Given his luminous treatment of light, sky, and water, J.M.W. Turner

Question

Given his luminous treatment of light, sky, and water, J.M.W. Turner (1775-1851) is often viewed in hindsight as a precursor of Impressionism. Yet as Turner authority Andrew Wilton has argued, his roots lie in a specifically eighteenth century tradition, that of the "sublime." Before landscape painting was accepted in England as the rendition of everyday reality, it was seen as the expression of a state of spiritual exaltation.

The roots of the notion of the sublime, Wilton notes, go back to antiquity: Longinus observed (according to an eighteenth century paraphrase) that "the effect of the sublime is to lift up the soul...so that participating, as it were, of the splendors of the divinity, it becomes filled with joy and exultation." The sublime, therefore, was understood to produce an effect of elevation toward unity with divine. In its origins, the sublime was associated with literary rather than visual art, as its connotations of power and mystery could most easily be conveyed in words; and its subject matter was epic, historical, or religious. To eighteenth century commentators, Homer, the Bible, and Milton were quintessentially sublime. When the concept was applied to painting, this narrative emphasis was maintained, leading almost by necessity to a focus on the human figure; for Joshua Reynolds, Michelangelo's Sistine Chapel frescoes exemplified the sublime in art. Because it did not show figures (except incidentally) landscape was necessarily seen as inferior.

The transition to the conception that produced Turner's landscapes had several sources. One was the eighteenth century's quasi-religious excitement in the scientific investigation of nature, shown for example when Addison exclaimed upon the astronomer's "pleasing astonishment, to see so many worlds, hanging one above another, and sliding round their axles in such an amazing pomp and solemnity." A second was the rise of a middle class with the leisure to travel, which led to an interest in the Rigged vistas of Wales and Scotland. Finally, James Thomson's immensely popular nature epic "The Seasons" (1726-30) applied blank verse, with its connotations of loftiness, to portrayal of nature's immensities. By the latter part of the century, there was a well-defined notion of the sublime in literature and painting, which included nature while by no means excluding earlier referents. According to Edmund Burke's definitive essay of 1757, the sublime in nature was closely tied up with vastness, lack of habitation and cultivation, and danger— which, as in the reaction to high mountain passes or storms at sea, was conducive to awe. These qualities, as evoked in the painting of landscapes (and urban vistas, an important though subordinate field), produced a series of genres that, Wilton stresses, form the key to Turner's work: the "picturesque sublime," the "terrific" (wild crags, cataracts, etc.), the sublime of the sea, mountains, and darkness, and finally the "architectural sublime" and the urban sublime.  
 1 
 (1) According to the passage, landscapes were not originally seen as embodying the sublime because

(A) the narrative connotations of the sublime implied an emphasis on the human figure X
(B) only religious subjects were seen as embodying the sublime
(C) Michelangelo did not paint landscape
(D) landscape was viewed purely as the visual representation of everyday nature scenes
(E) nature was not conceived as a source of awe and wonder

2 
 (2) The author gives specific examples of all of the following EXCEPT

(A) the conception of the sublime held in antiquity
(B) the subject matter which might be considered as representing the "terrific"
(C) a work of visual art considered as embodying the sublime by an eighteenth century authority
(D) a historical figure exemplifying the sublime
(E) a conception similar to that of the sublime in a non artistic context

3 
 (3) According to the author, Burke contributed to the development of the concept of the sublime by

(A) classifying the genres of the sublime in art
(B) broadening the conception of the sublime to include nature
(C) giving a more clear cut definition of the sublime than earlier writers
(D) defining some of the qualities in nature that could be considered sublime
(E) rejecting Longinus's identification of the sublime with religious experience

Timebomb · Answer

Altough I got it incorrect. Here is what i think is the solution.

