Tags

30 Aug 2015, 10:53
aparnaharish wrote:
The Sublime Art Movement
Given his luminous treatment of light, sky, and water, J.M.W. Turner (1775-1851) is often viewed in hindsight as a precursor of Impressionism. Yet as Turner authority Andrew Wilton has argued, his roots lie in a specifically eighteenth century tradition, that of the "sublime." Before landscape painting was accepted in England as the rendition of everyday reality, it was seen as the expression of a state of spiritual exaltation.

The roots of the notion of the sublime, Wilton notes, go back to antiquity: Longinus observed (according to an eighteenth century paraphrase) that "the effect of the sublime is to lift up the soul...so that participating, as it were, of the splendors of the divinity, it becomes filled with joy and exultation." The sublime, therefore, was understood to produce an effect of elevation toward unity with divine.

In its origins, the sublime was associated with literary rather than visual art, as its connotations of power and mystery could most easily be conveyed in words; and its subject matter was epic, historical, or religious. To eighteenth century commentators, Homer, the Bible, and Milton were quintessentially sublime. When the concept was applied to painting, this narrative emphasis was maintained, leading almost by necessity to a focus on the human figure; for Joshua Reynolds, Michelangelo's Sistine Chapel frescoes exemplified the sublime in art. Because it did not show figures (except incidentally) landscape was necessarily seen as inferior.

The transition to the conception that produced Turner's landscapes had several sources. One was the eighteenth century's quasi-religious excitement in the scientific investigation of nature, shown for example when Addison exclaimed upon the astronomer's "pleasing astonishment, to see so many worlds, hanging one above another, and sliding round their axles in such an amazing pomp and solemnity." A second was the rise of a middle class with the leisure to travel, which led to an interest in the Rigged vistas of Wales and Scotland. Finally, James Thomson's immensely popular nature epic "The Seasons" (1726-30) applied blank verse, with its connotations of loftiness, to portrayal of nature's immensities.

By the latter part of the century, there was a well-defined notion of the sublime in literature and painting, which included nature while by no means excluding earlier referents. According to Edmund Burke's definitive essay of 1757, the sublime in nature was closely tied up with vastness, lack of habitation and cultivation, and danger— which, as in the reaction to high mountain passes or storms at sea, was conducive to awe. These qualities, as evoked in the painting of landscapes (and urban vistas, an important though subordinate field), produced a series of genres that, Wilton stresses, form the key to Turner's work: the "picturesque sublime," the "terrific" (wild crags, cataracts, etc.), the sublime of the sea, mountains, and darkness, and finally the "architectural sublime" and the urban sublime.
(1) According to the passage, landscapes were not originally seen as embodying the sublime because
A. the narrative connotations of the sublime implied an emphasis on the human figure X
B. only religious subjects were seen as embodying the sublime
C. Michelangelo did not paint landscape
D. landscape was viewed purely as the visual representation of everyday nature scenes
E. nature was not conceived as a source of awe and wonder

OA A

(2) The author gives specific examples of all of the following EXCEPT

A. the conception of the sublime held in antiquity
B. the subject matter which might be considered as representing the "terrific"
C. a work of visual art considered as embodying the sublime by an eighteenth century authority
D. a historical figure exemplifying the sublime
E. a conception similar to that of the sublime in a nonartistic context

OA B

(3) According to the author, Burke contributed to the development of the concept of the sublime by

A. classifying the genres of the sublime in art
B. broadening the conception of the sublime to include nature
C. giving a more clear cut definition of the sublime than earlier writers
D. defining some of the qualities in nature that could be considered sublime
E. rejecting Longinus's identification of the sublime with religious experience

OA D

(4) Based on the information in the passage, which of the following is LEAST likely to have been the subject of a painting by Turner?

A. A narrow mountain pass
B. A cathedral in the center of a city
C. A storm at sea
D. The eruption of a volcano
E. Wheatfields by a country road
OA E

Added one more question to this passage.
I found this passage extremely difficult to understand and even felt the sublime is related to chemical process sublimation.
Can some expert explain this passage in detail?
Senior Manager
Joined: 09 Feb 2015
Posts: 356
Location: India
Concentration: Social Entrepreneurship, General Management
GMAT 1: 690 Q49 V34
GMAT 2: 720 Q49 V39
GPA: 2.8
Re: Given his luminous treatment of light, sky, and water, J.M.W  [#permalink]

### Show Tags

08 Jun 2017, 06:00
I only got one right! Experts please explain how you guys deal with a RC passage such as this!
Manager
Joined: 09 Dec 2015
Posts: 114
Location: India
Concentration: General Management, Operations
Schools: IIMC (A)
GMAT 1: 700 Q49 V36
GPA: 3.5
WE: Engineering (Consumer Products)
Re: Given his luminous treatment of light, sky, and water, J.M.W  [#permalink]

### Show Tags

08 Jun 2017, 08:07
This RC is so hard to grasp. Can anyone help in handling such RC ? I hate topics on Art, Sociology psychology etc ....
Intern
Joined: 10 Mar 2015
Posts: 13
Re: Given his luminous treatment of light, sky, and water, J.M.W  [#permalink]

### Show Tags

08 Jun 2017, 23:38
Answers that I chose: A,C, and D.
Manager
Joined: 03 Feb 2016
Posts: 71
Location: India
Concentration: Technology, Marketing
GMAT 1: 650 Q48 V32
GPA: 4
WE: Sales (Computer Software)
Re: Given his luminous treatment of light, sky, and water, J.M.W  [#permalink]

### Show Tags

26 Mar 2018, 05:44
A C D, one incorrect took me some 12 mins
_________________

GMAT1 650 Q48 V32.

