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

Question

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 
 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 
 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 
 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 
 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
(D) 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 
 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 
 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.
(D) 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 
 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 
 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

Nikhil · Accepted Answer

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   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.

teja@6091 · Answer

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.

aragonn · Answer

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.

azhrhasan · Answer

daagh   GMATNinja   DmitryFarber  Need help with #4 here.

Option E says it provides a reason why something happened but i don't think the highlighted text provides any reason.

IMO, the way the content is placed in the passage, It seems as if the author is just trying to emphasize/ give example of the gravity of situation that B's work wasn't well accepted among people. That's the reason i rejected E and chose C

Please guide

DmitryFarberMPrep · Answer

azhrhasan  Don't take the word "hidden" too literally. The author gives no indication that anyone was conspiring to keep Botticelli's work secret, as C suggests. Rather, they are saying that because most of his work was not in prominent places where they could readily be seen, perhaps people hadn't gotten a chance to give his work a fair evaluation. The "however" in the sentence provides a contrast. He wasn't popular; however, people hadn't seen his best stuff. Perhaps if they had, it would have been a different story.

Harsh2111s · Answer

Why option A is wrong in below question ?

GMATNinja ,  DmitryFarber 
 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.

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 , inspired a new appreciation of Botticelli throughout the English-speaking world.

Then 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.

Thus before Horne began to study Botticelli's work in 1908, there had been very little appreciation of Botticelli in the English-speaking world.

GMATNinja · Answer

Question 8 
 
The appreciation of Botticelli in the English-speaking world began before Horne studied Botticelli's work in 1908. We can see that from this section of the passage:
 
We're told that this work  between 1850 and 1870  inspired a new appreciation of Botticelli's work in the English-speaking world, so we can't say there was "very little" appreciation until Horne's study in 1908.

From the information in the passage, (A) cannot be the correct answer. Instead, let's look at (D).

This part of the passage gives us what we need:
 
This tells us the Sistene frescoes were  finally  analyzed by Horne in 1908, suggesting no analysis had been done before this time. This matches perfectly with the suggestion in (D) that there had been  no thorough investigation  of the Sistene Frescoes until Horne's 1908 study.

(D) aligns with the information in the passage much more closely than (A), so (D) is the correct answer.

I hope that helps!

mSKR · Answer

Hi  AjiteshArun   VeritasKarishma   GMATNinja   DmitryFarber   Nikhil

I have some issues with Q2 
 Question1: i n the whole passage, I read about inspiration, achievements but didn’t find specific about beneficial of a study .
When looked closely: I shortlisted sentence: 
 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

But here: I could not find unique achievement.

2.) On seeing the responses:
 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 tion, an emphasis crucial to any study of art, the twentieth century has come to appreciate Botticelli's achievements

But  this sentence has nothing to do with beneficial a study of a artist?  The sentence is more about emphasis of Botticelli's art work – his unique achievement. But what author has to do with benefits of this study . He just expresses Horne’s view point.

Many people find this Q2 so easy ( 72% correct ) but for me it seems so hard as I could not map Question and option B with the information with passage

Please suggest.

Thanks!

AjiteshArun · Answer

Hi  mSKR ,

You're looking in the right place. Let's take another look at that sentence:
 
Keep in mind that this ("an emphasis...") is the author's opinion.

And this is option D:
 
Both  reflects a tradition  and  unique achievement  are very close to what that sentence says. The author says that this emphasis is crucial to any study of art, so we can infer that the author would find such a study "most beneficial".

achloes · Answer

GMATNinja   DmitryFarber   MartyTargetTestPrep

I got #4 wrong, and then I noticed that the RC questions that I typically answer incorrectly are similar to this one and around why an author mentioned X or the role that the highlighted part plays. What is the best way to improve on such questions?

Thanks in advance!

DmitryFarberMPrep · Answer

achloes

The fix depends in part on why you're missing these questions and which wrong answers are catching you. However, I can give you some general advice for any question that asks you about the role of a word, phrase, sentence, or paragraph in the context of the passage. It's important that your answer works with BOTH the content of the cited portion AND the larger context in which it appears. Trap answers will often focus narrowly and literally on the exact portion we were asked about, without consideration of its role. They may also do the opposite, suggesting something that fits into the conversation, but not in a way that has anything to do with the highlighted text.

In the case of #4, the author is in the middle of talking about why people didn't appreciate Botticelli that much. In parentheses, they give us this aside that says that many of his best works were hidden away. This doesn't have much to do with the other reasons presented. Rather, it presents another, separate reason that people may not have liked Botticelli--they hadn't seen his best stuff! E fits with this very nicely. B and C deal with the explicit content of the sentence--the hidden artworks--but in a way that has nothing to do with what we're talking about. There's no debate about accessibility, nor do we have any reason to believe that anyone was hiding Botticelli's work intentionally. This is just an aside that relates to the broader ideas of the text! Even if we knew the works were hidden on purpose, that wouldn't mean that was why the author brought it up. The works would be hard to appreciate if they were hidden, regardless of  why  they were hidden. Meanhwile, A and D try to fit in with the larger themes of the passage, but they have nothing to do with the part we're looking at.

Try going back to a few other questions of this type. See if you can put into words how the part in question fits into the overall purpose of the passage or section. Do that before you look at the answers, and see if the right answers pop out a bit more clearly.

VerbalBot · Answer

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

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GMAT Reading Comprehension (RC) Questions

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

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