Events & Promotions
|
|
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
Track
Your Progress
Practice
Pays
Not interested in getting valuable practice questions and articles delivered to your email? No problem, unsubscribe here.
Jul 0901:00 PM EDT
-02:00 PM EDT
More Target Test Prep students are earning 100th percentile GMAT scores. Don’t settle for less when the Target Test Prep course gives you everything you need to score high on the GMAT. Start your 5-day free trial today.
Jul 1410:00 AM PDT
-11:59 PM PDT
GMAT Preparation Online - A limited time sale use code: EXPERTSGLOBAL10- Jul 15
08:00 PM PDT
-09:00 PM PDT
Full-length FE mock with insightful analytics, weakness diagnosis, and video explanations! 
Jul 1609:30 AM EDT
-11:30 AM EDT
Is INSEAD your dream b-school and you're looking for solid prep and application strategies to get there? Check out Barkavi’s end-to-end journey to know how she did! Get insights into the INSEAD admissions process, know what Adcoms look at, and more!
Jul 1611:00 AM EDT
-12:00 PM EDT
Prefer video-based learning? The Target Test Prep OnDemand course is a one-of-a-kind video masterclass featuring 400 hours of lecture-style teaching by Scott Woodbury-Stewart, founder of Target Test Prep and one of the most accomplished GMAT instructors.
Jul 1911:00 AM IST
-01:00 PM IST
Do RC/MSR passages scare you? e-GMAT is conducting a masterclass to help you learn – Learn effective reading strategies Tackle difficult RC & MSR with confidence Excel in timed test environment
Updated on: 16 Nov 2020, 04:14
Originally posted by ramana on 12 Aug 2010, 23:54.
Last edited by Sajjad1994 on 16 Nov 2020, 04:14, edited 9 times in total.
Last edited by Sajjad1994 on 16 Nov 2020, 04:14, edited 9 times in total.
Updated - Complete topic (453).
Kudos
Bookmarks
Question 1
E
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:
58% (03:40) correct
42%
(03:41) wrong
based on 1322
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:
5%
(low)
Question Stats:
84% (00:55) correct 16%
(01:11) wrong
based on 1833
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
25%
(medium)
Question Stats:
67% (01:10) correct 33%
(01:24) wrong
based on 1866
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
95%
(hard)
Question Stats:
40% (01:48) correct 60%
(01:49) wrong
based on 1791
sessions
History
Date
Time
Result
Not Attempted Yet
Question 5
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
25%
(medium)
Question Stats:
70% (01:17) correct 30%
(01:27) wrong
based on 1691
sessions
History
Date
Time
Result
Not Attempted Yet
Question 6
C
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% (01:38) correct 23%
(01:47) wrong
based on 1585
sessions
History
Date
Time
Result
Not Attempted Yet
Question 7
A
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:
58% (01:19) correct 42%
(01:30) wrong
based on 1603
sessions
History
Date
Time
Result
Not Attempted Yet
Question 8
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
65%
(hard)
Question Stats:
52% (01:39) correct 48%
(01:38) wrong
based on 1544
sessions
History
Date
Time
Result
Not Attempted Yet
New Project RC Butler 2019 - Practice 2 RC Passages Everyday
Passage # 60, Date : 02-MAR-2019
This post is a part of New Project RC Butler 2019. Click here for Details
Passage # 60, Date : 02-MAR-2019
This post is a part of New Project RC Butler 2019. Click here for Details
James Porter (1905-1970) was the first scholar to identify the African influence on visual art in the Americans, and much of what is known about the cultural legacy that African-American artists inherited from their African forebears has come to us by way of his work. Porter, a painter and art historian, began by studying African-American crafts of the eighteenth and nineteenth centuries. This research revealed that many of the household items created by African-American men and women—walking sticks, jugs, and textiles—displayed characteristics that linked them iconographically to artifacts of West Africa. Porter then went on to establish clearly the range of the cultural territory inherited by later African-American artists.
