For some years before the outbreak of World War I, a number of painter

Question

For some years before the outbreak of World
War I, a number of painters in different European
countries developed works of art that some have
described as prophetic: paintings that by challenging
 (5)  viewers’ habitual ways of perceiving the world of the
present are thus said to anticipate a future world that
would be very different. The artistic styles that they
brought into being varied widely, but all these styles
had in common a very important break with traditions
 (10)  of representational art that stretched back to the
Renaissance.

So fundamental is this break with tradition that it
is not surprising to discover that these artist—among
them Picasso and Braque in France, Kandinsky in
 (15)  Germany, and Malevich in Russia—are often credited
with having anticipated not just subsequent
developments in the arts, but also the political and
social disruptions and upheavals of the modern world
that came into being during and after the war. One art
 (20)  critic even goes so far as to claim that it is the very
prophetic power of these artworks, and not their break
with traditional artistic techniques, that constitutes their
chief interest and value.

No one will deny that an artist may, just as much as
 (25)  a writer or a politician, speculate about the future and
then try to express a vision of that future through
making use of a particular style or choice of imagery;
speculation about the possibility of war in Europe was
certainly widespread during the early years of the
 (30)  twentieth century. But the forward-looking quality
attributed to these artists should instead be credited to
their exceptional aesthetic innovations rather than to
any power to make clever guesses about political or
social trends. For example, the clear impression we get
 (35)  of Picasso and Braque, the joint founders of cubism,
from their contemporaries as well as from later
statements made by the artists themselves, is that they
were primarily concerned with problems of
representation and form and with efforts to create a far
 (40)  more “real” reality than the one that was accessible
only to the eye. The reformation of society was of no
interest to them as artists.

It is also important to remember that not all
decisive changes in art are quickly followed by
 (45)  dramatic events in the world outside art. The case of
Delacroix, the nineteenth-century French painter, is
revealing. His stylistic innovations startled his
contemporaries—and still retain that power over
modern viewers—but most art historians have decided
 (50)  that Delacroix adjusted himself to new social
conditions that were already coming into being as a
result of political upheavals that had occurred in 1830,
as opposed to other artists who supposedly told of
changes still to come.  
 1 
 1. Which one of the following most accurately states the main idea of the passage?

(A) Although they flourished independently, the pre–World War I European painters who developed new ways of looking at the world shared a common desire to break with the traditions of representational art.
(B) The work of the pre–World War I European painters who developed new ways of looking at the world cannot be said to have intentionally predicted social changes but only to have anticipated new directions in artistic perception and expression.
(C) The work of the pre–World War I European painters who developed new ways of looking at the world was important for its ability to predict social changes and its anticipation of new directions in artistic expression.
(D) Art critics who believe that the work of some pre–World War I European painters foretold imminent social changes are mistaken because art is incapable of expressing a vision of the future.
(E) Art critics who believe that the work of some pre–World War I European painters foretold imminent social changes are mistaken because the social upheavals that followed World War I were impossible to predict.

2 
 2. The art critic mentioned in lines 19–20 would be most likely to agree with which one of the following statements?

(A) The supposed innovations of Picasso, Braque, Kandinsky, and Malevich were based on stylistic discoveries that had been made in the Renaissance but went unexplored for centuries.
(B) The work of Picasso, Braque, Kandinsky, and Malevich possessed prophetic power because these artists employed the traditional techniques of representational art with unusual skill.
(C) The importance of the work of Picasso, Braque, Kandinsky, and Malevich is due largely to the fact that the work was stylistically ahead of its time.
(D) The prophecies embodied in the work of Picasso, Braque, Kandinsky, and Malevich were shrewd predictions based on insights into the European political situation.
(E) The artistic styles brought into being by Picasso, Braque, Kandinsky, and Malevich, while stylistically innovative, were of little significance to the history of post-World War I art.