(2) The author gives specific examples of all of the following EXCEPT

A. the conception of the sublime held in antiquity -  Longinus observed (according to an eighteenth century paraphrase) that "the effect of the sublime is to lift up the soul...so that participating, as it were, of the splendors of the divinity, it becomes filled with joy and exultation."     this is the example of conception i.e. what sublime was believed to be in antiquity exemplified by a quote from Longinus 
B. the subject matter which might be considered as representing the "terrific" - No support  
C. a work of visual art considered as embodying the sublime by an eighteenth century authority -  Joshua Reynolds, Michelangelo's Sistine Chapel frescoes exemplified the sublime in art. Because it did not show figures (except incidentally) landscape was necessarily seen as inferior.    Frescoes is the piece of art  
D. a historical figure exemplifying the sublime  Joshua Reynolds, Michelangelo's Sistine Chapel frescoes exemplified the sublime in art. Because it did not show figures (except incidentally) landscape was necessarily seen as inferior.    Michealangelo is the figure exemplifying the sublime 
E. a conception similar to that of the sublime in a nonartistic context  Addison exclaimed upon the astronomer's "pleasing astonishment, to see so many worlds, hanging one above another, and sliding round their axles in such an amazing pomp and solemnity."   Addison is using a similar concept in astronomy.

GDT · Answer

(2) The author gives specific examples of all of the following EXCEPT

(A) the conception of the sublime held in antiquity 
(B) the subject matter which might be considered as representing the "terrific" 
(C) a work of visual art considered as embodying the sublime by an eighteenth century authority 
(D) a historical figure exemplifying the sublime 
(E) a conception similar to that of the sublime in a non artistic context

VeritasKarishma

Can you pls explain why B is correct in Q2

Aren't the things mentioned in bracket in front of terrific the subject matter

KarishmaB · Answer

I agree. I would say that the subject matter that could represent terrific could be wild crags and cataracts. Or they could be considered examples. Do they 'represent' terrific? I don't know. I am thinking this way only because the OA says that answer is (B) but I am not convinced one bit. Normally, I would just assume (B) is given in the passage and move on. Share the OE and we can see if we are missing something important.

GMATStudyStudent · Answer

2. The author gives specific examples of all of the following EXCEPT

(A) the conception of the sublime held in antiquity - incorrect; The roots of the notion of the sublime, Wilton notes, go back to antiquity: Longinus observed (according to an eighteenth century paraphrase) that "the effect of the sublime is to lift up the soul...so that participating, as it were, of the splendors of the divinity, it becomes filled with joy and exultation."
(B) the subject matter which might be considered as representing the "terrific" 
(C) a work of visual art considered as embodying the sublime by an eighteenth-century authority 
(D) a historical figure exemplifying the sublime - incorrect; for Joshua Reynolds, Michelangelo's Sistine Chapel frescoes exemplified the sublime in art
(E) a conception similar to that of the sublime in a non-artistic context- incorrect; To eighteenth century commentators, Homer, the Bible, and Milton were quintessentially sublime.

Analyze the Question Stem:

This is a Detail question, as indicated by the words, "author gives specific examples." Note that this is an EXCEPT question, so the correct answer choice will be the one which is not an example provided by the author.

Research the Relevant Text:

The question stem gives no research clues. Additionally, it is impossible to look up something that is not in the passage. Proceed to the choices and use them to guide the research.

Make a Prediction:

No prediction is possible for a Detail EXCEPT question, as there are simply too many things the author might not have included in the passage. Evaluate the answer choices one at a time.

Evaluate the Answer Choices:

(A) can be found in paragraph two. The author says "the roots of the notion of the sublime, Wilton notes, go back to antiquity" and quotes Longinus describing this conception.

(B) can be found in the last paragraph, which indicates that the "terrific" includes wild crags, cataracts, etc.

(C) can be found in paragraph three, as Michelangelo’s frescoes exemplified the sublime for Joshua Reynolds.

(D)  cannot be found in the passage and is therefore the correct answer. The works of historical figures are mentioned as exemplifying the sublime (e.g., Homer, Milton, Michelangelo), but no historical figure him or herself is ever mentioned as exemplifying the sublime in his or her person.

(E) can be found in paragraph four, where the awe-inspiring world of astronomy excited the scientific community.

TAKEAWAY: Don't bother trying to predict a Detail EXCEPT question. Instead, research the choices and eliminate those that appear in the passage.

GMATStudyStudent · Answer

Given his luminous treatment of light, sky, and water, J.M.W. Turner (1775–1851) is often viewed in hindsight as a precursor of Impressionism. Yet as Turner authority Andrew Wilton has argued, the artist's roots lie in a specifically eighteenth-century tradition, that of the "sublime." Before landscape painting was accepted in England as the rendition of everyday reality, it was seen as the expression of a state of spiritual exaltation.