Intern
Joined: 27 May 2018
Posts: 8
Re: Given his luminous treatment of light, sky, and water, J.M.W  [#permalink]

### Show Tags

27 Jun 2018, 11:08
Nevernevergiveup wrote:
aparnaharish wrote:
The Sublime Art Movement
Given his luminous treatment of light, sky, and water, J.M.W. Turner (1775-1851) is often viewed in hindsight as a precursor of Impressionism. Yet as Turner authority Andrew Wilton has argued, his roots lie in a specifically eighteenth century tradition, that of the "sublime." Before landscape painting was accepted in England as the rendition of everyday reality, it was seen as the expression of a state of spiritual exaltation.

The roots of the notion of the sublime, Wilton notes, go back to antiquity: Longinus observed (according to an eighteenth century paraphrase) that "the effect of the sublime is to lift up the soul...so that participating, as it were, of the splendors of the divinity, it becomes filled with joy and exultation." The sublime, therefore, was understood to produce an effect of elevation toward unity with divine.

In its origins, the sublime was associated with literary rather than visual art, as its connotations of power and mystery could most easily be conveyed in words; and its subject matter was epic, historical, or religious. To eighteenth century commentators, Homer, the Bible, and Milton were quintessentially sublime. When the concept was applied to painting, this narrative emphasis was maintained, leading almost by necessity to a focus on the human figure; for Joshua Reynolds, Michelangelo's Sistine Chapel frescoes exemplified the sublime in art. Because it did not show figures (except incidentally) landscape was necessarily seen as inferior.

The transition to the conception that produced Turner's landscapes had several sources. One was the eighteenth century's quasi-religious excitement in the scientific investigation of nature, shown for example when Addison exclaimed upon the astronomer's "pleasing astonishment, to see so many worlds, hanging one above another, and sliding round their axles in such an amazing pomp and solemnity." A second was the rise of a middle class with the leisure to travel, which led to an interest in the Rigged vistas of Wales and Scotland. Finally, James Thomson's immensely popular nature epic "The Seasons" (1726-30) applied blank verse, with its connotations of loftiness, to portrayal of nature's immensities.

By the latter part of the century, there was a well-defined notion of the sublime in literature and painting, which included nature while by no means excluding earlier referents. According to Edmund Burke's definitive essay of 1757, the sublime in nature was closely tied up with vastness, lack of habitation and cultivation, and danger— which, as in the reaction to high mountain passes or storms at sea, was conducive to awe. These qualities, as evoked in the painting of landscapes (and urban vistas, an important though subordinate field), produced a series of genres that, Wilton stresses, form the key to Turner's work: the "picturesque sublime," the "terrific" (wild crags, cataracts, etc.), the sublime of the sea, mountains, and darkness, and finally the "architectural sublime" and the urban sublime.
(1) According to the passage, landscapes were not originally seen as embodying the sublime because
A. the narrative connotations of the sublime implied an emphasis on the human figure X
B. only religious subjects were seen as embodying the sublime
C. Michelangelo did not paint landscape
D. landscape was viewed purely as the visual representation of everyday nature scenes
E. nature was not conceived as a source of awe and wonder

OA A

(2) The author gives specific examples of all of the following EXCEPT

A. the conception of the sublime held in antiquity
B. the subject matter which might be considered as representing the "terrific"
C. a work of visual art considered as embodying the sublime by an eighteenth century authority
D. a historical figure exemplifying the sublime
E. a conception similar to that of the sublime in a nonartistic context

OA B

(3) According to the author, Burke contributed to the development of the concept of the sublime by

A. classifying the genres of the sublime in art
B. broadening the conception of the sublime to include nature
C. giving a more clear cut definition of the sublime than earlier writers
D. defining some of the qualities in nature that could be considered sublime
E. rejecting Longinus's identification of the sublime with religious experience

OA D

(4) Based on the information in the passage, which of the following is LEAST likely to have been the subject of a painting by Turner?

A. A narrow mountain pass
B. A cathedral in the center of a city
C. A storm at sea
D. The eruption of a volcano
E. Wheatfields by a country road
OA E

Added one more question to this passage.
I found this passage extremely difficult to understand and even felt the sublime is related to chemical process sublimation.
Can some expert explain this passage in detail?

Why is the answer to question 1 A and not B ??

Re: Given his luminous treatment of light, sky, and water, J.M.W &nbs [#permalink] 27 Jun 2018, 11:08
Display posts from previous: Sort by