GMAT Question of the Day: Daily via email | Daily via Instagram New to GMAT Club? Watch this Video

 It is currently 05 Aug 2020, 12:01

### 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

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

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. Turner  [#permalink]

### Show Tags

Updated on: 11 Jul 2020, 01:29
3
26
Question 1
00:00

based on 516 sessions

50% (03:22) correct 50% (03:15) wrong

### HideShow timer Statistics

Question 2
00:00

based on 578 sessions

31% (01:16) correct 69% (01:34) wrong

### HideShow timer Statistics

Question 3
00:00

based on 571 sessions

53% (01:26) correct 47% (01:31) wrong

### HideShow timer Statistics

New Project RC Butler 2019 - Practice 2 RC Passages Everyday
Passage # 58, Date : 01-MAR-2019
This post is a part of New Project RC Butler 2019. Click here for Details

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.

OA A

(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 B

(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 non artistic context

OA D

(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

Difficulty Level: 700

Originally posted by aparnaharish on 23 Aug 2013, 03:42.
Last edited by bm2201 on 11 Jul 2020, 01:29, edited 5 times in total.
Updated - Complete topic (336).
Manager
Joined: 29 Nov 2016
Posts: 205
Location: India
GMAT 1: 750 Q50 V42
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

09 Jul 2019, 20:42
3
Altough I got it incorrect. Here is what i think is the solution.

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

A. the conception of the sublime held in 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." this is the example of conception i.e. what sublime was believed to be in antiquity exemplified by a quote from Longinus
B. the subject matter which might be considered as representing the "terrific" -No support
C. a work of visual art considered as embodying the sublime by an eighteenth century authority - 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. Frescoes is the piece of art
D. a historical figure exemplifying the sublime 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. Michealangelo is the figure exemplifying the sublime
E. a conception similar to that of the sublime in a nonartistic context 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." Addison is using a similar concept in astronomy.
Retired Moderator
Joined: 18 Sep 2014
Posts: 1048
Location: India
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

30 Aug 2015, 10:53
2
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?
Veritas Prep GMAT Instructor
Joined: 16 Oct 2010
Posts: 10785
Location: Pune, India
Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

13 Jul 2020, 20:41
1
GDT wrote:
(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 non artistic context

Can you pls explain why B is correct in Q2

Aren't the things mentioned in bracket in front of terrific the subject matter

I agree. I would say that the subject matter that could represent terrific could be wild crags and cataracts. Or they could be considered examples. Do they 'represent' terrific? I don't know. I am thinking this way only because the OA says that answer is (B) but I am not convinced one bit. Normally, I would just assume (B) is given in the passage and move on. Share the OE and we can see if we are missing something important.
_________________
Karishma
Veritas Prep GMAT Instructor

Senior Manager
Joined: 03 Mar 2017
Posts: 415
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

04 Mar 2019, 18:10
Quote:
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.

Quote:
(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

If you see the highlighted sentences in the paragraph above, you will see that the landscape did not emphasis on human figures and therefore was seen as inferior.
Now from above options only option A gives us the thought.

the narrative connotations of the sublime implied an emphasis on the human figure X
Because the landscape did not show figures, it was not originally seen as embodying the sublime

Therefore A.
_________________
--------------------------------------------------------------------------------------------------------------------------
All the Gods, All the Heavens, and All the Hells lie within you.
Intern
Joined: 07 Dec 2018
Posts: 3
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

05 Mar 2019, 09:36
2. was extra tricky for me. I settled for E. I don't know why OA is B. In the last paragraph, does the author not give specific examples of "the subject matter which might be considered as representing the "terrific" " when he writes:

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.
?
Manager
Joined: 14 Apr 2018
Posts: 71
Location: India
Schools: NUS '20
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

10 Apr 2019, 07:20
(2) The author gives specific examples of all of the following EXCEPT

A. the conception of the sublime held in antiquity-mentioned in the first line of the Second Paragraph
B. the subject matter which might be considered as representing the "terrific" -Though Terrific is mentioned in the Last paragraph but here it is not representing the subject as terrific instead it is used as a type of paintings which Turner may have taken as an inspiration
C. a work of visual art considered as embodying the sublime by an eighteenth century authority-mentioned in the Second line of the First Paragraph
D. a historical figure exemplifying the sublime-mentioned in the First line of the third Paragraph
E. a conception similar to that of the sublime in a nonartistic context-You can infer that in first line of the third paragraph.

