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This history of responses to the work of the artist Sandro Botticelli

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This history of responses to the work of the artist Sandro Botticelli  [#permalink]

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New post 07 Nov 2018, 22:40
Question 1
00:00
A
B
C
D
E

based on 96 sessions

81% (03:05) correct 19% (03:28) wrong

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Question 2
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A
B
C
D
E

based on 110 sessions

69% (01:37) correct 31% (01:20) wrong

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Question 3
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C
D
E

based on 106 sessions

78% (01:12) correct 22% (01:37) wrong

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Question 4
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A
B
C
D
E

based on 110 sessions

66% (01:03) correct 34% (01:36) wrong

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Question 5
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B
C
D
E

based on 96 sessions

35% (01:40) correct 65% (01:33) wrong

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Question 6
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D
E

based on 100 sessions

53% (01:30) correct 47% (01:29) wrong

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Question 7
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E

based on 99 sessions

68% (01:52) correct 32% (01:38) wrong

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Question 8
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E

based on 92 sessions

53% (01:18) correct 47% (00:56) wrong

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New RC from 1988 Official Guide



    This history of responses to the work of the
    artist Sandro Botticelli (1444?-1510) suggests
    that widespread appreciation by critics is a rela-
    tively recent phenomenon. Writing in 1550,
(5)
    Vasari expressed an unease with Botticelli's
    work, admitting that the artist fitted awkwardly
    into his (Vasari's) evolutionary scheme of the
    history of art. Over the next two centuries, aca-
    demic art historians denigrated Botticelli in
(10)
    favor of his fellow Florentine, Michelangelo.
    Even when antiacademic art historians of the
    early nineteenth century rejected many of the
    standards of evaluation espoused by their prede-
    cessors, Botticelli's work remained outside of ac-
(15)
    cepted taste, pleasing neither amateur observers
    nor connoisseurs. (Many of his best paintings,
    however, remained hidden away in obscure
    churches and private homes
    .)
    The primary reason for Botticelli's unpopu-
(20)
    larity is not difficult to understand: most ob-
    servers, up until the mid-nineteenth century, did
    not consider him to be noteworthy because his
    work, for the most part, did not seem to these
    observers to exhibit the traditional characteris-
(25)
    tics of fifteenth-century Florentine art. For ex-
    ample, Botticelli rarely employed the technique
    of strict perspective and, unlike Michelangelo,
    never used chiaroscuro. Another reason for Bot-
    ticelli's unpopularity may have been that his at-
(30)
    titude toward the style of classical art was very
    different from that of his contemporaries.
    Although he was thoroughly exposed to classical
    art, he showed little interest in borrowing from
    the classical style. Indeed, it is paradoxical that
(35)
    a painter of large-scale classical subjects adopted
    a style that was only slightly similar to that of
    classical art.
    In any case, when viewers began to examine
    more closely the relationship of Botticelli's work
(40)
    to the tradition of fifteenth-century Florentine
    art, his reputation began to grow. Analyses and
    assessments of Botticelli made between 1850 and
    1870 by the artists of the Pre-Raphaelite move-
    ment, as well as by the writer Pater (although
(45)
    he, unfortunately, based his assessment on an
    incorrect analysis of Botticelli's personality), in-
    spired a new appreciation of Botticelli throug-
    hout the English-speaking world. Yet Botticelli's
    work, especially the Sistine frescoes, did not
(50)
    generate worldwide attention until it was finally
    subjected to a comprehensive and scrupulous
    analysis by Horne in 1908. Horne rightly dem-
    onstrated that the frescoes shared important fea-
    tures with paintings by other fifteenth-century
(55)
    Florentines- features such as a skillful represen-
    tation of anatomical proportions, and of the
    human figure in motion. However, Horne
    argued that Botticelli did not treat these qualities
    as ends in themselves-rather, that he empha-
(60)
    sized clear depiction of a story, a unique
    achievement and one that made the traditional
    Florentine qualities less central. Because of
    Horne's emphasis on the way a talented artist
    reflects a tradition yet moves beyond that tradi-
(65)
    tion, an emphasis crucial to any study of art,
    the twentieth century has come to appreciate
    Botticelli's achievements
.

