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Question 1
C
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:
58% (03:29) correct
42%
(03:22) wrong
based on 127
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
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:
62% (01:43) correct 38%
(01:23) wrong
based on 141
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
A
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:
42% (01:15) correct 58%
(01:16) wrong
based on 139
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:
55% (01:31) correct 45%
(01:24) wrong
based on 126
sessions
History
Date
Time
Result
Not Attempted Yet
The historical context of many art works traditionally received scant attention because art history was governed by an emphasis on the development of style. Today, however, historians are attempting to restore historical rigor to the field by exploring the relationship between a painting and the age that produced it. Linda Nochlin explores the French Realist movement of the mid-nineteenth century by placing artistic revolution in the context of parallel developments in science, literature, and philosophy.
Nochlin agrees with traditional studies in her view that Realism played a critical role in breaking the conventions of eighteenth-century painting. By the end of the eighteenth century, academic training had become so influential that painting was circumscribed by established conventions regarding style and subject matter. An emphasis on conveying the human experience by portraying life in its most idealized state had confined the eighteenth-century painter to reworking classical or Biblical themes and emulating the style of acknowledged masters. By the 1840s, however, Realists such as Gustave Courbet were setting new standards by calling on painters to focus on contemporary life and portray it as objectively as possible. Courbet's early Realist works were considered revolutionary simply because they portrayed the drudgery of agricultural work; before that, only people and actions of religious or historical importance were considered appropriate material for art. Courbet's style was equally controversial. His meticulous attention to detail, naturalistic use of color, and refusal to idealize everyday situations lent his paintings an almost photographic exactitude, and critics at the time found it lacking in artistry.
From a historical standpoint, however, Nochlin contends that the Realist movement did not simply reject what Castagnary called "the prejudice of education" to produce mirror images of reality. Nochlin acknowledges that Realist painting was both truer to visual perception than eighteenth-century painting was, and more faithful in its representation of human experience. But she points out that just as eighteenth-century painters derived lessons from nature, the Realists could never entirely abandon inherited techniques. Fundamentally, Nochlin argues, misunderstandings arise because Realism has been seen as a reaction against academic tradition rather than a development that paralleled broader social changes. In fact, Courbet, through his studies of peasant life, was a reflection of more than just a search for greater authenticity in art; he was a symbol of the burgeoning socially responsible intelligentsia, informed by the spread of democratic political ideas and embarking on a reinvestigation of reality spurred by the quickened pace of scientific progress.
Nochlin agrees with traditional studies in her view that Realism played a critical role in breaking the conventions of eighteenth-century painting. By the end of the eighteenth century, academic training had become so influential that painting was circumscribed by established conventions regarding style and subject matter. An emphasis on conveying the human experience by portraying life in its most idealized state had confined the eighteenth-century painter to reworking classical or Biblical themes and emulating the style of acknowledged masters. By the 1840s, however, Realists such as Gustave Courbet were setting new standards by calling on painters to focus on contemporary life and portray it as objectively as possible. Courbet's early Realist works were considered revolutionary simply because they portrayed the drudgery of agricultural work; before that, only people and actions of religious or historical importance were considered appropriate material for art. Courbet's style was equally controversial. His meticulous attention to detail, naturalistic use of color, and refusal to idealize everyday situations lent his paintings an almost photographic exactitude, and critics at the time found it lacking in artistry.
From a historical standpoint, however, Nochlin contends that the Realist movement did not simply reject what Castagnary called "the prejudice of education" to produce mirror images of reality. Nochlin acknowledges that Realist painting was both truer to visual perception than eighteenth-century painting was, and more faithful in its representation of human experience. But she points out that just as eighteenth-century painters derived lessons from nature, the Realists could never entirely abandon inherited techniques. Fundamentally, Nochlin argues, misunderstandings arise because Realism has been seen as a reaction against academic tradition rather than a development that paralleled broader social changes. In fact, Courbet, through his studies of peasant life, was a reflection of more than just a search for greater authenticity in art; he was a symbol of the burgeoning socially responsible intelligentsia, informed by the spread of democratic political ideas and embarking on a reinvestigation of reality spurred by the quickened pace of scientific progress.
1. The author mentions eighteenth-century painters's "emulating the style of acknowledged masters" most probably in order to
A. argue that Castagnary was wrong to emphasize formal academic training in his analysis of Realist painting
B. point out that Nochlin and traditional art historians disagree on the importance of historical context to the interpretation of Realist painting
C. illustrate one way in which academic training restricted eighteenth-century painting
D. prove that Courbet's paintings of peasant life were influenced by societal changes in the nineteenth century
E. show that eighteenth-century painting was limited to a small number of themes
A. argue that Castagnary was wrong to emphasize formal academic training in his analysis of Realist painting
B. point out that Nochlin and traditional art historians disagree on the importance of historical context to the interpretation of Realist painting
C. illustrate one way in which academic training restricted eighteenth-century painting
D. prove that Courbet's paintings of peasant life were influenced by societal changes in the nineteenth century
E. show that eighteenth-century painting was limited to a small number of themes
2. The passage supports all of the following statements about Courbet's painting EXCEPT:
A. His early paintings reflected the realities of contemporary life in the French countryside.
B. His paintings of peasant life reveal that his work was influenced by non-artistic developments in nineteenth-century France.
C. The style and content of his paintings were criticized by contemporary art critics.
D. He is recognized as an innovative artist because his early paintings broke with previous artistic traditions.
E. The photographic quality of his paintings indicates that he was influenced by the precepts of eighteenth-century art.
A. His early paintings reflected the realities of contemporary life in the French countryside.
B. His paintings of peasant life reveal that his work was influenced by non-artistic developments in nineteenth-century France.
