Scholars generally agree that the Maesta, the high altarpiece painted

1. Which of the following titles best summarizes the content of the passage?

(A) Competing Views of Duccio’s Influence on Fourteenth-Century Italian Painting - Incorrect. Duccio's influence on 14th century Italian painting is never discussed.
(B) New Theories on How the Maesta Came into Being - Incorrect. No such theories are discussed about how Maesta came in existence.
(C) Duccio’s Techniques in Painting the Maesta: A Scholarly Dispute. - Incorrect. Although it is suggested that Duccio might have painted the Maesta as a fresco is, this is not the overall summary of the passage.
(D) When Work on the Maesta Was Begun? : An Unresolved Question - Correct. The passage discusses in the first para on when the work would have been commissioned and second para further elaborates that if work was commissioned in 1308, by when would it have been completed.
(E) The Maesta: Duccio’s Masterpiece? - Incorrect. There is no question on whether The Maesta was Duccio's masterpiece. It was painted by him.

2. According to the passage, the author’s response to White’s explanation of how the Maesta was painted is most directly influenced by which of the following?

(A) The complexity of the painting on the main panel - Correct. Answer is in this part of the para - White suggests that “the actual work of painting a large panel was much more like frescoing a wall than might at first thought,” thus implying that the panel was painted by Duccio as quickly as a fresco would be painted. But this appears a wildly improbable thesis, given the intricate design and complexity of the painting on the main panel.
(B) The evidence of studio intervention on the back panels
(C) The terms of the commission for the Rucellai Madonna
(D) The work of Simone Martini and the Lorenzetti brothers
(E) The comparison of Duccio’s work with that of other artists

3. The passage implies which of the following about frescoes?

I. They are generally more intricate in design than panel paintings. - Incorrect. The quickness with which they were painted does not suggest that they were more intricate.
II. Wall frescoes were generally painted more quickly than panels of comparable size. - This is implied in passage.
III. Artists in fourteenth-century Italy preferred them to panel paintings. - We can't imply preference compared to panel paintings.

(A) I only
(B) II only - Correct
(C) I and II only
(D) II and III only
(E) I, II, and III

4. According to the passage, the commission for the Rucelfai Madonna differs from the document highlighted in line (8) in that the former

(A) specified the date by which the painting was to be completed - Does not differ on this aspect.
(B) specified what the painting was to represent - Correct. This is what the form and subject of the painting means.
(C) indicated how much Duccio was to be paid when the painting was completed - Does not differ on this aspect.
(D) indicated which artists would assist Duccio in completing the painting - Does not differ on this aspect.
(E) specified Duccio’s role in the execution of the painting - Incorrect. the former, Rucellai Madonna, does not specify Duccio's role in the execution of the painting. It is the Siena document that does specify his role.

The answer is in the lines "The one bona fide Duccio commission in existence, for the Rucellai Madonna in the Uffizi Gallery, stipulates the form and subject of the painting. That part of the Siena document that concerns the Maesta itself mentions only Duccio’s role in its execution."

Here are my answers:

Question 1: My answer is (D).
(A) Not discussed
(B) Not discussed, especially the new part.
(C) The only thing in dispute in this article is the start year of the Maesta.
(D) Exactly the topic of the passage.
(E) No question mark. Scholars generally agree that the Maesta is one of the greatest panel paintings ever produced.

Question 2: My answer is (A).
The answer is given in this sentence: But this appears a wildly improbable thesis, given the intricate design and complexity of the painting on the main panel.
(BD) are mentioned in the author's response to Stubblebine's explanation.
(E) is never discussed.
As for (C), it is mentioned in the first paragraph with no relevance here.

Question 3: My answer is (B)
White suggests that “the actual work of painting a large panel was much more like frescoing a wall than might at first thought,” thus implying that the panel was painted by Duccio as quickly as a fresco would be painted. But this appears a wildly improbable thesis, given the intricate design and complexity of the painting on the main panel.
From the above two sentences, we know (I) is false and (II) is true.
(III) is never discussed in the article.

Question 4: My answer is B.
"The one bona fide Duccio commission in existence, for the Rucellai Madonna in the Uffizi Gallery, stipulates the form and subject of the painting. " This sentence directly supports (B)

In this question, "the former" refers to the commission, not the highlighted "document", which actually appears in the article before the commission. If we are not careful, we may misunderstand this question.