3 
 3. According to the passage, the statements of Picasso and Braque indicate that

(A) they had a long-standing interest in politics
(B) they worked actively to bring about social change
(C) their formal innovations were actually the result of chance
(D) their work was a deliberate attempt to transcend visual reality
(E) the formal aspects of their work were of little interest to them

4 
 4. The author presents the example of Delacroix in order to illustrate which one of the following claims?

(A) Social or political changes usually lead to important artistic innovations.
(B) Artistic innovations do not necessarily anticipate social or political upheavals.
(C) Some European painters have used art to predict social or political changes.
(D) Important stylistic innovations are best achieved by abandoning past traditions.
(E) Innovative artists can adapt themselves to social or political changes.

5 
 5. Which one of the following most accurately describes the contents of the passage?

(A) The author describes an artistic phenomenon; introduces one interpretation of this phenomenon; proposes an alternative interpretation and then supports this alternative by criticizing the original interpretation.
(B) The author describes an artistic phenomenon; identifies the causes of that phenomenon; illustrates some of the consequences of the phenomenon and then speculates about the significance of these consequences.
(C) The author describes an artistic phenomenon; articulates the traditional interpretation of this phenomenon; identifies two common criticisms of this view and then dismisses each of these criticisms by appeal to an example.
(D) The author describes an artistic phenomenon; presents two competing interpretations of the phenomenon; dismisses both interpretations by appeal to an example and then introduces an alternative interpretation.
(E) The author describes an artistic phenomenon; identifies the causes of the phenomenon; presents an argument for the importance of the phenomenon and then advocates an attempt to recreate the phenomenon.

6 
 6. According to the author, the work of the pre–World War I painters described in the passage contains an example of each of the following EXCEPT:

(A) an interest in issues of representation and form
(B) a stylistic break with traditional art
(C) the introduction of new artistic techniques
(D) the ability to anticipate later artists
(E) the power to predict social changes

7 
 7. Which one of the following characteristics of the painters discussed in the second paragraph does the author of the passage appear to value most highly?

(A) their insights into pre–World War I politics
(B) the visionary nature of their social views
(C) their mastery of the techniques of representational art
(D) their ability to adjust to changing social conditions
(E) their stylistic and aesthetic accomplishments

mSKR · Answer

Paragraph1: Before the outbreak of World war I , Painters had changed their styles – break from representational art. These paintings were described as prophetic.

Paragraph2: Details on their styles that these painters were credit that they could anticipate – arts, politics, social disruptions etc.

Paragraph3: Alternate view-2nd view, these painters were attributed to exception innovation quality rather than any power to guess any trends. Explained with example : Cubism: represent more than a real reality.

Paragraph4: Till now view: First art style happens based on prediction then events happens gradually 
Exception: case of Delacroix, much earlier in advance even before changes yet to begin. But this thought was also criticized as it was like the “till now “ view..

So it means the actual reason behind painters’ new style was 2nd view.

Main Idea: explanation of new way of painting ( 1 view, another view--> finally another view preferred)

(A) Although they flourished independently, the pre–World War I European painters who developed new ways of looking at the world shared a common desire to break with the traditions of representational art.  Shows only 1st para but not main idea 
(B) The work of the pre–World War I European painters who developed new ways of looking at the world cannot be said to have intentionally predicted social changes but only to have anticipated new directions in artistic perception and expression. Focus on 2nd view . which is main key point in the passage. 
(C) The work of the pre–World War I European painters who developed new ways of looking at the world was important for its ability to predict social changes and its anticipation of new directions in artistic expression.  No, ability to predict social change was not main conclusive view. Anticipation of new direction is the key ,  
(D) Art critics who believe that the work of some pre–World War I European painters foretold imminent social changes are mistaken because art is incapable of expressing a vision of the future.
 Art criticiz believed that these painters can predict changes in advance . This is opposite and was only in small part of passage. 
(E) Art critics who believe that the work of some pre–World War I European painters foretold imminent social changes are mistaken because the social upheavals that followed World War I were impossible to predict.  Mistaken is not mentioned and is not main idea

