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

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.
?

(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.


Answer:B

(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

(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

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.

To add on a point,
(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

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

Please help me understand why Q2 B is correct?
It has states that "terrific (wild crags, cataracts., etc)", are not these examples of terrific?
What am I missing?

(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]

VeritasKarishma

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

OA: D

OE for Q2:

Analyze the Question Stem:
This is a Detail question, as indicated by the words, "author gives specific examples." Note
that this is an EXCEPT question, so the correct answer choice will be the one which is not an
example provided by the author.

Research the Relevant Text:
The question stem gives no research clues. Additionally, it is impossible to look up something
that is not in the passage. Proceed to the choices and use them to guide the research.

Make a Prediction:
No prediction is possible for a Detail EXCEPT question, as there are simply too many things
the author might not have included in the passage. Evaluate the answer choices one at a time.

Evaluate the Answer Choices:
(A) can be found in paragraph two. The author says "the roots of the notion of the sublime,
Wilton notes, go back to antiquity" and quotes Longinus describing this conception.
(B) can be found in the last paragraph, which indicates that the "terrific" includes wild crags,
cataracts, etc.
(C) can be found in paragraph three, as Michelangelo’s frescoes exemplified the sublime for
Joshua Reynolds.
(D) cannot be found in the passage and is therefore the correct answer. The works of
historical figures are mentioned as exemplifying the sublime (e.g., Homer, Milton,
Michelangelo), but no historical figure him or herself is ever mentioned as exemplifying the
sublime in his or her person.
(E) can be found in paragraph four, where the awe-inspiring world of astronomy excited the
scientific community.

TAKEAWAY: Don't bother trying to predict a Detail EXCEPT question. Instead, research the
choices and eliminate those that appear in the passage.

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, the artist's 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, the work of
Homer and Milton as well as the Bible 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 rugged vistas of Wales and Scotland.
Finally, James Thomson's immensely popular nature epic "The Seasons" (1726–1730) 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.


Passage Map:

Paragraph 1: Wilton says Turner had roots in the “sublime” movement, related to spiritual
exaltation.

Paragraph 2: Roots of the sublime. Details: Longinus

Paragraph 3: Sublime began as only a literary art category. Details: Homer, the Bible, Milton,
Michelangelo, Joshua Reynolds

Paragraph 4: Transition to sublime in landscapes in 18th century. Details: astronomers, travel,
Addison, Thompson, “The Seasons.”

Paragraph 5: Full embrace of sublime in nature & landscapes. Details: End of 18th century,
Burke, examples of Turner's work.

Topic: The sublime art movement

Scope: The history of the sublime movement and its function as a precursor to
Impressionism.

Purpose: To describe the real precursors to Turner's landscapes and Impressionism

An additional question:

Q.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

OE:

Analyze the Question Stem:
This is an Application question, as it goes beyond the passage and asks not about what Turner
actually painted but what he might have been expected to paint, based on what the passage
says about him. Note that this is a "LEAST" question, so the correct answer choice will be the
one that is not a likely subject for Turner's paintings.

Research the Relevant Text:
According to the passage map, the final paragraph contains the details of the qualities of the
sublime art. That paragraph connects sublime art to the vastness and danger of nature and
subjects conducive to awe, “as in the reaction to high mountain passes or storms at sea.” The
works might include subjects such as landscapes, urban vistas, the sea, mountains, darkness,
architecture and urban subjects.

Make a Prediction:
Though it is impossible to make a specific prediction, Turner is not likely to have painted
something plain, calm, and unlikely to induce a feeling of awe.

Evaluate the Answer Choices:
(E) is correct because “wheatfields by a country road” is not the type of awe-inspiring subject
described in the final paragraph. In fact, the scene would be better described as serene and
common.
(A) could be one of Turner’s subjects and is therefore incorrect. The passage specifically
mentions a high mountain pass as the type of subject in nature that might be called sublime.
(B) could be one of Turner’s subjects, and is therefore incorrect. In the last sentence, Wilton
describes Turners’ genres, which included the architectural or urban sublime. A cathedral in
the center of the city could be an example of that genre.
(C) could be one of Turner’s subjects, and therefore is incorrect. A storm at sea was
mentioned as example of the sublime in nature in paragraph five.
(D) could be one of Turner’s subjects, and is therefore incorrect. The eruption of a volcano
could be an example of the “terrific” genre described in paragraph five.

TAKEAWAY: With Application questions, be very clear on the concept from the passage that is
being applied to new cases or scenarios

OA: E

(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

OE:

Analyze the Question Stem:
This is a Detail question, based on the words "according to the passage."

Research the Relevant Text:
The question stem uses the word "originally," so the right answer will have something to do
with the early days of the sublime. The passage map shows that this is discussed in paragraph
three. During this time, the sublime was mainly expressed in literature, and in paintings that
continued the narrative.

Make a Prediction:
Research shows that landscapes were not originally seen as embodying the sublime because
the focus on narrative meant that the paintings would almost necessarily involve the human
figure.

Evaluate the Answer Choices:
(A) closely matches the prediction by pointing out the focus on human figures.
(B) distorts the passage; the passage states in paragraph three that the subject matter of the
sublime was “epic, historical, or religious.”
(C) is incorrect because even though Michelangelo’s work was mentioned as an example of the
sublime in art, the passage never stated that he didn’t paint landscapes or that his work was
the reason landscapes were not considered sublime.
(D) contains a detail from the end of paragraph one: before landscapes were seen as a
rendition of nature, they embodied the sublime. However, this question asks about the
conception of landscapes before either of these two views, so this choice is incorrect.
(E) is incorrect. In paragraph five, nature is indeed described as awe-inspiring. However, the
characteristics of nature are not mentioned in paragraph three as the reason for the exclusion
of nature from the concept of the sublime. Only the lack of human figures is given as a reason
for the exclusion of landscapes.

TAKEAWAY: In a passage with a lot of details, the passage map is essential to quickly finding
the right one.

(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

OE:

Analyze the Question Stem:
This is a Detail question, as indicated by the keywords "according to the author".

Research the Relevant Text:
According to the passage map, Burke is mentioned in the last paragraph as the author of a
definitive essay on the sublime in nature.

Make a Prediction:
Based on the research, predict that the right answer will be about how Burke wrote the
definitive essay that explained the sublime in nature.

Evaluate the Answer Choices:
(D) closely matches the prediction and is correct. The passage describes Burke’s essay as one
that defines the sublime in nature as tied with “vastness, lack of habitation and cultivation,
and danger.”
(A) is a distortion; Wilton, not Burke, classified the genres of the sublime.
(B) may be tempting because it does discuss nature and the sublime, but it's incorrect; while
Burke did define the sublime in nature, he didn’t broaden the conception to include it.
(C) is incorrect because the passage never compares Burke to earlier writers. The passage
simply states that Burke’s essay was definitive.
(E) is incorrect because although Longinus’s identification of the sublime is mentioned in
paragraph two, Burke does not reject his view. In fact, the passage states that earlier
referents were not excluded by Burke’s definition.

TAKEAWAY: In Detail questions, don't get distracted by answer choices with details from the
wrong part of the passage.

Hello. Can the answer to question 2 be corrected? The OA is D and not B, as posted by GMATStudyStudent.