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Question 1
C
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:
63% (02:49) correct
37%
(02:59) wrong
based on 170
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
C
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
55%
(hard)
Question Stats:
43% (00:47) correct 57%
(00:47) wrong
based on 185
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
55%
(hard)
Question Stats:
54% (01:26) correct 46%
(01:28) wrong
based on 183
sessions
History
Date
Time
Result
Not Attempted Yet
However regular we may imagine a face to be, however harmonious its lines and supple its movements, their adjustment is never altogether perfect: there will always be discoverable the signs of some impending bias, the vague suggestion of a possible grimace, in short some favourite distortion towards which nature seems to be particularly inclined. The art of the caricaturist consists in detecting this, at times, imperceptible tendency, and in rendering it visible to all eyes by magnifying it. He makes his models grimace, as they would do themselves if they went to the end of their tether. Beneath the skin-deep harmony of form, he divines the deep-seated recalcitrance of matter. He realizes disproportions and deformations which must have existed in nature as mere inclinations, but which have not succeeded in coming to a head, being held in check by a higher force. His art, which has a touch of the diabolical, raises the demon which has been overthrown by the angel.
Certainly, it is an art that exaggerates, and yet the definition would be very far from complete were exaggeration alone alleged to be its aim and object, for there exist caricatures that are more lifelike than portraits, caricatures in which the exaggeration is scarcely noticeable, whilst, inversely, it is quite possible to exaggerate to excess without obtaining a real caricature. For exaggeration to be comic, it must not appear as an aim, but rather as a means that the artist is using in order to make manifest to our eyes the distortions which he sees in embryo. It is this process of distortion that is of moment and interest. And that is precisely why we shall look for it even in those elements of the face that are incapable of movement, in the curve of a nose or the shape of an ear. For, in our eyes, form is always the outline of a movement.
The caricaturist who alters the size of a nose, but respects its ground plan—lengthening it, for instance, in the very direction in which it was being lengthened by nature—is really making the nose indulge in a grin. In this sense, one might say that Nature herself often meets with the successes of a caricaturist. In the movement through which she has slit that mouth, curtailed that chin and bulged out that cheek, she would appear to have succeeded in completing the intended grimace, thus outwitting the restraining supervision of a more reasonable force. In that case, the face we laugh at is, so to speak, its own caricature.
Certainly, it is an art that exaggerates, and yet the definition would be very far from complete were exaggeration alone alleged to be its aim and object, for there exist caricatures that are more lifelike than portraits, caricatures in which the exaggeration is scarcely noticeable, whilst, inversely, it is quite possible to exaggerate to excess without obtaining a real caricature. For exaggeration to be comic, it must not appear as an aim, but rather as a means that the artist is using in order to make manifest to our eyes the distortions which he sees in embryo. It is this process of distortion that is of moment and interest. And that is precisely why we shall look for it even in those elements of the face that are incapable of movement, in the curve of a nose or the shape of an ear. For, in our eyes, form is always the outline of a movement.
The caricaturist who alters the size of a nose, but respects its ground plan—lengthening it, for instance, in the very direction in which it was being lengthened by nature—is really making the nose indulge in a grin. In this sense, one might say that Nature herself often meets with the successes of a caricaturist. In the movement through which she has slit that mouth, curtailed that chin and bulged out that cheek, she would appear to have succeeded in completing the intended grimace, thus outwitting the restraining supervision of a more reasonable force. In that case, the face we laugh at is, so to speak, its own caricature.
1. From the passage, which of the following can be concluded about the use of exaggeration in making a caricature?
(A) A caricature should never involve exaggeration in any form.
(B) Exaggeration is a desirable quality of a caricature.
(C) Exaggeration should not be the final goal of a caricaturist.
(D) A good caricature will involve moderate use of exaggeration.
(E) The work of a caricaturist is independent of exaggeration.
(A) A caricature should never involve exaggeration in any form.
(B) Exaggeration is a desirable quality of a caricature.
(C) Exaggeration should not be the final goal of a caricaturist.
(D) A good caricature will involve moderate use of exaggeration.
(E) The work of a caricaturist is independent of exaggeration.
2. What is the primary purpose of the author in writing the passage?
(A) To distinguish a caricature from other forms of painting
(B) To describe how a caricature involves more than just exaggeration
(C) To explain the thought process that goes into making a caricature
(D) To praise the work of caricaturist
(E) To promote the work of caricaturist
(A) To distinguish a caricature from other forms of painting
(B) To describe how a caricature involves more than just exaggeration
(C) To explain the thought process that goes into making a caricature
(D) To praise the work of caricaturist
(E) To promote the work of caricaturist
3. Which of the following can be stated from the information in the passage?
(A) There are some faces that are absolutely free of any bias or imperfection.
(B) It is possible for an excellent caricature to, sometimes, be in contradiction with what nature had intended.
(C) A good caricaturist will never have to resort to exaggeration.
(D) A caricaturist tends to highlight latent imperfections in a human face.
(E) A caricaturist, in order to be good at his work, needs to have an understanding of the laws of Nature.
(A) There are some faces that are absolutely free of any bias or imperfection.
(B) It is possible for an excellent caricature to, sometimes, be in contradiction with what nature had intended.
(C) A good caricaturist will never have to resort to exaggeration.
(D) A caricaturist tends to highlight latent imperfections in a human face.
(E) A caricaturist, in order to be good at his work, needs to have an understanding of the laws of Nature.
15 Apr 2023, 22:17
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Karan0912
Official Explanation
2. What is the primary purpose of the author in writing the passage?
Difficulty Level: 700
Explanation
Throughout the passage, the author basically discusses how a caricaturist goes about creating his work, how it involves more than just mere exaggeration, how he actually takes his cues from Nature, etc. (C) puts this together best and is the correct answer.
(A) The author never really gets down to comparing a caricature with other forms of art.
(B) While this is stated in the passage, the main purpose of the passage is to do more than just this.
(D) The author is more concerned with describing or explaining how the artist goes about creating this work than actually praising the work.
(E) The author never tries to promote anything in the passage.
Answer: C
Difficulty Level: 700
Explanation
Throughout the passage, the author basically discusses how a caricaturist goes about creating his work, how it involves more than just mere exaggeration, how he actually takes his cues from Nature, etc. (C) puts this together best and is the correct answer.
(A) The author never really gets down to comparing a caricature with other forms of art.
(B) While this is stated in the passage, the main purpose of the passage is to do more than just this.
(D) The author is more concerned with describing or explaining how the artist goes about creating this work than actually praising the work.
(E) The author never tries to promote anything in the passage.
Answer: C
