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.
Jun 1006:00 AM PDT
-06:15 PM PDT
Register for the GMAT Club Virtual MBA Spotlight Fair – the world’s premier event for serious MBA candidates. This is your chance to hear directly from Admissions Directors at nearly every Top 30 MBA program..
Jun 1111:00 AM EDT
-01:00 PM EDT
TTP GMAT OnDemand gives serious students 400+ hours of expert video instruction, the full TTP course, AI support, weekly office hours, and a 715+ score guarantee—all built for elite GMAT score improvement.
Jun 2207:30 PM EDT
-09:30 PM EDT
Master the GMAT with expert live instruction, a personalized study plan, and real-time support. Includes 40 hours of online classes plus 6 months of access to the TTP GMAT OnDemand video course. Class date: Mon/Wed June 22, 2026 →August 26, 2026
20 Apr 2024, 00:26
Kudos
Bookmarks
D
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:
74% (02:26) correct
26%
(02:36)
wrong
based on 578
sessions
History
Date
Time
Result
Not Attempted Yet
Surviving seventeenth-century Dutch landscapes attributed to major artists now equal in number those attributed to minor ones. But since in the seventeenth century many prolific minor artists made a living supplying the voracious market for Dutch landscapes, while only a handful of major artists painted in the genre, many attributions of seventeenth-century Dutch landscape paintings to major artists are undoubtedly erroneous.
Which one of the following, if true, most strengthens the argument?
A. Technically gifted seventeenth-century Dutch landscape artists developed recognizable styles that were difficult to imitate.
B. In the workshops of major seventeenth-century artists, assistants were employed to prepare the paints, brushes, and other materials that the major artists then used.
C. In the eighteenth century, landscapes by minor seventeenth-century artists were often simply thrown away or else destroyed through improper storage.
D. Seventeenth-century art dealers paid minor artists extra money to leave their landscapes unsigned so that the dealers could add phony signatures and pass such works off as valuable paintings.
E. More seventeenth-century Dutch landscapes were painted than have actually survived, and that is true of those executed by minor artists as well as of those executed by major artists.
Which one of the following, if true, most strengthens the argument?
A. Technically gifted seventeenth-century Dutch landscape artists developed recognizable styles that were difficult to imitate.
B. In the workshops of major seventeenth-century artists, assistants were employed to prepare the paints, brushes, and other materials that the major artists then used.
C. In the eighteenth century, landscapes by minor seventeenth-century artists were often simply thrown away or else destroyed through improper storage.
D. Seventeenth-century art dealers paid minor artists extra money to leave their landscapes unsigned so that the dealers could add phony signatures and pass such works off as valuable paintings.
E. More seventeenth-century Dutch landscapes were painted than have actually survived, and that is true of those executed by minor artists as well as of those executed by major artists.
20 Apr 2024, 07:04
Kudos
Bookmarks
When it comes to the count of surviving Dutch landscapes, those made by major artists = those made by minor artists. For minor artists back in the day, painting such landscapes was a source of living whereas major artists were only a handful. Thus, the author concludes that there is a case of overestimation of Dutch landscapes made by major artists. We are to strengthen the conclusion, and find a point that is related to the conclusion.
A. Technically gifted seventeenth-century Dutch landscape artists developed recognizable styles that were difficult to imitate.
This is weakening the argument if anything.
B. In the workshops of major seventeenth-century artists, assistants were employed to prepare the paints, brushes, and other materials that the major artists then used.
Unrelated to the argument
C. In the eighteenth century, landscapes by minor seventeenth-century artists were often simply thrown away or else destroyed through improper storage.
Again, this is a weakener.
D. Seventeenth-century art dealers paid minor artists extra money to leave their landscapes unsigned so that the dealers could add phony signatures and pass such works off as valuable paintings.
So this explains why there might be a case of overestimating the landscapes made by major artists. Correct answer.
E. More seventeenth-century Dutch landscapes were painted than have actually survived, and that is true of those executed by minor artists as well as of those executed by major artists.
Does not strengthen nor weaken.
This is weakening the argument if anything.
Unrelated to the argument
Again, this is a weakener.
D. Seventeenth-century art dealers paid minor artists extra money to leave their landscapes unsigned so that the dealers could add phony signatures and pass such works off as valuable paintings.
So this explains why there might be a case of overestimating the landscapes made by major artists. Correct answer.
Does not strengthen nor weaken.
22 Apr 2024, 05:22
Kudos
Bookmarks
Here's how I worked out the correct answer:
The correct statement should facilitate the appropriation of paintings painted by minor artists under the name of major artists. Now, let's see which all statements serve this purpose.
A. Technically gifted seventeenth-century Dutch landscape artists developed recognizable styles that were difficult to imitate. (This would rather be a counter-argument as this, if true, would make it difficult for the paintings to be passed on under others' names)
B. In the workshops of major seventeenth-century artists, assistants were employed to prepare the paints, brushes, and other materials that the major artists then used. (While this could enable the appropriation, it's difficult that this would be a reason for wrong assigning of names, as suggested by the correct answer)
C. In the eighteenth century, landscapes by minor seventeenth-century artists were often simply thrown away or else destroyed through improper storage. (This does not explain why paintings by minor artists were assigned under names of major artists)
D. Seventeenth-century art dealers paid minor artists extra money to leave their landscapes unsigned so that the dealers could add phony signatures and pass such works off as valuable paintings. (This easily would be the cause that resulted in the mismatch in number of paintings by minor and major artists.
E. More seventeenth-century Dutch landscapes were painted than have actually survived, and that is true of those executed by minor artists as well as of those executed by major artists. (This wouldn't explain why the numbers did not match earlier)
The correct statement should facilitate the appropriation of paintings painted by minor artists under the name of major artists. Now, let's see which all statements serve this purpose.
A. Technically gifted seventeenth-century Dutch landscape artists developed recognizable styles that were difficult to imitate. (This would rather be a counter-argument as this, if true, would make it difficult for the paintings to be passed on under others' names)
B. In the workshops of major seventeenth-century artists, assistants were employed to prepare the paints, brushes, and other materials that the major artists then used. (While this could enable the appropriation, it's difficult that this would be a reason for wrong assigning of names, as suggested by the correct answer)
C. In the eighteenth century, landscapes by minor seventeenth-century artists were often simply thrown away or else destroyed through improper storage. (This does not explain why paintings by minor artists were assigned under names of major artists)
D. Seventeenth-century art dealers paid minor artists extra money to leave their landscapes unsigned so that the dealers could add phony signatures and pass such works off as valuable paintings. (This easily would be the cause that resulted in the mismatch in number of paintings by minor and major artists.
E. More seventeenth-century Dutch landscapes were painted than have actually survived, and that is true of those executed by minor artists as well as of those executed by major artists. (This wouldn't explain why the numbers did not match earlier)