The roots of the notion of the sublime, Wilton notes, go back to antiquity: Longinus observed (according to an eighteenth-century paraphrase) that "the effect of the sublime is to lift up the soul ... so that participating, as it were, of the splendors of the divinity, it becomes filled with joy and exultation." The sublime, therefore, was understood to produce an effect of elevation toward unity with divine.

In its origins, the sublime was associated with literary rather than visual art, as its connotations of power and mystery could most easily be conveyed in words, and its subject matter was epic, historical, or religious. To eighteenth-century commentators, the work of Homer and Milton as well as the Bible were quintessentially sublime. When the concept was applied to painting, this narrative emphasis was maintained, leading almost by necessity to a focus on the human figure; for Joshua Reynolds, Michelangelo's Sistine Chapel frescoes exemplified the sublime in art. Because it did not show figures (except incidentally), landscape was necessarily seen as inferior.

The transition to the conception that produced Turner's landscapes had several sources. One was the eighteenth century's quasi-religious excitement in the scientific investigation of nature, shown for example when Addison exclaimed upon the astronomer's "pleasing astonishment, to see so many worlds, hanging one above another, and sliding round their axles in such an amazing pomp and solemnity." A second was the rise of a middle class with the leisure to travel, which led to an interest in the rugged vistas of Wales and Scotland.

Finally, James Thomson's immensely popular nature epic "The Seasons" (1726–1730) applied blank verse, with its connotations of loftiness, to portrayal of nature's immensities.

By the latter part of the century, there was a well-defined notion of the sublime in literature and painting, which included nature while by no means excluding earlier referents. According to Edmund Burke's definitive essay of 1757, the sublime in nature was closely tied up with vastness, lack of habitation and cultivation, and danger—which, as in the reaction to high mountain passes or storms at sea, was conducive to awe. These qualities, as evoked in the painting of landscapes (and urban vistas, an important though subordinate field), produced a series of genres that, Wilton stresses, form the key to Turner's work: the "picturesque sublime"; the "terrific" (wild crags, cataracts, etc.); the sublime of the sea, mountains, and darkness; and finally the "architectural sublime" and the urban sublime.

Passage Map:

Paragraph 1: Wilton says Turner had roots in the “sublime” movement, related to spiritual exaltation.

Paragraph 2: Roots of the sublime. Details: Longinus

Paragraph 3: Sublime began as only a literary art category. Details: Homer, the Bible, Milton, Michelangelo, Joshua Reynolds

Paragraph 4: Transition to sublime in landscapes in 18th century. Details: astronomers, travel, Addison, Thompson, “The Seasons.”

Paragraph 5: Full embrace of sublime in nature & landscapes. Details: End of 18th century, Burke, examples of Turner's work.

Topic: The sublime art movement

Scope: The history of the sublime movement and its function as a precursor to Impressionism.

Purpose: To describe the real precursors to Turner's landscapes and Impressionism

GMATStudyStudent · Answer

4. Based on the information in the passage, which of the following is LEAST likely to have been the subject of a painting by Turner?

A. A narrow mountain pass
B. A cathedral in the center of a city
C. A storm at sea
D. The eruption of a volcano
E. Wheatfields by a country road

OE:

Analyze the Question Stem:

This is an Application question, as it goes beyond the passage and asks not about what Turner actually painted but what he might have been expected to paint, based on what the passage says about him. Note that this is a "LEAST" question, so the correct answer choice will be the one that is not a likely subject for Turner's paintings.

Research the Relevant Text:

According to the passage map, the final paragraph contains the details of the qualities of the sublime art. That paragraph connects sublime art to the vastness and danger of nature and subjects conducive to awe, “as in the reaction to high mountain passes or storms at sea.” The works might include subjects such as landscapes, urban vistas, the sea, mountains, darkness, architecture and urban subjects.

Make a Prediction:

Though it is impossible to make a specific prediction, Turner is not likely to have painted something plain, calm, and unlikely to induce a feeling of awe.

Evaluate the Answer Choices:

(E) is correct  because “wheatfields by a country road” is not the type of awe-inspiring subject described in the final paragraph. In fact, the scene would be better described as serene and common.

(A) could be one of Turner’s subjects and is therefore incorrect. The passage specifically mentions a high mountain pass as the type of subject in nature that might be called sublime.

