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Question 1
E
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:
34% (03:22) correct
66%
(03:26) wrong
based on 383
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:
5%
(low)
Question Stats:
91% (00:56) correct 9%
(00:55) wrong
based on 493
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:
75%
(hard)
Question Stats:
46% (01:55) correct 54%
(01:56) wrong
based on 498
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:
55%
(hard)
Question Stats:
56% (01:35) correct 44%
(01:37) wrong
based on 470
sessions
History
Date
Time
Result
Not Attempted Yet
Question 5
A
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
35%
(medium)
Question Stats:
65% (01:21) correct 35%
(01:32) wrong
based on 453
sessions
History
Date
Time
Result
Not Attempted Yet
Question 6
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
75%
(hard)
Question Stats:
46% (01:38) correct 54%
(01:36) wrong
based on 441
sessions
History
Date
Time
Result
Not Attempted Yet
The Cultural Revolution of 1966 to 1976,
initiated by Communist Party Chairman Mao Zedong
in an attempt to reduce the influence of China’s
intellectual elite on the country’s institutions, has had
(5) lasting repercussions on Chinese art. It intensified the
absolutist mind-set of Maoist Revolutionary Realism,
which had dictated the content and style of Chinese
art even before 1966 by requiring that artists
“truthfully” depict the realities of socialist life in
(10) China. Interest in nonsocial, nonpolitical subjects was
strictly forbidden, and, during the Cultural
Revolution, what constituted truth was entirely for
revolutionary forces to decide—the only reality artists
could portray was one that had been thoroughly
(15) colored and distorted by political ideology.
Ironically, the same set of requirements that
constricted artistic expression during the Cultural
Revolution has had the opposite effect since; many
artistic movements have flourished in reaction to the
(20) monotony of Revolutionary Realism. One of these,
the Scar Art movement of the 1980s, was
spearheaded by a group of intellectual painters who
had been trained in Maoist art schools and then
exiled to rural areas during the Cultural Revolution.
(25) In exile, these painters were for perhaps the first time
confronted with the harsh realities of rural poverty
and misery—aspects of life in China that their Maoist
mentors would probably have preferred they ignore.
As a result of these experiences, they developed a
(30) radically new approach to realism. Instead of
depicting the version of reality sanctioned by the
government, the Scar Art painters chose to represent
the “scarred reality” they had seen during their exile.
Their version of realist painting emphasized the day-
(35) to-day hardships of rural life. While the principles of
Revolutionary Realism had insisted that artists choose
public, monumental, and universal subjects, the Scar
artists chose instead to focus on the private, the
mundane, and the particular; where the principles of
(40) Revolutionary Realism had demanded that they depict
contemporary Chinese society as outstanding or
perfect, the Scar artists chose instead to portray the
bleak realities of modernization.
As the 1980s progressed, the Scar artists’ radical
(45) approach to realism became increasingly co-opted for
political purposes, and as this political cast became
stronger and more obvious, many artists abandoned
the movement. Yet a preoccupation with rural life
persisted, giving rise to a related development known
(50) as the Native Soil movement, which focused on the
native landscape and embodied a growing nostalgia
for the charms of peasant society in the face of
modernization. Where the Scar artists had reacted to
the ideological rigidity of the Cultural Revolution by
(55) emphasizing the damage inflicted by modernization,
the Native Soil painters reacted instead by idealizing
traditional peasant life. Unfortunately, in the end
Native Soil painting was trivialized by a tendency to
romanticize certain qualities of rural Chinese society
(60) in order to appeal to Western galleries and collectors.
initiated by Communist Party Chairman Mao Zedong
in an attempt to reduce the influence of China’s
intellectual elite on the country’s institutions, has had
(5) lasting repercussions on Chinese art. It intensified the
absolutist mind-set of Maoist Revolutionary Realism,
which had dictated the content and style of Chinese
art even before 1966 by requiring that artists
“truthfully” depict the realities of socialist life in
(10) China. Interest in nonsocial, nonpolitical subjects was
strictly forbidden, and, during the Cultural
Revolution, what constituted truth was entirely for
revolutionary forces to decide—the only reality artists
could portray was one that had been thoroughly
(15) colored and distorted by political ideology.