An example of this aspect of Porter’s research occurs in his essay “Robert S. Duncanson, Midwestern Romantic-Realist.” The work of Duncanson, a nineteenth-century painter of the Hudson River school, like that of his predecessor in the movement, Joshua Johnston, was commonly thought to have been created by a Euro-American artist. Porter proved definitively that both Duncanson and Johnston were of African ancestry. Porter published this finding and thousands of others in a comprehensive volume tracing the history of African-American art. At the time of its first printing in 1943, only two other books devoted exclusively to the accomplishments of African-American artists existed. Both of these books were written by Alain LeRoy Locke, a professor at the university where Porter also taught. While these earlier studies by Locke are interesting for being the first to survey the field, neither addressed the critical issue of African precursors; Porter’s book addressed this issue, painstakingly integrating the history of African-American art into the larger history of art in the Americas without separating it from those qualities that gave it its unique ties to African artisanship. Porter may have been especially attuned to these ties because of his conscious effort to maintain them in his own paintings, many of which combine the style of the genre portrait with evidence of an extensive knowledge of the cultural history of various African peoples.
In his later years, Porter wrote additional chapters for later editions of his book, constantly revising and correcting his findings, some of which had been based of necessity on fragmentary evidence. Among his later achievements were his definitive reckoning of the birth year of the painter Patrick Reason, long a point of scholarly uncertainty, and his identification of an unmarked grave in San Francisco as that of the sculptor Edmonia Lewis. At his death, Porter left extensive notes for unfinished project aimed at exploring the influence of African art on the art of the Western world generally, a body of research whose riches scholars still have not exhausted.
An example of this aspect of Porter’s research occurs in his essay “Robert S. Duncanson, Midwestern Romantic-Realist.” The work of Duncanson, a nineteenth-century painter of the Hudson River school, like that of his predecessor in the movement, Joshua Johnston, was commonly thought to have been created by a Euro-American artist. Porter proved definitively that both Duncanson and Johnston were of African ancestry. Porter published this finding and thousands of others in a comprehensive volume tracing the history of African-American art. At the time of its first printing in 1943, only two other books devoted exclusively to the accomplishments of African-American artists existed. Both of these books were written by Alain LeRoy Locke, a professor at the university where Porter also taught. While these earlier studies by Locke are interesting for being the first to survey the field, neither addressed the critical issue of African precursors; Porter’s book addressed this issue, painstakingly integrating the history of African-American art into the larger history of art in the Americas without separating it from those qualities that gave it its unique ties to African artisanship. Porter may have been especially attuned to these ties because of his conscious effort to maintain them in his own paintings, many of which combine the style of the genre portrait with evidence of an extensive knowledge of the cultural history of various African peoples.
In his later years, Porter wrote additional chapters for later editions of his book, constantly revising and correcting his findings, some of which had been based of necessity on fragmentary evidence. Among his later achievements were his definitive reckoning of the birth year of the painter Patrick Reason, long a point of scholarly uncertainty, and his identification of an unmarked grave in San Francisco as that of the sculptor Edmonia Lewis. At his death, Porter left extensive notes for unfinished project aimed at exploring the influence of African art on the art of the Western world generally, a body of research whose riches scholars still have not exhausted.
1. Which one of the following most accurately states the main idea of the passage?
(A) Because the connections between African-American art and other art in the Americas had been established by earlier scholars, Porter’s work focused on showing African-American art’s connections to African artisanship.
(B) In addition to showing the connections between African-American art and African artisanship, Porter’s most important achievement was illustrating the links between African-American art and other art in Americas.
(C) Despite the fact that his last book remains unfinished, Porter’s work was the first to devote its attention exclusively to the accomplishments of African-American artists.
(D) Although showing the connections between African-American art and African artisanship, Porter’s work concentrated primarily on placing African-American art in the context of Western art in general.
(E) While not the first body of scholarship to treat the subject of African-American art, Porter’s work was the first to show the connections between African-American art and African artisanship.
2. The discussion of Locke’s books is intended primarily to
(A) argue that Porte’s book depended upon Locke’s pioneering scholarship
(B) highlight an important way in which Porter’s work differed from previous work in his field
(C) suggest an explanation for why Porter’s book was little known outside academic circles
(D) support the claim that Porter was not the first to notice African influences in African-American art
(E) argue that Locke’s example was a major influence o Porter’s decision to publish his findings
3. The passage states which one of the following about the 1943 edition of Porter’s book on African-American art?
(A) It received little scholarly attention at first.
(B) It was revised and improved upon in later editions.
(C) It took issue with several of Locke’s conclusions.
(D) It is considered the definitive version of Porter’s work.
(E) It explored the influence of African art on western art in general.