(B) could be one of Turner’s subjects, and is therefore incorrect. In the last sentence, Wilton describes Turners’ genres, which included the architectural or urban sublime. A cathedral in the center of the city could be an example of that genre.

(C) could be one of Turner’s subjects, and therefore is incorrect. A storm at sea was mentioned as example of the sublime in nature in paragraph five.

(D) could be one of Turner’s subjects, and is therefore incorrect. The eruption of a volcano could be an example of the “terrific” genre described in paragraph five.

TAKEAWAY: With Application questions, be very clear on the concept from the passage that is being applied to new cases or scenarios

OA: E

GMATStudyStudent · Answer

1. According to the passage, landscapes were not originally seen as embodying the sublime because

(A) the narrative connotations of the sublime implied an emphasis on the human figure X
(B) only religious subjects were seen as embodying the sublime
(C) Michelangelo did not paint landscape
(D) landscape was viewed purely as the visual representation of everyday nature scenes
(E) nature was not conceived as a source of awe and wonder

OA:A

OE:

Analyze the Question Stem:

This is a Detail question, based on the words "according to the passage."

Research the Relevant Text:

The question stem uses the word "originally," so the right answer will have something to do with the early days of the sublime. The passage map shows that this is discussed in paragraph three. During this time, the sublime was mainly expressed in literature, and in paintings that continued the narrative.

Make a Prediction:

Research shows that landscapes were not originally seen as embodying the sublime because the focus on narrative meant that the paintings would almost necessarily involve the human figure.

Evaluate the Answer Choices:

(A)  closely matches the prediction by pointing out the focus on human figures.

(B) distorts the passage; the passage states in paragraph three that the subject matter of the sublime was “epic, historical, or religious.”

(C) is incorrect because even though Michelangelo’s work was mentioned as an example of the sublime in art, the passage never stated that he didn’t paint landscapes or that his work was the reason landscapes were not considered sublime.

(D) contains a detail from the end of paragraph one: before landscapes were seen as a rendition of nature, they embodied the sublime. However, this question asks about the conception of landscapes before either of these two views, so this choice is incorrect.

(E) is incorrect. In paragraph five, nature is indeed described as awe-inspiring. However, the characteristics of nature are not mentioned in paragraph three as the reason for the exclusion of nature from the concept of the sublime. Only the lack of human figures is given as a reason for the exclusion of landscapes.

TAKEAWAY: In a passage with a lot of details, the passage map is essential to quickly finding the right one.

GMATStudyStudent · Answer

3. According to the author, Burke contributed to the development of the concept of the sublime by

(A) classifying the genres of the sublime in art
(B) broadening the conception of the sublime to include nature
(C) giving a more clear cut definition of the sublime than earlier writers
(D) defining some of the qualities in nature that could be considered sublime
(E) rejecting Longinus's identification of the sublime with religious experience

OA: D

OE:

Analyze the Question Stem:

This is a Detail question, as indicated by the keywords "according to the author".

Research the Relevant Text:

According to the passage map, Burke is mentioned in the last paragraph as the author of a definitive essay on the sublime in nature.

Make a Prediction:

Based on the research, predict that the right answer will be about how Burke wrote the definitive essay that explained the sublime in nature.

Evaluate the Answer Choices:

(D)  closely matches the prediction and is correct. The passage describes Burke’s essay as one that defines the sublime in nature as tied with “vastness, lack of habitation and cultivation, and danger.”

(A) is a distortion; Wilton, not Burke, classified the genres of the sublime.

(B) may be tempting because it does discuss nature and the sublime, but it's incorrect; while Burke did define the sublime in nature, he didn’t broaden the conception to include it.

(C) is incorrect because the passage never compares Burke to earlier writers. The passage simply states that Burke’s essay was definitive.

(E) is incorrect because although Longinus’s identification of the sublime is mentioned in paragraph two, Burke does not reject his view. In fact, the passage states that earlier referents were not excluded by Burke’s definition.

TAKEAWAY: In Detail questions, don't get distracted by answer choices with details from the wrong part of the passage.

Given his luminous treatment of light, sky, and water, J.M.W. Turner

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GMAT Reading Comprehension (RC) Questions

Given his luminous treatment of light, sky, and water, J.M.W. Turner

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615 to 715 in 15 Days (Ria's Strategies)

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