Ironically, the same set of requirements that
constricted artistic expression during the Cultural
Revolution has had the opposite effect since; many
artistic movements have flourished in reaction to the
(20) monotony of Revolutionary Realism. One of these,
the Scar Art movement of the 1980s, was
spearheaded by a group of intellectual painters who
had been trained in Maoist art schools and then
exiled to rural areas during the Cultural Revolution.
(25) In exile, these painters were for perhaps the first time
confronted with the harsh realities of rural poverty
and misery—aspects of life in China that their Maoist
mentors would probably have preferred they ignore.
As a result of these experiences, they developed a
(30) radically new approach to realism. Instead of
depicting the version of reality sanctioned by the
government, the Scar Art painters chose to represent
the “scarred reality” they had seen during their exile.
Their version of realist painting emphasized the day-
(35) to-day hardships of rural life. While the principles of
Revolutionary Realism had insisted that artists choose
public, monumental, and universal subjects, the Scar
artists chose instead to focus on the private, the
mundane, and the particular; where the principles of
(40) Revolutionary Realism had demanded that they depict
contemporary Chinese society as outstanding or
perfect, the Scar artists chose instead to portray the
bleak realities of modernization.
As the 1980s progressed, the Scar artists’ radical
(45) approach to realism became increasingly co-opted for
political purposes, and as this political cast became
stronger and more obvious, many artists abandoned
the movement. Yet a preoccupation with rural life
persisted, giving rise to a related development known
(50) as the Native Soil movement, which focused on the
native landscape and embodied a growing nostalgia
for the charms of peasant society in the face of
modernization. Where the Scar artists had reacted to
the ideological rigidity of the Cultural Revolution by
(55) emphasizing the damage inflicted by modernization,
the Native Soil painters reacted instead by idealizing
traditional peasant life. Unfortunately, in the end
Native Soil painting was trivialized by a tendency to
romanticize certain qualities of rural Chinese society
(60) in order to appeal to Western galleries and collectors.
1. Which one of the following titles most accurately captures the main point of the passage?
(A) “Painting and Politics: A Survey of Political Influences on Contemporary Chinese Art”
(B) “How Two Movements in Chinese Painting Transformed the Cultural Revolution”
(C) “Scarred Reality: A Look into Chinese Rural Life in the Late Twentieth Century”
(D) “The Rise of Realism in Post-Maoist Art in China”
(E) “The Unforeseen Artistic Legacy of China’s Cultural Revolution”
(A) “Painting and Politics: A Survey of Political Influences on Contemporary Chinese Art”
(B) “How Two Movements in Chinese Painting Transformed the Cultural Revolution”
(C) “Scarred Reality: A Look into Chinese Rural Life in the Late Twentieth Century”
(D) “The Rise of Realism in Post-Maoist Art in China”
(E) “The Unforeseen Artistic Legacy of China’s Cultural Revolution”
2. Which one of the following works of art would be most compatible with the goals and interests of Scar Art as described in the passage?
(A) a painting of a village scene in which peasants commemorate a triumph over cruel political officials
(B) a painting symbolically representing the destruction caused by a large fire
(C) a painting depicting the weary face of a poorly clothed peasant toiling in a grain mill
(D) a painting caricaturing Mao Zedong as an overseer of farm workers
(E) a painting of two traditionally dressed peasant children walking in a summer wheat field
(A) a painting of a village scene in which peasants commemorate a triumph over cruel political officials
(B) a painting symbolically representing the destruction caused by a large fire
(C) a painting depicting the weary face of a poorly clothed peasant toiling in a grain mill
(D) a painting caricaturing Mao Zedong as an overseer of farm workers
(E) a painting of two traditionally dressed peasant children walking in a summer wheat field
3. Which one of the following statements about realism in Chinese art can most reasonably be inferred from the passage?
(A) The artists who became leaders of the Native Soil movement practiced a modified form of realism in reaction against the styles and techniques of Scar Art.