Structure: 
The author describes an artistic phenomenon;
Introduces 2 views
Criticize 1st view
Choose 2nd view

(A) The author describes an artistic phenomenon; introduces one interpretation of this phenomenon; proposes an alternative interpretation and then supports this alternative by criticizing the original interpretation.
 1st para: describes an artistic phenomenon
2nd para: introduces one interpretation of this phenomenon
3rd para: proposes an alternative interpretation and and then supports this alternative by criticizing the original interpretation.
4th para: supports 3rd para

(B) The author describes an artistic phenomenon; identifies the causes of that phenomenon; illustrates some of the consequences of the phenomenon and then speculates about the significance of these consequences.  No illustration of the phenomenon, no causes,  
(C) The author describes an artistic phenomenon; articulates the traditional interpretation of this phenomenon; identifies two common criticisms of this view and then dismisses each of these criticisms by appeal to an example.  Not dismisses both interpretation  
(D) The author describes an artistic phenomenon; presents two competing interpretations of the phenomenon; dismisses both interpretations by appeal to an example and then introduces an alternative interpretation.  an artistic phenomenon: new style
2 views: break from tradition + really predict based on events
didn't dismiss 2nd view . 
(E) The author describes an artistic phenomenon; identifies the causes of the phenomenon; presents an argument for the importance of the phenomenon and then advocates an attempt to recreate the phenomenon.-  plenty is wrong: no causes , argument for importance is not mentioned, no recreation of phenomenon

mSKR · Answer

(A) they had a long-standing interest in politics  – not mentioned  
(B) they worked actively to bring about social change – The reformation of society was of no
interest to them as artists. 
(C) their formal innovations were actually the result of chance-  not mentioned 
(D) their work was a deliberate attempt to transcend visual reality  – yes; s to create a far
(40) more “real” reality than the one that was accessible
only to the eye 
(E) the formal aspects of their work were of little interest to them - not mentioned

is also important to remember that not all
decisive changes in art are quickly followed by
(45) dramatic events in the world outside art 
Something can be done much in advance without hint of any trend going to start
(A) Social or political changes usually lead to important artistic innovations. - not mentioned 
(B) Artistic innovations do not necessarily anticipate social or political upheavals.  – matches prethinking; not necessary that something would happen based on social or political upheavals 
(C) Some European painters have used art to predict social or political changes.  – not given 
(D) Important stylistic innovations are best achieved by abandoning past traditions. - not necessary 
(E) Innovative artists can adapt themselves to social or political changes.  – this is old view before Delacroix example was mentioned

are often credited
with having anticipated not just subsequent
developments in the arts, but also the political and
social disruptions and upheavals of the modern world
that came into being during and after the war. \

One art
(20) critic even goes so far as to claim that it is the very
prophetic power of these artworks

(A) their insights into pre–World War I politics  – not pre world politics 
(B) the visionary nature of their social views  – No, author didn’t have they had visionary nature of view, but they could anticipate development in arts, politics and social disruptions etc. 
(C) their mastery of the techniques of representational art  – that is traditional art not value highly in 2nd para 
(D) their ability to adjust to changing social conditions  – not mentioned in 2nd para 
(E) their stylistic and aesthetic accomplishments  - often credited with having anticipated ( accomplishment of their styles) – this option seems most close

mSKR · Answer

I did wrong Q2 in my first attempt. Here is my analysis of correct answer:

One art
(20) critic even goes so far as to claim that it is the very
prophetic power of these artworks, and not their break
with traditional artistic techniques, that constitutes their chief interest and value.

These painters have prophetic power of these artworks but not their break
with traditional artistic techniques,

Prophetic powers of what:
are often credited with having anticipated not just subsequent developments in the arts, but also the political and social disruptions and upheavals of the modern world that came into being during and after the war.