4. Given the information in the passage, Porter’s identification of the ancestry of Duncanson and Johnston provides conclusive evidence for which one of the following statements?
(A) Some of the characteristics defining the Hudson River school are iconographically linked to Weston African artisanship.
(B) Some of the works of Duncanson and Johnston are not in the style of the Hudson River school.
(C) Some of the work of Euro-American painters displays similarities to African-American crafts of the eighteenth and nineteenth centuries.
(D) Some of the works of the Hudson River school were done by African-American painters.
(E) Some of the works of Duncanson and Johnston were influenced by West African artifacts.
5. Which one of the following can most reasonably be inferred from the passage about the study that Porter left unfinished at his death?
(A) If completed, it would have contradicted some of the conclusions contained in his earlier book.
(B) If completed, it would have amended some of the conclusions contained in his earlier book.
(C) If completed, it would have brought up to date the comprehensive history of African-American art begun in his earlier book.
(D) If completed, it would have expanded upon the project of his earlier book by broadening the scope of inquiry found in the earlier book.
(E) If completed, it would have supported some of the theories put forth by Porter’s contemporaries since the publication of his earlier book.
6. Which of the following hypothetical observations is most closely analogous to the discoveries Porter made about African-American crafts of the eighteenth and nineteenth centuries?
(A) Contemporary Haitian social customs have a unique character dependent on but different from both their African and French origins.
(B) Popular music in the United States, some of which is based on African musical traditions, often influences music being composed on the African continent.
(C) Many novels written in Canada by Chinese immigrants exhibit narrative themes very similar to those found in Chinese folktales.
(D) Extensive Indian immigration to England has made traditional Indian foods nearly as popular there as the traditional English foods that had been popular there before Indian immigration.
(E) Some Mexican muralists of the early twentieth century consciously imitated the art of native peoples as a response to the Spanish influences that had predominated in Mexican art.
7. The passage most strongly supports which one of the following inferences about Porter’s own paintings?
(A) They often contained figures or images derived from the work of African artisans.
(B) They fueled his interest in pursuing a career in art history.
(C) They were used in Porter’s book to show the extent of African influence on African-American art.
(D) They were a deliberate attempt to prove his theories about art history.
(E) They were done after all of his academic work had been completed.
8. Based on the passage, which one of the following, if true, would have been most relevant to the project Porter was working on at the time of his death?
(A) African-American crafts of the eighteenth and nineteenth centuries have certain resemblances to European folk crafts of earlier periods.
(B) The paintings of some twentieth-century European artists prefigured certain stylistic developments in North African graphic art.
(C) The designs of many of the quilts made by African-American women in the nineteenth century reflect designs of European trade goods.
(D) After the movement of large numbers of African-Americans to cities, the African influences in the work of many African-American painters increased.
(E) Several portraits by certain twentieth-century European painters were modeled after examples of Central African ceremonial masks.
(A) Because the connections between African-American art and other art in the Americas had been established by earlier scholars, Porter’s work focused on showing African-American art’s connections to African artisanship.
(B) In addition to showing the connections between African-American art and African artisanship, Porter’s most important achievement was illustrating the links between African-American art and other art in Americas.
(C) Despite the fact that his last book remains unfinished, Porter’s work was the first to devote its attention exclusively to the accomplishments of African-American artists.
(D) Although showing the connections between African-American art and African artisanship, Porter’s work concentrated primarily on placing African-American art in the context of Western art in general.
(E) While not the first body of scholarship to treat the subject of African-American art, Porter’s work was the first to show the connections between African-American art and African artisanship.
2. The discussion of Locke’s books is intended primarily to
(A) argue that Porte’s book depended upon Locke’s pioneering scholarship
(B) highlight an important way in which Porter’s work differed from previous work in his field
(C) suggest an explanation for why Porter’s book was little known outside academic circles
(D) support the claim that Porter was not the first to notice African influences in African-American art
(E) argue that Locke’s example was a major influence o Porter’s decision to publish his findings
3. The passage states which one of the following about the 1943 edition of Porter’s book on African-American art?
(A) It received little scholarly attention at first.
(B) It was revised and improved upon in later editions.
(C) It took issue with several of Locke’s conclusions.
(D) It is considered the definitive version of Porter’s work.
(E) It explored the influence of African art on western art in general.
4. Given the information in the passage, Porter’s identification of the ancestry of Duncanson and Johnston provides conclusive evidence for which one of the following statements?