(B) Chinese art has encompassed conflicting conceptions of realism derived from contrasting political and artistic purposes.
(C) The goals of realism in Chinese art have been effectively furthered by both the Scar Art movement and the Native Soil movement.
(D) Until the development of the Scar Art movement, interest in rural life had been absent from the types of art that prevailed among Chinese realist painters.
(E) Unlike the art that was predominant during the Cultural Revolution, Scar Art was not a type of realist art.
(A) The artists who became leaders of the Native Soil movement practiced a modified form of realism in reaction against the styles and techniques of Scar Art.
(B) Chinese art has encompassed conflicting conceptions of realism derived from contrasting political and artistic purposes.
(C) The goals of realism in Chinese art have been effectively furthered by both the Scar Art movement and the Native Soil movement.
(D) Until the development of the Scar Art movement, interest in rural life had been absent from the types of art that prevailed among Chinese realist painters.
(E) Unlike the art that was predominant during the Cultural Revolution, Scar Art was not a type of realist art.
4. It can be inferred from the passage that the author would be LEAST likely to agree with which one of the following statements regarding the Cultural Revolution?
(A) It had the ironic effect of catalyzing art movements at odds with its policies.
(B) The art that was endorsed by its policies was less varied and interesting than Chinese art since the Cultural Revolution.
(C) Much of the art that it endorsed did not accurately depict the realities of life in China but rather a politically motivated idealization.
(D) Its effects demonstrate that restrictive policies generally foster artistic growth more than liberal policies do.
(E) Its impact has continued to be felt in the Chinese art world years after it ended.
(A) It had the ironic effect of catalyzing art movements at odds with its policies.
(B) The art that was endorsed by its policies was less varied and interesting than Chinese art since the Cultural Revolution.
(C) Much of the art that it endorsed did not accurately depict the realities of life in China but rather a politically motivated idealization.
(D) Its effects demonstrate that restrictive policies generally foster artistic growth more than liberal policies do.
(E) Its impact has continued to be felt in the Chinese art world years after it ended.
5. The primary function of the first paragraph is to
(A) introduce the set of political and artistic ideas that spurred the development of two artistic movements described in the subsequent paragraphs
(B) acknowledge the inescapable melding of political ideas and artistic styles in China
(C) explain the transformation of Chinese society that came about as a result of the Cultural Revolution
(D) present a hypothesis about realism in Chinese art that is refuted by the ensuing discussion of two artistic movements
(E) show that the political realism practiced by the movements discussed in the ensuing paragraphs originated during the Cultural Revolution
(A) introduce the set of political and artistic ideas that spurred the development of two artistic movements described in the subsequent paragraphs
(B) acknowledge the inescapable melding of political ideas and artistic styles in China
(C) explain the transformation of Chinese society that came about as a result of the Cultural Revolution
(D) present a hypothesis about realism in Chinese art that is refuted by the ensuing discussion of two artistic movements
(E) show that the political realism practiced by the movements discussed in the ensuing paragraphs originated during the Cultural Revolution
6. It can be inferred from the passage that the author would be most likely to agree with which one of the following views of the Native Soil movement?
(A) Its development was the inevitable consequence of the Scar Art movement’s increasing politicization.
(B) It failed to earn the wide recognition that Scar Art had achieved.
(C) The rural scenes it depicted were appealing to most people in China.
(D) Ironically, it had several key elements in common with Revolutionary Realism, in opposition to which it originally developed.
(E) Its nostalgic representation of rural life was the means by which it stood in opposition to Revolutionary Realism.
(A) Its development was the inevitable consequence of the Scar Art movement’s increasing politicization.
(B) It failed to earn the wide recognition that Scar Art had achieved.
(C) The rural scenes it depicted were appealing to most people in China.
(D) Ironically, it had several key elements in common with Revolutionary Realism, in opposition to which it originally developed.
(E) Its nostalgic representation of rural life was the means by which it stood in opposition to Revolutionary Realism.