Question 5: My answer is (D).
"Although the painting of large altarpieces was often carried out by the designing master with the help of members of his shop,..." This sentence directly supports (D).

Question 6: My answer is (E).
The author just could not believe that the painting could be completed with such rapidity. "scholars who argue that the 1308 agreement was the commission for the entire Maesta must explain how Duccio managed to complete the altarpiece in less than three years." The author is doubtful about the start date of 1308, but never questions the completion date of 1311. Certainly the completion date must be well established. So (E) is the assumption of the author.
(A) The author agree that, if his assistants were indeed playing a role, Duccio must carefully supervise them. But the author have no problem to believe that Duccio decided to undertake this important project all by himself.
(B) This would give Duccio plenty of time to finish the project. It could explain how Duccio managed to complete the altarpiece. If author assumed this, the author would put forward this explanation rather than question the others.
(C) The author do not think so.
(D) The author believes that even with full devotion by Duccio, he was still unable to finish the project in less than three years. Also, did Duccio work on both Rucellai Madonna and Maesta simultaneously? It was never discussed, and test takers should not be expected to know the outside knowledge.

Competition mode is off now

OAs are:

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Words: 361
Read Time: 4 mins 30 sec
Paragraph structure: Controversial “Maesta” painting based on two reason.
Paraphrasing:
Para 1: Scholars doubt date of early commission and early completion of painting “Maesta” painted by Duccio by two reasons.
Reason 1: dubious interpretation of document
Para 2:
Reason 2: the painting would have completed in less than 3 years (1308 to 1311), assumption
• might be frescoing a wall, but it appears to be wildly improbable thesis (white’s) or
• would be carried out by his disciples, under Duccio supervision. (Stubblebine)

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1. Which of the following titles best summarizes the content of the passage?
(A) Competing Views of Duccio’s Influence on Fourteenth-Century Italian Painting
Wrong – passage highlights more on conterversial doubt about painting date of completion and commission, not the views
(B) New Theories on How the Maesta Came into Being
Wrong – No Theories discussed
(C) Duccio’s Techniques in Painting the Maesta: A Scholarly Dispute.
Wrong – assumed techniques mentioned in the passage, which can indicate the completion of the painting, but assumed techniques are attempt to understand, when the painting got completed.
(D) When Work on the Maesta Was Begun? : An Unresolved Question
Correct - As mentioned in the passage,” Some scholars have argued that the painting was commissioned in 1308 and completed by the summer of 1311, but the former date seems improbable for two reasons”
(E) The Maesta: Duccio’s Masterpiece?
Wrong –always avoid open ended question in the remarks, it drives you to no conclusion.

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2. According to the passage,
the author’s response to White’s explanation of how the Maesta was painted is most directly influenced by which of the following?
as mentioned in the passage, “White suggests that “the actual work of painting a large panel was much more like frescoing a wall than might at first thought,”
thus, implying that the panel was painted by Duccio as quickly as a fresco would be painted.
But this appears a wildly improbable thesis,
given the intricate design and complexity of the painting on the main panel.”

(A) The complexity of the painting on the main panel
– Correct, as mentioned above.
(B) The evidence of studio intervention on the back panels
Wrong – as mentioned in the passage, it is for “the narrative scenes on the back show intermittent evidence of studio intervention”
(C) The terms of the commission for the Rucellai Madonna
Wrong – as mentioned in the passage, it is for “on a dubious interpretation of a document”
(D) The work of Simone Martini and the Lorenzetti brothers
Wrong – as mentioned in the passage, it is for “Stubblebine attempts to explain the rapidity of the production”
(E) The comparison of Duccio’s work with that of other artists
Wrong –, Irrelevant

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3. The passage implies which of the following about frescoes?

I. They are generally more intricate in design than panel paintings.
II. Wall frescoes were generally painted more quickly than panels of comparable size.
III. Artists in fourteenth-century Italy preferred them to panel paintings.