Unexplored for centuries is not mentioned

Critics mentioned that they possessed prophetic power and also mentioned they didn’t break with traditional artistic techniques. But it is not mentioned that they possessed prophetic power because of traditional techniques or could that be reasons. I am not sure. We can look for other options.

Critics didn’t mention that work was ahead of time but they mentioned that they had literally prophetic power of anticipating art, social changes etc.

Matches exactly what we thought. 
Predictions: of developments in the arts, but the political and social disruptions and upheavals of the modern world.

In this option, only political reason is mentioned, other predictions are not mentioned. But it doesn’t give reason to reject option D .
With this option D, I can reject B as D is more closure to what we are looking for.

innovation part is not mentioned lines 19-20. It was easy elimination.

Sajjad1994 · Answer

Explanation

6. According to the author, the work of the pre–World War I painters described in the passage contains an example of each of the following EXCEPT:

Difficulty Level:   Hard

Explanation

This all/EXCEPT question appears detailed but in a sense is a Global question in disguise. Of all the activities and achievements that the author credits to the prewar artists, his Main Idea is that one item does not belong among them: the conscious prediction of future political and social upheavals. Which is why  (E)  is the right answer. Other artists have (and use) the power that  (E)  describes, but Picasso and the others were not among them.

(A)  is asserted in  lines 37-39.

(B)  reflects  lines 8-10.

(C)  is  line 32.

(D)  is a bit tricky. The influence of these artists on other artists is mentioned in  lines 12-17.  Now, that’s a part of the passage in which the author is reporting claims that he will later try to rebut—but  (D)  isn’t one of the issues he takes issue with. Indeed, the influence of Picasso, Braque, etc. on other artists is hardly something the author would argue with, considering his exalted view of their artistic accomplishments.

Answer: E

ShankSouljaBoi · Answer

But how is influence relevant to anticipation ?

Sajjad1994 · Answer

The text which supports the presence of D in the passage is:

"So fundamental is this break with tradition that it
is not surprising to discover that these artist—among
them Picasso and Braque in France, Kandinsky in
(15) Germany, and Malevich in Russia—are often credited
with having anticipated not just  subsequent
developments  in the arts"

The words  subsequent developments  is very indicative of the  D

PS: Read and understand the text as a general and don't fall in the trap of overthinking, you will not get the answer correct otherwise, also don't try to look for the exact examples and meaning in the passage. Once you picked an option and your are not confident, read the question statement again and try to match whether the answer option fulfill the question's demand or not.

Thank you

Sajjad1994 · Answer

Explanation

2. The art critic mentioned in lines 19–20 would be most likely to agree with which one of the following statements?

Difficulty Level:   Hard

Explanation

The critic in  lines 19-23  states his belief that Picasso & Braque et al were less important for their art per se than for  “the very prophetic power of   artworks.”  We know that our author couldn’t disagree more profoundly with this sentiment, so while it’s hard if not impossible to predict the right answer in advance, we should clearly be on the lookout for a statement in line with the critic and at odds with our author. And  (D)  delivers on both scores, expanding on the idea of the painters as prescient political pundits, a notion for which the author couldn’t have more scorn.

(A), (B), (C), (E)  All share the fatal flaw of focusing their attention and compliments on the artists’ works, rather than on their political prognostication; remember, we know from  lines 19-23  that the critic is more interested in the artists’ alleged worldviews. Each choice has its own particular weakness as well.

(A)  drags in the Renaissance senselessly (Picasso & Co. were rebelling against old ways of representation; why would the critic sign on to (A)’s sentiment?).

(B)  has the critic linking the artists’ prophecies and work, when clearly the critic distinguishes the two and is more taken with the former.

(C)  is opposite, ascribing the artists’ importance to their style rather than to their worldview.

And  (E) —well, there’s no justification for ascribing (E)’s patronizing, belittling tone, as in  “little significance,”  to the critic in question.