(A) Some of the characteristics defining the Hudson River school are iconographically linked to Weston African artisanship.
(B) Some of the works of Duncanson and Johnston are not in the style of the Hudson River school.
(C) Some of the work of Euro-American painters displays similarities to African-American crafts of the eighteenth and nineteenth centuries.
(D) Some of the works of the Hudson River school were done by African-American painters.
(E) Some of the works of Duncanson and Johnston were influenced by West African artifacts.
5. Which one of the following can most reasonably be inferred from the passage about the study that Porter left unfinished at his death?
(A) If completed, it would have contradicted some of the conclusions contained in his earlier book.
(B) If completed, it would have amended some of the conclusions contained in his earlier book.
(C) If completed, it would have brought up to date the comprehensive history of African-American art begun in his earlier book.
(D) If completed, it would have expanded upon the project of his earlier book by broadening the scope of inquiry found in the earlier book.
(E) If completed, it would have supported some of the theories put forth by Porter’s contemporaries since the publication of his earlier book.
6. Which of the following hypothetical observations is most closely analogous to the discoveries Porter made about African-American crafts of the eighteenth and nineteenth centuries?
(A) Contemporary Haitian social customs have a unique character dependent on but different from both their African and French origins.
(B) Popular music in the United States, some of which is based on African musical traditions, often influences music being composed on the African continent.
(C) Many novels written in Canada by Chinese immigrants exhibit narrative themes very similar to those found in Chinese folktales.
(D) Extensive Indian immigration to England has made traditional Indian foods nearly as popular there as the traditional English foods that had been popular there before Indian immigration.
(E) Some Mexican muralists of the early twentieth century consciously imitated the art of native peoples as a response to the Spanish influences that had predominated in Mexican art.
7. The passage most strongly supports which one of the following inferences about Porter’s own paintings?
(A) They often contained figures or images derived from the work of African artisans.
(B) They fueled his interest in pursuing a career in art history.
(C) They were used in Porter’s book to show the extent of African influence on African-American art.
(D) They were a deliberate attempt to prove his theories about art history.
(E) They were done after all of his academic work had been completed.
8. Based on the passage, which one of the following, if true, would have been most relevant to the project Porter was working on at the time of his death?
(A) African-American crafts of the eighteenth and nineteenth centuries have certain resemblances to European folk crafts of earlier periods.
(B) The paintings of some twentieth-century European artists prefigured certain stylistic developments in North African graphic art.
(C) The designs of many of the quilts made by African-American women in the nineteenth century reflect designs of European trade goods.
(D) After the movement of large numbers of African-Americans to cities, the African influences in the work of many African-American painters increased.
(E) Several portraits by certain twentieth-century European painters were modeled after examples of Central African ceremonial masks.
- Source: LSAT Official PrepTest 26
- Difficulty Level: 700
11 Jul 2019, 09:01
Kudos
Bookmarks
1. Which one of the following most accurately states the main idea of the passage?
1st para summary : Porter's work (African influence on visual art in the Americans) and method used
2nd para summary : continuation of the last para (refer the last line), the key feature that porter's work had but not others
3rd para summary : porter's continuation update of his work and more he could have done
POE:
(A) Because the connections between African-American art and other art in the Americas had been established by earlier scholars, Porter’s work focused on showing African-American art’s connections to African artisanship. - not true, the para is not about what had already been established but about the uniqueness of the author.
(B) In addition to showing the connections between African-American art and African artisanship, Porter’s most important achievement was illustrating the links between African-American art and other art in Americas.
PArtially true: its only the summary of 2nd para.
(C) Despite the fact that his last book remains unfinished, Porter’s work was the first to devote its attention exclusively to the accomplishments of African-American artists.
PArtially true: its only the summary of 3rd para.
(D) Although showing the connections between African-American art and African artisanship, Porter’s work concentrated primarily on placing African-American art in the context of Western art in general.
no, it was much larger than this.
(E) While not the first body of scholarship to treat the subject of African-American art, Porter’s work was the first to show the connections between African-American art and African artisanship. - sounds ok,
2. The discussion of Locke’s books is intended primarily to
Refer 2nd para " While these earlier studies by Locke are interesting for being the first to survey the field, neither addressed the critical issue of African precursors; Porter’s book addressed this issue, painstakingly integrating the history of "
POE
(A) argue that Porte’s book depended upon Locke’s pioneering scholarship - no, it doesnt
(B) highlight an important way in which Porter’s work differed from previous work in his field - yes, it does
(C) suggest an explanation for why Porter’s book was little known outside academic circles - what !! no .