1. Which of the following would be the most appropriate title for the passage?

(A) Botticelli's Contribution to Florentine Art
(B) Botticelli and the Traditions of Classical Art
(C) Sandro Botticelli: From Denigration to Appreciation
(D) Botticelli and Michelangelo: A Study in Contrasts
(E) Standards of Taste: Botticelli's Critical Reputation up to the Nineteenth Century


2. It can be inferred that the author of the passage would be likely to find most beneficial a study of an artist that

(A) avoided placing the artist in an evolutionary scheme of the history of art
(B) analyzed the artist's work in relation to the artist's personality
(C) analyzed the artist's relationship to the style and subject matter of classical art
(D) analyzed the artist's work in terms of both traditional characteristics and unique achievement
(E) sanctioned and extended the evaluation of the artist's work made by the artist's contemporaries


3. The passage suggests that Vasari would most probably have been more enthusiastic about BotticeIIi's work if that artist's work

(A) had not revealed Botticelli's inability to depict a story clearly
(B) had not evolved so straightforwardly from the Florentine art of the fourteenth century
(C) had not seemed to Vasari to be so similar to classical art
(D) could have been appreciated by amateur viewers as well as by connoisseurs
(E) could have been included more easily in Vasari's discussion of art history


4. The author most likely mentions the fact that many of Botticelli's best paintings were "hidden away in obscure churches and private homes"(highlighted text) in order to

(A) indicate the difficulty of trying to determine what an artist's best work is.
(B) persuade the reader that an artist's work should be available for general public viewing
(C) prove that academic art historians had succeeded in keeping Botticelli's work from general public view
(0) call into question the assertion that antiacademic art historians disagreed with their predecessors
(E) suggest a reason why, for a period of time, Botticelli's work was not generally appreciated


5. The passage suggests that most seventeenth- and eighteenth-century academic art historians and most early-nineteenth-century antiacademic art historians would have disagreed significantly about which of the following?
I. The artistic value of Botticelli's work
II. The criteria by which art should be judged
III. The features that characterized fifteenth-century Florentine art

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


6. According to the passage, which of the following is an accurate statement about Botticelli's relation to classical art?

(A) Botticelli more often made use of classical subject matter than classical style.
(B) Botticelli's interest in perspective led him to study classical art.
(C) Botticelli's style does not share any similarities with the style of classical art.
(0) Because he saw little classical art, Botticelli did not exhibit much interest in imitating such art.
(E) Although Botticelli sometimes borrowed his subject matter from classical art, he did not create large-scale paintings of these subjects.


7. According to the passage, Horne believed which of the following about the relation of the Sistine frescoes to the tradition of fifteenth-century Florentine art?

(A) The frescoes do not exhibit characteristics of such art.
(B) The frescoes exhibit more characteristics of such art than do the paintings of Michel- Angelo.
(C) The frescoes exhibit some characteristics of such art, but these qualities are not the dominant features of the frescoes.
(D) Some of the frescoes exhibit characteristics of such art, but most do not.
(E) More of the frescoes exhibit a skillful representation of anatomical proportions than a skillful representation of the human figure in motion.


8. The passage suggests that, before Horne began to study Botticelli's work in 1908, there had been

(A) little appreciation of Botticelli in the English-speaking world
(B) an overemphasis on Botticelli's transformation, in the Sistine frescoes, of the principles of classical art
(C) no attempt to compare Botticelli's work to that of Michelangelo.
(D) no thorough investigation of Botticelli's Sistine frescoes
(E) little agreement among connoisseurs and amateurs about the merits of Botticelli's work


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Re: This history of responses to the work of the artist Sandro Botticelli  [#permalink]

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New post 07 Nov 2018, 22:43
1
1. Which of the following would be the most appropriate title for the passage?

(A) Botticelli's Contribution to Florentine Art
(B) Botticelli and the Traditions of Classical Art
(C) Sandro Botticelli: From Denigration to Appreciation
(D) Botticelli and Michelangelo: A Study in Contrasts
(E) Standards of Taste: Botticelli's Critical Reputation up to the Nineteenth Century



The best answer is C because it is the only title that states the central theme of the passage, which is the history of the change in the response to the work of Botticelli, from unpopularity to approbation. This theme is made particularly clear in lines 1-4, 8-10, and 66-67. There are also repeated references to this theme throughout the body of the passage

2. It can be inferred that the author of the passage would be likely to find most beneficial a study of an artist that

(A) avoided placing the artist in an evolutionary scheme of the history of art
(B) analyzed the artist's work in relation to the artist's personality
(C) analyzed the artist's relationship to the style and subject matter of classical art
(D) analyzed the artist's work in terms of both traditional characteristics and unique achievement
(E) sanctioned and extended the evaluation of the artist's work made by the artist's contemporaries


The best answer is D. In lines 63-65 the author states that "Horne's emphasis on the way a talented artist reflects a tradition yet moves beyond that tradition" is "an emphasis crucial to any study of art." The word "crucial" indicates that the author would be likely to find a study that "analyzed the artist's work in terms of both traditional characteristics and unique achievement" (choice D) to be most beneficial.