Transponster
GMAT 3: 710 Q50 V35
Posts: 46
02 Nov 2021, 00:00
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1st para: The Cultural Revolution initiated by CP to 'truthfully' depict realities(distorted truths)- intensified absolutist mindset of Maoist Revolutionary Realism(MRR).
2nd para: IRONICALLY, requirements that were supposed to constrict artistic expression had opposite effect as many movements flourished in response to RR- Scar Movement(SM)- depicted 'scarred'(real harsh) realities of rural poverty and misery(MRR ignored)-focused on private aspects(opposite of RR)
3rd para: SM was becoming co-opted for political purposes- artists abandoned it-NSM came-focused on charms of peasant society in the face of modernization-got trivialized later in Western galleries
This is just a summary of each para.
1. Which one of the following titles most accurately captures the main point of the passage?
(A) “Painting and Politics: A Survey of Political Influences on Contemporary Chinese Art”
If I just skimmed through the paras and hadn't written down the summary of each para, I would probably 'fall in love'(in the words of GMATNinja) with this answer and maybe not go through the other options with an open mind. However, since I didn't do that, let's evaluate this option. 'Painting and Politics', that's pretty straight and simple, looks good. 'A Survey of Political Influences on Contemporary Chinese art'. I don't think this is particularly a survey of the influences, it's more about how the art was crucial and how the movements were inspired. But this is still a good option and I will hold until I find a better option.
(B) “How Two Movements in Chinese Painting Transformed the Cultural Revolution”
While the paragraph discusses two movements, line 20 says 'One of these Movements', which means that there were probably many movements. So eliminate
(C) “Scarred Reality: A Look into Chinese Rural Life in the Late Twentieth Century”
Scarred Reality is a very narrow point of the passage,i.e.,2nd para. So eliminate
(D) “The Rise of Realism in Post-Maoist Art in China”
I am not really sure abut this as the first para says 'intensified absolutist mindset of Maoist Revolutionary Realism' and I am not even sure if it was the rise of realism because every para describes a different approach to Realism. So I am very dicey about this and I would prefer option A to this one
(E) “The Unforeseen Artistic Legacy of China’s Cultural Revolution”
I know if I hadn't really seen GMAT or LSAT questions, I would eliminate this without much thought because unless I am writing a book, I wouldn't go for such complex title. But that's not the case, so I'll spend a few seconds here(I know I have messed up my sentence construction but please get the gist).
Well from the summaries of each para I can see that the author wants to tell us about the Cultural Revolution in China and how art played a role in starting the movements. Also the first line of the para says 'The Cultural Revolution of 1966 to 1976 has had lasting repercussions on Chinese art' justifying 'unforeseen legacy'.So yeah, the title looks good to me now and I would definitely prefer this over A.
Answer E
2. Which one of the following works of art would be most compatible with the goals and interests of Scar Art as described in the passage?
(A) a painting of a village scene in which peasants commemorate a triumph over cruel political officials
where's the harsh reality here? it's probably a dream :p So eliminate
(B) a painting symbolically representing the destruction caused by a large fire
Scar Art portrayed 'scarred realities', this doesn't come under that. so eliminate
(C) a painting depicting the weary face of a poorly clothed peasant toiling in a grain mill
This is what Scar art was focused on- the realities of rural poverty and misery. So hold
(D) a painting caricaturing Mao Zedong as an overseer of farm workers
This is totally irrelevant. Eliminate
(E) a painting of two traditionally dressed peasant children walking in a summer wheat field
Again, this is not Scar Art. Eliminate
Answer C
3. 3. Which one of the following statements about realism in Chinese art can most reasonably be inferred from the passage?
(A) The artists who became leaders of the Native Soil movement practiced a modified form of realism in reaction against the styles and techniques of Scar Art.
While NSM was opposite of Scar, we don't know for sure if there were leaders practicing it as a reaction against Scar, plus it's too narrow. Eliminate
(B) Chinese art has encompassed conflicting conceptions of realism derived from contrasting political and artistic purposes.
Yes, so right from the start, the author wants to tell us that different concepts of realism came up that used art as a form to express and also contrast political idealogies. Hold
(C) The goals of realism in Chinese art have been effectively furthered by both the Scar Art movement and the Native Soil movement.