As mentioned in the passage, White suggests that “the actual work of painting a large panel was much more like frescoing a wall than might at first thought,” thus implying that the panel was painted by Duccio as quickly as a fresco would be painted.”
Correct Option (B) II only

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4. According to the passage, the commission for the Rucelfai Madonna differs from the document highlighted in line (8) in that the former
As mentioned in the passage, “First, the argument that the painting was commissioned in 1308 is based on a dubious interpretation of a document.”
(A) specified the (date by which the painting) was to be completed Wrong –
(B) specified what the (painting was to represent) – Correct, as mentioned above
(C) indicated how much (Duccio was to be paid) when the painting was completed Wrong –
(D) indicated (which artists would assist) Duccio in completing the painting Wrong –
(E) (specified Duccio’s role) in the execution of the painting Wrong –

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5. According to the passage,
the practice by masters of relying on the members of their shops
to help complete a work was
as mentioned in the passage, “Although the painting of large altarpieces was often carried out by the designing master with the help of members of his shop, it is doubtful that in a commission of such solemnity Duccio would have allowed his disciples to undertake such a large portion of the work on their own”

(A) unusual in the case of DuccioWrong – and a trap! (it’s a doubtfull)
(B) put into effect when the commission was a the Maesta Wrong – irrelevant
(C) the only way to explain the narrative consistency of the Maesta Wrong – Irrelevant
(D) common when the work was a large altarpiece – Correct, as mentioned above
(E) the cause of a dispute between Duccio and those who commissioned the painting Wrong – and a Trap!
Its not about “those who commissioned the painting” but about “those who painted the painting”

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6. The author assumes which of the following in analysing
White’s and Stubblebine’s arguments?
As mentioned in passage, “Second, scholars who argue that the 1308 agreement was the commission for the entire Maesta must explain how Duccio managed to complete the altarpiece in less than three years”

Eliminate, A, B and D – Out of scope or irrelevant, no infer from the passage
(A) Duccio often carefully supervised the work of his assistants
(B) It was common for Italian artists of the fourteenth century to begin work on a project before it was commissioned
(D) Duccio’s work on the Rucellai Madonna made it impossible for him to devote full time to the Maesta.

(C) The narrative consistency of the Maesta can be explained
by the short time it took Duccio to complete it.
Wrong – Trap! It’s a authors assumption,
"the absolute narrative consistency of the whole cycle of paintings in the altarpiece would be inexplicable”

(E) The Maesta must have been completed by the summer of 1311 – Correct, as mentioned above

GMATNinja, could you please clarify whether Q5 is asking about the intention of the author?
I did not select (D) for Q5 since Stubblebine has the view about relying on the work of others, and not author.

tkorzhan1995
I share my thought on about this question-
The question is about practice of assigning work to members of shop by master painter and something about that practice.

Author mentioned in passage that such practice was often followed for large paintings, but in case of Maesta painting author's view was atleast Duccio designed and supervised ( means not relying on members of work) while making Maesta.
Thus eliminated B and correct answer D.

Hi AndrewN

If we think question 6 as a CR question, which it actually is, the completion of year of the painting is one of the premise of the argument. I didn't choose option E as it seems to be questioning the validity of the premise. Isn't that wrong on assumption based questions? Maybe I confused it with weakening questions in which any option that weakens the premise is not really a weakening option?

As much as possible, Namangupta1997, aim not to tell a question what it is or needs to be. Just approach the task of answering it objectively. Notice that the completion date of 1311 is not a stated fact, but a claim. The first paragraph of the passage tells us that {s}ome scholars have argued that the painting was commissioned in 1308 and completed by the summer of 1311, but the former date seems improbable for two reasons. The author of the passage does not question the completion date, but keep in mind, that date has only been proposed by some scholars. That is different from a consensus or an established fact, what we might think of as a premise.

The author asserts in the topic sentence of the second paragraph that scholars who argue that the 1308 agreement was the commission for the entire Maesta must explain how Duccio managed to complete the altarpiece in less than three years, and goes on to critique the views of White and Stubblevine. But notice that it is the author who is placing these time constraints—this three-year window—and this absolute condition—must explain—on the execution of the Maesta, so it should be clear from both paragraphs that the author believes that the work was completed by the summer of 1311. Only answer choice (E) is reasonable.

Thank you for thinking to ask. (I enjoyed this passage when I came across it on 7 May.)



- Andrew

Added two more questions (7 and 8).

Hi KarishmaB,

6. The author assumes which of the following in analyzing White’s and Stubblebine’s arguments?

(E) The Maesta must have been completed by the summer of 1311.

Can you please share your reasoning for option E?

Reference -"Second, scholars who argue that the 1308 agreement was the commission for the entire Maesta must explain how Duccio managed to complete the altarpiece in less than three years...."

Thanks in advance.