3. The passage suggests that Vasari would most probably have been more enthusiastic about BotticeIIi's work if that artist's work

(A) had not revealed Botticelli's inability to depict a story clearly
(B) had not evolved so straightforwardly from the Florentine art of the fourteenth century
(C) had not seemed to Vasari to be so similar to classical art
(D) could have been appreciated by amateur viewers as well as by connoisseurs
(E) could have been included more easily in Vasari's discussion of art history



The best answer is E. Vasari's views are described in lines 4-8, which imply that Vasari was uneasy about Botticelli's work because it did not Et Vasari's evolutionary scheme of the history of art. Thus, it can be inferred that, had Botticelli's work been easier to include in Vasari's discussion of art history, Vasari would probably have been more enthusiastic about Botticelli's work.

4. The author most likely mentions the fact that many of Botticelli's best paintings were "hidden away in obscure churches and private homes"(highlighted text) in order to

(A) indicate the difficulty of trying to determine what an artist's best work is.
(B) persuade the reader that an artist's work should be available for general public viewing
(C) prove that academic art historians had succeeded in keeping Botticelli's work from general public view
(0) call into question the assertion that antiacademic art historians disagreed with their predecessors
(E) suggest a reason why, for a period of time, Botticelli's work was not generally appreciated



The best answer is E. The sentence in lines 16-18 appears in parentheses, suggesting that the author is commenting on or qualifying what immediately precedes this sentence. Thus, the purpose of the parenthetical statement is determined by the sentence preceding it. In lines 11-15, the author asserts that Botticelli's work remained "outside of accepted taste." The author then offers the comment in parentheses: in lines 16-18, using "however" as a qualifier, the author mentions the obscure location of many of Botticelli's best paintings, implying that much of the best of Botticelli's work was not available for viewing. Thus, the author suggests "a reason why, for a period of time, Botticelli's work was not generally appreciated.' '

5. The passage suggests that most seventeenth- and eighteenth-century academic art historians and most early-nineteenth-century antiacademic art historians would have disagreed significantly about which of the following?
I. The artistic value of Botticelli's work
II. The criteria by which art should be judged
III. The features that characterized fifteenth-century Florentine art


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



The best answer is B (II only). I is incorrect because lines 8-16 indicate that most seventeenth-, eighteenth-, and early- nineteenth-century art historians agreed on the artistic value of Botticelli's work - they all denigrated it. Choice III is wrong because the lines that discuss the features that characterized fifteenth-century Florentine art (lines 20-28) do not suggest that most seventeenth- and eighteenth-century academic art historians would have disagreed with most early- nineteenth-century antiacademic art historians about these features. Choice II is correct because lines 11-14 state that "antiacademic art historians of the early nineteenth century rejected many of the standards of evaluation espoused by
their predecessors."

6. According to the passage, which of the following is an accurate statement about Botticelli's relation to classical art?

(A) Botticelli more often made use of classical subject matter than classical style.
(B) Botticelli's interest in perspective led him to study classical art.
(C) Botticelli's style does not share any similarities with the style of classical art.
(0) Because he saw little classical art, Botticelli did not exhibit much interest in imitating such art.
(E) Although Botticelli sometimes borrowed his subject matter from classical art, he did not create large-scale paintings of these subjects.


The best answer is A. Lines 32-37 describe Botticelli's use of classical style and subject matter. They state that large-scale classical subjects were the focus of Botticelli's painting and that he borrowed little from the classical style. Thus it can be inferred that Botticelli used classical subject matter more often than he used classical style.

7. According to the passage, Horne believed which of the following about the relation of the Sistine frescoes to the tradition of fifteenth-century Florentine art?