C. The style and content of his paintings were criticized by contemporary art critics.
D. He is recognized as an innovative artist because his early paintings broke with previous artistic traditions.
E. The photographic quality of his paintings indicates that he was influenced by the precepts of eighteenth-century art.
3. The author mentions "the prejudice of education" (Highlighted) most probably in order to
A. correct a common misconception about the Realist movement
B. describe Castagnary's beliefs about the origin of the Realist movement
C. support the view that Realist painters rejected eighteenth-century artistic conventions
D. criticize the formal academic training of eighteenth-century painters
E. criticize scientific, literary, and philosophical developments in contemporary France
A. correct a common misconception about the Realist movement
B. describe Castagnary's beliefs about the origin of the Realist movement
C. support the view that Realist painters rejected eighteenth-century artistic conventions
D. criticize the formal academic training of eighteenth-century painters
E. criticize scientific, literary, and philosophical developments in contemporary France
4. Which one of the following best describes the organization of the passage?
A. The first two paragraphs each present a hypothesis, which is then examined in the third paragraph.
B. An analysis is discussed in the first paragraph, and the next two paragraphs each present alternative viewpoints.
C. The first two paragraphs outline and criticize a point of view, and the third paragraph presents a counterargument.
D. A thesis is described in the first paragraph, the next paragraph presents a key example used to evaluate that thesis, and the third paragraph provides a supporting argument for the thesis.
E. A claim is made in the first paragraph, supported in the second paragraph, and rejected in the third paragraph.
A. The first two paragraphs each present a hypothesis, which is then examined in the third paragraph.
B. An analysis is discussed in the first paragraph, and the next two paragraphs each present alternative viewpoints.
C. The first two paragraphs outline and criticize a point of view, and the third paragraph presents a counterargument.
D. A thesis is described in the first paragraph, the next paragraph presents a key example used to evaluate that thesis, and the third paragraph provides a supporting argument for the thesis.
E. A claim is made in the first paragraph, supported in the second paragraph, and rejected in the third paragraph.
RC Butler 2023 - Practice Two RC Passages Everyday.
Passage # 291 Date: 23 Aug-2023
This question is part of RC Butler 2023. Click here for Details
Passage # 291 Date: 23 Aug-2023
This question is part of RC Butler 2023. Click here for Details
Akarshkhan86
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Akarshkhan86
Official Explanation
2. The passage supports all of the following statements about Courbet's painting EXCEPT:
Difficulty Level: 650-700
Explanation
Analyze the question stem
This is an Inference question. Because of the word EXCEPT, the correct answer is the one that is not supported by the passage. Eliminate the four choices that are supported.
Research
According to the passage map, most of the discussion of Courbet takes place in paragraph 2; Courbet is also mentioned again toward the end of the last paragraph. Review the key details noted in the map and be prepared to research those sections of the text to confirm the wrong answers to this EXCEPT question.
Make a prediction
While no exact prediction can be made here—you can't possible predict all the things that the passage doesn't say about Courbet—the correct answer will likely stand in contrast to Courbet's controversial art, his emphasis on photographic-esque realism, the societal changes around him, or his role in the movement away from eighteenth-century painting. Keep these ideas in mind when reviewing the answer choices.
Evaluate the answer choices
Review each answer choice, eliminating one by one. (E) is not supported; while Nochlin says Courbet's art wasn't a completely clean break with tradition, the artist did diverge from previous styles and subject matter, such as those of the eighteenth century. (A), (C), and (D) are all supported by the second paragraph and are incorrect.
Eliminating (B) may have taken some digging. The relationship of Courbet's work to the broader historical context is mentioned in the last paragraph, as part of the discussion of Nochlin's ideas about the Realist movement. Courbet's art was indeed a product of his time rather than merely a reaction to previous art.
TAKEAWAY: Sometimes, the only option is to review each answer choice, eliminating them as you go. But a good passage map will help you know where to look.
Answer: E
Difficulty Level: 650-700
Explanation
Analyze the question stem
This is an Inference question. Because of the word EXCEPT, the correct answer is the one that is not supported by the passage. Eliminate the four choices that are supported.
Research
According to the passage map, most of the discussion of Courbet takes place in paragraph 2; Courbet is also mentioned again toward the end of the last paragraph. Review the key details noted in the map and be prepared to research those sections of the text to confirm the wrong answers to this EXCEPT question.
Make a prediction
While no exact prediction can be made here—you can't possible predict all the things that the passage doesn't say about Courbet—the correct answer will likely stand in contrast to Courbet's controversial art, his emphasis on photographic-esque realism, the societal changes around him, or his role in the movement away from eighteenth-century painting. Keep these ideas in mind when reviewing the answer choices.
Evaluate the answer choices
Review each answer choice, eliminating one by one. (E) is not supported; while Nochlin says Courbet's art wasn't a completely clean break with tradition, the artist did diverge from previous styles and subject matter, such as those of the eighteenth century. (A), (C), and (D) are all supported by the second paragraph and are incorrect.
Eliminating (B) may have taken some digging. The relationship of Courbet's work to the broader historical context is mentioned in the last paragraph, as part of the discussion of Nochlin's ideas about the Realist movement. Courbet's art was indeed a product of his time rather than merely a reaction to previous art.
TAKEAWAY: Sometimes, the only option is to review each answer choice, eliminating them as you go. But a good passage map will help you know where to look.
Answer: E