From our point, it may look so, but let's concentrate on if that's what the author wants to say. Scar movement might have been successful but politics somehow creeped in and that's how NSM came. Eliminate
(D) Until the development of the Scar Art movement, interest in rural life had been absent from the types of art that prevailed among Chinese realist painters.
we don't know for sure. Intellectual painters were exiled into rural areas and that's how they came to know about the hardships, and these guys gave a form to Scar Movement. But what if there were artists that were showcasing their art focusing on the rural life. Eliminate
(E) Unlike the art that was predominant during the Cultural Revolution, Scar Art was not a type of realist art.
Umm, if you have inferred this, I think you will have to re-read the passage because this is exactly opposite. Eliminate
Answer B
4. It can be inferred from the passage that the author would be LEAST likely to agree with which one of the following statements regarding the Cultural Revolution?
(A) It had the ironic effect of catalyzing art movements at odds with its policies.
Author agrees because, in the 2nd para, he/she says, Ironically, requirements that were supposed to constrict artistic expression had opposite effect. Eliminate
(B) The art that was endorsed by its policies was less varied and interesting than Chinese art since the Cultural Revolution.
The policy being 'truthful depiction' yes, it was less interesting than those that came up later. So Eliminate
(C) Much of the art that it endorsed did not accurately depict the realities of life in China but rather a politically motivated idealization.
That's what the first para says. Eliminate
(D) Its effects demonstrate that restrictive policies generally foster artistic growth more than liberal policies do.
There was no policy as such, at least it wasn't really specified in the passage, but a requirement. So I can't find any supporting statements for 'policies'. so I'll hold this
(E) Its impact has continued to be felt in the Chinese art world years after it ended.
line 5 stands in support of this statement. Eliminate
Answer D
5. The primary function of the first paragraph is to
(A) introduce the set of political and artistic ideas that spurred the development of two artistic movements described in the subsequent paragraphs
the first para gives an idea that the art forms were distorted by political ideology and that led to something that had lasting repercussions of Chinese art. So yeah, this looks good. Hold
(B) acknowledge the inescapable melding of political ideas and artistic styles in China.
It does say that artists were required to show 'truthfully' the realities. But it doesn't say they were inescapable. While this looks like a good option, I would prefer A over this because I am not really sure about 'acknowledge the inescapable melding'
(C) explain the transformation of Chinese society that came about as a result of the Cultural Revolution
No it doesn't explain any transformation. Eliminate
(D) present a hypothesis about realism in Chinese art that is refuted by the ensuing discussion of two artistic movements
There was no hypothesis presented. Eliminate
(E) show that the political realism practiced by the movements discussed in the ensuing paragraphs originated during the Cultural Revolution
None of the movements were really discussed here, there was a hint about something happened but we don't know for sure. Eliminate
Answer A
6. It can be inferred from the passage that the author would be most likely to agree with which one of the following views of the Native Soil movement?
(A) Its development was the inevitable consequence of the Scar Art movement’s increasing politicization.
We cannot infer it was an inevitable consequence of SM because SM was abandoned and NSM came in later. We don't know for sure if one led to rise of other
(B) It failed to earn the wide recognition that Scar Art had achieved.
It was trivialized in order to appeal to Western galleries and collectors but that in no way says that it didn't receive the recognition as Scar did
(C) The rural scenes it depicted were appealing to most people in China.
We cannot infer this because while NSM idealized peasant life and maybe rural scenes, the author never gives any indication if it was appealing to people in China
(D) Ironically, it had several key elements in common with Revolutionary Realism, in opposition to which it originally developed.
RR was based on public, monumental and Universal objects, while NSM was based on traditional peasant life. So we don't know if there were 'several key elements' but from what's in the passage we can say that they weren't sharing any elements.
(E) Its nostalgic representation of rural life was the means by which it stood in opposition to Revolutionary Realism.