(A) The frescoes do not exhibit characteristics of such art.
(B) The frescoes exhibit more characteristics of such art than do the paintings of Michel- Angelo.
(C) The frescoes exhibit some characteristics of such art, but these qualities are not the dominant features of the frescoes.
(D) Some of the frescoes exhibit characteristics of such art, but most do not.
(E) More of the frescoes exhibit a skillful representation of anatomical proportions than a skillful representation of the human figure in motion.


The best answer is C. Lines 53-62 describe Horne 's views about Botticelli 's Sistine frescoes. According to lines 53-55, "the frescoes shared important features with paintings by other fifteenth-century Florentines"; thus, the frescoes exhibit some characteristics of fifteenth-century Florentine art. Lines 57-62 point out that " Botticelli did not treat these qualities as ends in themselves" and that, in his work, "the traditional Florentine qualities [were] less central"; thus, these qualities are not the dominant features of the frescoes.

8. The passage suggests that, before Horne began to study Botticelli's work in 1908, there had been

(A) little appreciation of Botticelli in the English-speaking world
(B) an overemphasis on Botticelli's transformation, in the Sistine frescoes, of the principles of classical art
(C) no attempt to compare Botticelli's work to that of Michelangelo.
(D) no thorough investigation of Botticelli's Sistine frescoes
(E) little agreement among connoisseurs and amateurs about the merits of Botticelli's work


The best answer is D. According to lines 48-52, " Botticelli 's work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Horne in 1908." The word "finally" suggests that Horne's study of the frescoes was the first thorough investigation of them.
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Re: This history of responses to the work of the artist Sandro Botticelli  [#permalink]

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New post 09 Nov 2018, 09:54
1
Para-1:Intro that history of responses accepted Bottecelli work recently
examples of people did not accept vasari,antoacademic art historians,academic art historians
Para-2:Reasons for not accepting Botecellis work
First,Didnot understand: not much similarities with 15th century Flou art
Second,attitude towards style of classical art is different from his contemporaries
Para-3:People started appreciating Botecellis work by Close Analysis,Horne Analysis

Main Theme of the passage:History of acceptance of Botecellis work

1. Which of the following would be the most appropriate title for the passage?
Ans:As per theme of passage Answer:C

2.It can be inferred that the author of the passage would be likely to find most beneficial a study of an artist that

Ans:However, Horne argued that Botticelli did not treat these qualities as ends in themselves-rather, that he emphasized clear depiction of a story, a unique achievement and one that made the traditional Florentine qualities less central. Because of Horne's emphasis on the way a talented artist reflects a tradition yet moves beyond that tradition, an emphasis crucial to any study of art, the twentieth century has come to appreciate Botticelli's achievements.

3. The passage suggests that Vasari would most probably have been more enthusiastic about BotticeIIi's work if that artist's work

Ans:Vasari expressed an unease with Botticelli's work, admitting that the artist fitted awkwardly into his (Vasari's) evolutionary scheme of the history of art

4. The author most likely mentions the fact that many of Botticelli's best paintings were "hidden away in obscure churches and private homes"(highlighted text) in order to

Ans:As per Theme of the passage this portion part of the people who didnot accept the work

5.The passage suggests that most seventeenth- and eighteenth-century academic art historians and most early-nineteenth-century antiacademic art historians would have disagreed significantly about which of the following?
Criteria to be judged i Have also doubt to solve this question

6.. According to the passage, which of the following is an accurate statement about Botticelli's relation to classical art?
Ans:Option-A Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style that was only slightly similar to that of classical art.

7.. According to the passage, Horne believed which of the following about the relation of the Sistine frescoes to the tradition of fifteenth-century Florentine art?
Ans:However, Horne argued that Botticelli did not treat these qualities as ends in themselves-rather, that he emphasized clear depiction of a story, a unique achievement and one that made the traditional Florentine qualities less central.

8.The passage suggests that, before Horne began to study Botticelli's work in 1908, there had been
Ans:Yet Botticelli's work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Horne in 1908.
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Re: This history of responses to the work of the artist Sandro Botticelli  [#permalink]

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New post 09 Nov 2018, 10:14
Time = 13.4 mins
4/8 correct (5,6,7,8 wrong)
Please post correct answers with explanation.
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Re: This history of responses to the work of the artist Sandro Botticelli  [#permalink]

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New post 09 Nov 2018, 20:08
raghavrama21 wrote:
Time = 13.4 mins
4/8 correct (5,6,7,8 wrong)
Please post correct answers with explanation.


raghavrama21

I will post official explanations after I see a few more responses. I will tag you in that post.
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Re: This history of responses to the work of the artist Sandro Botticelli  [#permalink]

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New post 22 Nov 2018, 09:22
1
P1 - Work of SB critisized.
P2 - Why work critisized? 2 reasons.
P3 - B's work appreciated... how ... why ?