Verbal Forum Moderator
Status: Greatness begins beyond your comfort zone
Joined: 08 Dec 2013
Posts: 2445
Location: India
Concentration: General Management, Strategy
Schools: Kelley '20, ISB '19
GPA: 3.2
WE: Information Technology (Consulting)
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

11 Apr 2019, 21:18
(2) The author gives specific examples of all of the following EXCEPT

(A) the conception of the sublime held in antiquity - incorrect; 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."
(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 - incorrect; for Joshua Reynolds, Michelangelo's Sistine Chapel frescoes exemplified the sublime in art
(E) a conception similar to that of the sublime in a non-artistic context- incorrect; To eighteenth century commentators, Homer, the Bible, and Milton were quintessentially sublime.

AjiteshArun , GMATNinja , MagooshExpert , GMATGuruNY , VeritasPrepBrian , MartyTargetTestPrep , DmitryFarber , VeritasKarishma , generis , other experts - please provide your advice for question 2
_________________
When everything seems to be going against you, remember that the airplane takes off against the wind, not with it. - Henry Ford
The Moment You Think About Giving Up, Think Of The Reason Why You Held On So Long
Manager
Joined: 04 Oct 2018
Posts: 157
Location: Viet Nam
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

17 Apr 2019, 03:28
aparnaharish wrote:
New Project RC Butler 2019 - Practice 2 RC Passages Everyday
Passage # 58, Date : 01-MAR-2019
This post is a part of New Project RC Butler 2019. Click here for Details

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 non artistic 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

Difficulty Level: 700

(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 => Sublime is related to literary because its connotation is about power and mystery... and sublime focus on the human figure;--- LANSCAPES didnt show figures, that's why it was not originally seen as embodying the sublime=> CORRECT
(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

(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 => "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"=> CORRECT
(E) rejecting Longinus's identification of the sublime with religious experience
_________________
"It Always Seems Impossible Until It Is Done"
Manager
Joined: 06 Mar 2018
Posts: 64
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

03 Sep 2019, 02:05
1
Mudit27021988 wrote:
Altough I got it incorrect. Here is what i think is the solution.

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

A. the conception of the sublime held in 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." this is the example of conception i.e. what sublime was believed to be in antiquity exemplified by a quote from Longinus
B. the subject matter which might be considered as representing the "terrific" -No support
C. a work of visual art considered as embodying the sublime by an eighteenth century authority - 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. Frescoes is the piece of art
D. a historical figure exemplifying the sublime 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. Michealangelo is the figure exemplifying the sublime
E. a conception similar to that of the sublime in a nonartistic context 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." Addison is using a similar concept in astronomy.

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

The question asks for SPECIFIC EXAMPLES

So, all the quoted examples above for the Options are very specific, I'm really impressed by it. Good one! +1
Senior Manager
Joined: 17 Sep 2016
Posts: 351
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

02 Nov 2019, 00:17
dear experts, please explain how to attract the passage.
I have spent half of day to read this passage,
it's hard to for me. so abstract ...

thanks
Intern
Joined: 07 Jun 2019
Posts: 13
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

06 Nov 2019, 01:13
It has states that "terrific (wild crags, cataracts., etc)", are not these examples of terrific?
What am I missing?
Senior Manager
Joined: 02 Jan 2020
Posts: 259
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

10 Jul 2020, 05:59
(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 non artistic context[/quote]

Can you pls explain why B is correct in Q2

Aren't the things mentioned in bracket in front of terrific the subject matter
Senior Manager
Joined: 02 Jan 2020
Posts: 259
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner  [#permalink]

### Show Tags

14 Jul 2020, 02:01
GDT wrote:
(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 non artistic context

Can you pls explain why B is correct in Q2

Aren't the things mentioned in bracket in front of terrific the subject matter

I agree. I would say that the subject matter that could represent terrific could be wild crags and cataracts. Or they could be considered examples. Do they 'represent' terrific? I don't know. I am thinking this way only because the OA says that answer is (B) but I am not convinced one bit. Normally, I would just assume (B) is given in the passage and move on. Share the OE and we can see if we are missing something important.

Thank you for the response!

I don't have Official OE for this ques
Re: Given his luminous treatment of light, sky, and water, J.M.W. Turner   [#permalink] 14 Jul 2020, 02:01