As I said in D, NSM was based on traditional peasant life which could be a private aspect unlike RR which focused on public aspect. So this is my answer
Answer E
2nd para: IRONICALLY, requirements that were supposed to constrict artistic expression had opposite effect as many movements flourished in response to RR- Scar Movement(SM)- depicted 'scarred'(real harsh) realities of rural poverty and misery(MRR ignored)-focused on private aspects(opposite of RR)
3rd para: SM was becoming co-opted for political purposes- artists abandoned it-NSM came-focused on charms of peasant society in the face of modernization-got trivialized later in Western galleries
This is just a summary of each para.
1. Which one of the following titles most accurately captures the main point of the passage?
(A) “Painting and Politics: A Survey of Political Influences on Contemporary Chinese Art”
If I just skimmed through the paras and hadn't written down the summary of each para, I would probably 'fall in love'(in the words of GMATNinja) with this answer and maybe not go through the other options with an open mind. However, since I didn't do that, let's evaluate this option. 'Painting and Politics', that's pretty straight and simple, looks good. 'A Survey of Political Influences on Contemporary Chinese art'. I don't think this is particularly a survey of the influences, it's more about how the art was crucial and how the movements were inspired. But this is still a good option and I will hold until I find a better option.
(B) “How Two Movements in Chinese Painting Transformed the Cultural Revolution”
While the paragraph discusses two movements, line 20 says 'One of these Movements', which means that there were probably many movements. So eliminate
(C) “Scarred Reality: A Look into Chinese Rural Life in the Late Twentieth Century”
Scarred Reality is a very narrow point of the passage,i.e.,2nd para. So eliminate
(D) “The Rise of Realism in Post-Maoist Art in China”
I am not really sure abut this as the first para says 'intensified absolutist mindset of Maoist Revolutionary Realism' and I am not even sure if it was the rise of realism because every para describes a different approach to Realism. So I am very dicey about this and I would prefer option A to this one
(E) “The Unforeseen Artistic Legacy of China’s Cultural Revolution”
I know if I hadn't really seen GMAT or LSAT questions, I would eliminate this without much thought because unless I am writing a book, I wouldn't go for such complex title. But that's not the case, so I'll spend a few seconds here(I know I have messed up my sentence construction but please get the gist).
Well from the summaries of each para I can see that the author wants to tell us about the Cultural Revolution in China and how art played a role in starting the movements. Also the first line of the para says 'The Cultural Revolution of 1966 to 1976 has had lasting repercussions on Chinese art' justifying 'unforeseen legacy'.So yeah, the title looks good to me now and I would definitely prefer this over A.
Answer E
2. Which one of the following works of art would be most compatible with the goals and interests of Scar Art as described in the passage?
(A) a painting of a village scene in which peasants commemorate a triumph over cruel political officials
where's the harsh reality here? it's probably a dream :p So eliminate
(B) a painting symbolically representing the destruction caused by a large fire
Scar Art portrayed 'scarred realities', this doesn't come under that. so eliminate
(C) a painting depicting the weary face of a poorly clothed peasant toiling in a grain mill
This is what Scar art was focused on- the realities of rural poverty and misery. So hold
(D) a painting caricaturing Mao Zedong as an overseer of farm workers
This is totally irrelevant. Eliminate
(E) a painting of two traditionally dressed peasant children walking in a summer wheat field
Again, this is not Scar Art. Eliminate
Answer C
3. 3. Which one of the following statements about realism in Chinese art can most reasonably be inferred from the passage?
(A) The artists who became leaders of the Native Soil movement practiced a modified form of realism in reaction against the styles and techniques of Scar Art.
While NSM was opposite of Scar, we don't know for sure if there were leaders practicing it as a reaction against Scar, plus it's too narrow. Eliminate
(B) Chinese art has encompassed conflicting conceptions of realism derived from contrasting political and artistic purposes.
Yes, so right from the start, the author wants to tell us that different concepts of realism came up that used art as a form to express and also contrast political idealogies. Hold
(C) The goals of realism in Chinese art have been effectively furthered by both the Scar Art movement and the Native Soil movement.