(D) support the claim that Porter was not the first to notice African influences in African-American art - yes, but it does more than this.
(E) argue that Locke’s example was a major influence o Porter’s decision to publish his findings - no !
3. The passage states which one of the following about the 1943 edition of Porter’s book on African-American art?
refer para 3, "In his later years, Porter wrote additional chapters for later editions of his book, constantly revising and correcting his findings, "
POE
(A) It received little scholarly attention at first. - not mentioned
(B) It was revised and improved upon in later editions. - yes
(C) It took issue with several of Locke’s conclusions. - not mentioned that it took issue
(D) It is considered the definitive version of Porter’s work. - umm, no, Porter proved definitively something else but not the entire book is about that
(E) It explored the influence of African art on western art in general. - not mentioned. porter actually published to trace the history of African-American art.
4. Given the information in the passage, Porter’s identification of the ancestry of Duncanson and Johnston provides conclusive evidence for which one of the following statements?
Refer 2nd para "Porter proved definitively that both Duncanson and Johnston were of African ancestry. "
only option D will be true
(D) Some of the works of the Hudson River school were done by African-American painters.
5. Which one of the following can most reasonably be inferred from the passage about the study that Porter left unfinished at his death?
refer 3rd para, "At his death, Porter left extensive notes for unfinished project aimed at exploring the influence of African art on the art of the Western world generally"
(A) If completed, it would have contradicted some of the conclusions contained in his earlier book. - no contradiction,
(B) If completed, it would have amended some of the conclusions contained in his earlier book. - no amendment, conclusion was definitive
(C) If completed, it would have brought up to date the comprehensive history of African-American art begun in his earlier book. -not mentioned
(D) If completed, it would have expanded upon the project of his earlier book by broadening the scope of inquiry found in the earlier book.
(E) If completed, it would have supported some of the theories put forth by Porter’s contemporaries since the publication of his earlier book. - not mentioned that contemporaries were studying this
6. Which of the following hypothetical observations is most closely analogous to the discoveries Porter made about African-American crafts of the eighteenth and nineteenth centuries?
refer 2nd para "combine the style of the genre portrait with evidence of an extensive knowledge of the cultural history of various African peoples."
(A) Contemporary Haitian social customs have a unique character dependent on but different from both their African and French origins. - no, because it doesnt capture the extensive knowledge of culture history
(B) Popular music in the United States, some of which is based on African musical traditions, often influences music being composed on the African continent. - no
(C) Many novels written in Canada by Chinese immigrants exhibit narrative themes very similar to those found in Chinese folktales. - yes, makes sense
(D) Extensive Indian immigration to England has made traditional Indian foods nearly as popular there as the traditional English foods that had been popular there before Indian immigration. no
(E) Some Mexican muralists of the early twentieth century consciously imitated the art of native peoples as a response to the Spanish influences that had predominated in Mexican art.- no
8. Based on the passage, which one of the following, if true, would have been most relevant to the project Porter was working on at the time of his death?
3rd para: exploring the influence of African art on the art of the Western world generally,
(E) Several portraits by certain twentieth-century European painters were modeled after examples of Central African ceremonial masks.
1st para summary : Porter's work (African influence on visual art in the Americans) and method used
2nd para summary : continuation of the last para (refer the last line), the key feature that porter's work had but not others
3rd para summary : porter's continuation update of his work and more he could have done
POE:
(A) Because the connections between African-American art and other art in the Americas had been established by earlier scholars, Porter’s work focused on showing African-American art’s connections to African artisanship. - not true, the para is not about what had already been established but about the uniqueness of the author.
(B) In addition to showing the connections between African-American art and African artisanship, Porter’s most important achievement was illustrating the links between African-American art and other art in Americas.
PArtially true: its only the summary of 2nd para.
(C) Despite the fact that his last book remains unfinished, Porter’s work was the first to devote its attention exclusively to the accomplishments of African-American artists.
PArtially true: its only the summary of 3rd para.
(D) Although showing the connections between African-American art and African artisanship, Porter’s work concentrated primarily on placing African-American art in the context of Western art in general.
no, it was much larger than this.