1. Which of the following would be the most appropriate title for the passage?

(C) Sandro Botticelli: From Denigration to Appreciation - This was easy, only this can be option.

----------------------------------------

2. It can be inferred that the author of the passage would be likely to find most beneficial a study of an artist that

most observers, up until the mid-nineteenth century, did not consider him to be noteworthy because his work, for the most part, did not seem to these observers to exhibit the traditional characteristics of fifteenth-century Florentine art

(D) analyzed the artist's work in terms of both traditional characteristics and unique achievement

---------------------------------------------

3. The passage suggests that Vasari would most probably have been more enthusiastic about BotticeIIi's work if that artist's work

Even when antiacademic art historians of the early nineteenth century rejected many of the standards of evaluation espoused by their predecessors, Botticelli's work remained outside of accepted taste, pleasing neither amateur observers nor connoisseurs.

(E) could have been included more easily in Vasari's discussion of art history

--------------------------------------------

4. The author most likely mentions the fact that many of Botticelli's best paintings were "hidden away in obscure churches and private homes"(highlighted text) in order to

P1 is all about this.
(E) suggest a reason why, for a period of time, Botticelli's work was not generally appreciated

------------------------------------------

5. The passage suggests that most seventeenth- and eighteenth-century academic art historians and most early-nineteenth-century antiacademic art historians would have disagreed significantly about which of the following?
I. The artistic value of Botticelli's work
II. The criteria by which art should be judged
III. The features that characterized fifteenth-century Florentine art

refer P3.

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

------------------------------------------------
6. According to the passage, which of the following is an accurate statement about Botticelli's relation to classical art?

Although he was thoroughly exposed to classical art, he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style that was only slightly similar to that of classical art.

(A) Botticelli more often made use of classical subject matter than classical style.

---------------------------------------------

7. According to the passage, Horne believed which of the following about the relation of the Sistine frescoes to the tradition of fifteenth-century Florentine art?

Horne rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines- features such as a skillful representation of anatomical proportions, and of the human figure in motion

(C) The frescoes exhibit some characteristics of such art, but these qualities are not the dominant features of the frescoes.
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Re: This history of responses to the work of the artist Sandro Botticelli  [#permalink]

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New post 22 Nov 2018, 09:26
workout - good sir! Can you help me here pls. I think A is better option for this question. Can you provide OE too.

8. The passage suggests that, before Horne began to study Botticelli's work in 1908, there had been

Yet Botticelli's work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Horne in 1908.

(A) little appreciation of Botticelli in the English-speaking world -
(B) an overemphasis on Botticelli's transformation, in the Sistine frescoes, of the principles of classical art - no
(C) no attempt to compare Botticelli's work to that of Michelangelo. - no
(0) no thorough investigation of Botticelli's Sistine frescoes - choice is extreme, 2nd passage is not saying anything about any investigation on this work of B. may be there is may be not.
(E) little agreement among connoisseurs and amateurs about the merits of Botticelli's work - no
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Re: This history of responses to the work of the artist Sandro Botticelli  [#permalink]

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Re: This history of responses to the work of the artist Sandro Botticelli  [#permalink]

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New post 09 Mar 2019, 04:16
Can someone explain why is option C incorrect for Q5. Lines from 20-24 are in favor of option C. Do not understand why would this option be incorrect.
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Re: This history of responses to the work of the artist Sandro Botticelli  [#permalink]

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New post 16 Mar 2019, 00:47
PAVANIJOSHI374

PAVANIJOSHI374 wrote:
Can someone explain why is option C incorrect for Q5. Lines from 20-24 are in favor of option C. Do not understand why would this option be incorrect.


The passage states the following in lines 12-15 :
''Even when antiacademic art historians of the early nineteenth century rejected many of the standards of evaluation espoused by their predecessors....''

Since it is directly stated that antiacademics rejected the standard method of evaluating an art, option-3 is correct.

Also lines 20-24 does not mention anything about antiacademics, hence option-2 cannot be selected.

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Re: This history of responses to the work of the artist Sandro Botticelli   [#permalink] 16 Mar 2019, 00:47
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