From our point, it may look so, but let's concentrate on if that's what the author wants to say. Scar movement might have been successful but politics somehow creeped in and that's how NSM came. Eliminate
(D) Until the development of the Scar Art movement, interest in rural life had been absent from the types of art that prevailed among Chinese realist painters.
we don't know for sure. Intellectual painters were exiled into rural areas and that's how they came to know about the hardships, and these guys gave a form to Scar Movement. But what if there were artists that were showcasing their art focusing on the rural life. Eliminate
(E) Unlike the art that was predominant during the Cultural Revolution, Scar Art was not a type of realist art.
Umm, if you have inferred this, I think you will have to re-read the passage because this is exactly opposite. Eliminate
Answer B
4. It can be inferred from the passage that the author would be LEAST likely to agree with which one of the following statements regarding the Cultural Revolution?
(A) It had the ironic effect of catalyzing art movements at odds with its policies.
Author agrees because, in the 2nd para, he/she says, Ironically, requirements that were supposed to constrict artistic expression had opposite effect. Eliminate
(B) The art that was endorsed by its policies was less varied and interesting than Chinese art since the Cultural Revolution.
The policy being 'truthful depiction' yes, it was less interesting than those that came up later. So Eliminate
(C) Much of the art that it endorsed did not accurately depict the realities of life in China but rather a politically motivated idealization.
That's what the first para says. Eliminate
(D) Its effects demonstrate that restrictive policies generally foster artistic growth more than liberal policies do.
There was no policy as such, at least it wasn't really specified in the passage, but a requirement. So I can't find any supporting statements for 'policies'. so I'll hold this
(E) Its impact has continued to be felt in the Chinese art world years after it ended.
line 5 stands in support of this statement. Eliminate
Answer D
5. The primary function of the first paragraph is to
(A) introduce the set of political and artistic ideas that spurred the development of two artistic movements described in the subsequent paragraphs
the first para gives an idea that the art forms were distorted by political ideology and that led to something that had lasting repercussions of Chinese art. So yeah, this looks good. Hold
(B) acknowledge the inescapable melding of political ideas and artistic styles in China.
It does say that artists were required to show 'truthfully' the realities. But it doesn't say they were inescapable. While this looks like a good option, I would prefer A over this because I am not really sure about 'acknowledge the inescapable melding'
(C) explain the transformation of Chinese society that came about as a result of the Cultural Revolution
No it doesn't explain any transformation. Eliminate
(D) present a hypothesis about realism in Chinese art that is refuted by the ensuing discussion of two artistic movements
There was no hypothesis presented. Eliminate
(E) show that the political realism practiced by the movements discussed in the ensuing paragraphs originated during the Cultural Revolution
None of the movements were really discussed here, there was a hint about something happened but we don't know for sure. Eliminate
Answer A
6. It can be inferred from the passage that the author would be most likely to agree with which one of the following views of the Native Soil movement?
(A) Its development was the inevitable consequence of the Scar Art movement’s increasing politicization.
We cannot infer it was an inevitable consequence of SM because SM was abandoned and NSM came in later. We don't know for sure if one led to rise of other
(B) It failed to earn the wide recognition that Scar Art had achieved.
It was trivialized in order to appeal to Western galleries and collectors but that in no way says that it didn't receive the recognition as Scar did
(C) The rural scenes it depicted were appealing to most people in China.
We cannot infer this because while NSM idealized peasant life and maybe rural scenes, the author never gives any indication if it was appealing to people in China
(D) Ironically, it had several key elements in common with Revolutionary Realism, in opposition to which it originally developed.
RR was based on public, monumental and Universal objects, while NSM was based on traditional peasant life. So we don't know if there were 'several key elements' but from what's in the passage we can say that they weren't sharing any elements.
(E) Its nostalgic representation of rural life was the means by which it stood in opposition to Revolutionary Realism.
As I said in D, NSM was based on traditional peasant life which could be a private aspect unlike RR which focused on public aspect. So this is my answer
Answer E
General Discussion
26 Aug 2021, 04:35
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Can anyone explain questions 1,3,4 and 6?