(E) While not the first body of scholarship to treat the subject of African-American art, Porter’s work was the first to show the connections between African-American art and African artisanship. - sounds ok,
2. The discussion of Locke’s books is intended primarily to
Refer 2nd para " While these earlier studies by Locke are interesting for being the first to survey the field, neither addressed the critical issue of African precursors; Porter’s book addressed this issue, painstakingly integrating the history of "
POE
(A) argue that Porte’s book depended upon Locke’s pioneering scholarship - no, it doesnt
(B) highlight an important way in which Porter’s work differed from previous work in his field - yes, it does
(C) suggest an explanation for why Porter’s book was little known outside academic circles - what !! no .
(D) support the claim that Porter was not the first to notice African influences in African-American art - yes, but it does more than this.
(E) argue that Locke’s example was a major influence o Porter’s decision to publish his findings - no !
3. The passage states which one of the following about the 1943 edition of Porter’s book on African-American art?
refer para 3, "In his later years, Porter wrote additional chapters for later editions of his book, constantly revising and correcting his findings, "
POE
(A) It received little scholarly attention at first. - not mentioned
(B) It was revised and improved upon in later editions. - yes
(C) It took issue with several of Locke’s conclusions. - not mentioned that it took issue
(D) It is considered the definitive version of Porter’s work. - umm, no, Porter proved definitively something else but not the entire book is about that
(E) It explored the influence of African art on western art in general. - not mentioned. porter actually published to trace the history of African-American art.
4. Given the information in the passage, Porter’s identification of the ancestry of Duncanson and Johnston provides conclusive evidence for which one of the following statements?
Refer 2nd para "Porter proved definitively that both Duncanson and Johnston were of African ancestry. "
only option D will be true
(D) Some of the works of the Hudson River school were done by African-American painters.
5. Which one of the following can most reasonably be inferred from the passage about the study that Porter left unfinished at his death?
refer 3rd para, "At his death, Porter left extensive notes for unfinished project aimed at exploring the influence of African art on the art of the Western world generally"
(A) If completed, it would have contradicted some of the conclusions contained in his earlier book. - no contradiction,
(B) If completed, it would have amended some of the conclusions contained in his earlier book. - no amendment, conclusion was definitive
(C) If completed, it would have brought up to date the comprehensive history of African-American art begun in his earlier book. -not mentioned
(D) If completed, it would have expanded upon the project of his earlier book by broadening the scope of inquiry found in the earlier book.
(E) If completed, it would have supported some of the theories put forth by Porter’s contemporaries since the publication of his earlier book. - not mentioned that contemporaries were studying this
6. Which of the following hypothetical observations is most closely analogous to the discoveries Porter made about African-American crafts of the eighteenth and nineteenth centuries?
refer 2nd para "combine the style of the genre portrait with evidence of an extensive knowledge of the cultural history of various African peoples."
(A) Contemporary Haitian social customs have a unique character dependent on but different from both their African and French origins. - no, because it doesnt capture the extensive knowledge of culture history
(B) Popular music in the United States, some of which is based on African musical traditions, often influences music being composed on the African continent. - no
(C) Many novels written in Canada by Chinese immigrants exhibit narrative themes very similar to those found in Chinese folktales. - yes, makes sense
(D) Extensive Indian immigration to England has made traditional Indian foods nearly as popular there as the traditional English foods that had been popular there before Indian immigration. no
(E) Some Mexican muralists of the early twentieth century consciously imitated the art of native peoples as a response to the Spanish influences that had predominated in Mexican art.- no
8. Based on the passage, which one of the following, if true, would have been most relevant to the project Porter was working on at the time of his death?
3rd para: exploring the influence of African art on the art of the Western world generally,
(E) Several portraits by certain twentieth-century European painters were modeled after examples of Central African ceremonial masks.
11 Jul 2019, 01:45
Kudos
Bookmarks
Hi
Q#1: 700
Q#2: 550
Q#3: 650
Q#4: 750
Q#5: 650
Q#6: 600
Q#7: 700
Q#8: 750
Passage overall: 700
Q#1: 700
Q#2: 550
Q#3: 650
Q#4: 750
Q#5: 650
Q#6: 600
Q#7: 700
Q#8: 750
Passage overall: 700
Mudit27021988
SajjadAhmad some info on difficulty level would be helpful