Answer: D

pintukr · Answer

1. Which one of the following most accurately states the main idea of the passage?

(A) Although they flourished independently, the pre–World War I European painters who developed new ways of looking at the world shared a common desire to break with the traditions of representational art.
 the works of such painters were primarily concerned with problems of representation and form of art, but didn't focus with purpose/intentionally on developing new ways of looking at the world

(B) The work of the pre–World War I European painters who developed new ways of looking at the world cannot be said to have intentionally predicted social changes but only to have anticipated new directions in artistic perception and expression.
  the author highlights throughout the passage that the works of the pre–World War I European painters indeed were concerned with problems of representation and form of art.... (lines 37-43) of 3rd paragraph...CORRECT answer

(C) The work of the pre–World War I European painters who developed new ways of looking at the world was important for its ability to predict social changes and its anticipation of new directions in artistic expression.
 'ability to predict social changes' was not the purpose of the works of the pre–World War I European painters

(D) Art critics who believe that the work of some pre–World War I European painters foretold imminent social changes are mistaken because art is incapable of expressing a vision of the future.
 contrary to this aspect has been highlighted in lines 24-28 of the passage : 'an artist may, just as much as a writer or a politician, speculate about the future and then try to express a vision of that future through making use of a particular style or choice of imagery

(E) Art critics who believe that the work of some pre–World War I European painters foretold imminent social changes are mistaken because the social upheavals that followed World War I were impossible to predict.
 No such claims as ' the social upheavals that followed World War I were impossible to predict' have been presented in the passage

(B) is the CORRECT answer

pintukr · Answer

2. The art critic mentioned in lines 19–20 would be most likely to agree with which one of the following statements?

(A) The supposed innovations of Picasso, Braque, Kandinsky, and Malevich were based on stylistic discoveries that had been made in the Renaissance but went unexplored for centuries.
 the art critic mentioned in lines 19–20 ,in fact, weans away from the stylistic discoveries by the renowned artists emphasizes on the anticipation relating to the political and social happenings for future based on the then existing political scenario

(B) The work of Picasso, Braque, Kandinsky, and Malevich possessed prophetic power because these artists employed the traditional techniques of representational art with unusual skill.
 the art critic highlights deviation of the focus away from discovery of new art techniques, rather he highlights the role of the works related to future's prediction regarding futuristic political scenario
 
(C) The importance of the work of Picasso, Braque, Kandinsky, and Malevich is due largely to the fact that the work was stylistically ahead of its time.
 Not the art critic's interpretation, rather the author's interpretation

(D) The prophecies embodied in the work of Picasso, Braque, Kandinsky, and Malevich were shrewd predictions based on insights into the European political situation.
  the art critic mentioned in lines 19–20 emphasizes on the anticipation relating to the political and social happenings for future based on the then existing political scenario...CORRECT answer 
 
(E) The artistic styles brought into being by Picasso, Braque, Kandinsky, and Malevich, while stylistically innovative, were of little significance to the history of post-World War I art.
 the art critic doesn't relate the prophetic power of the artworks with the history of post Worls War I art, rather he relates them to predictions regarding future political and social scenario

(D) is the CORRECT answer

pintukr · Answer

3. According to the passage, the statements of Picasso and Braque indicate that

(A) they had a long-standing interest in politics
 No such claims related to the interest in politics.. made in the relevant lines 35-40 of the passage

(B) they worked actively to bring about social change
 social change was not the aim by the artists through their art works

(C) their formal innovations were actually the result of chance
 'chance' aspect has not been deliberated upon in the passage; also, the primary motivation was to rise above or go beyond the limits of then existing visualizations of reality through art works

(D) their work was a deliberate attempt to transcend visual reality
  there is a clear hint through the lines 35-40 of the passage, which clearly state that the motivation was to extend the limits of then existing representational forms through their art works..CORRECT answer

(E) the formal aspects of their work were of little interest to them
 the 'formal' aspects of their work..an ambiguous prompt

(D) is the CORRECT answer

pintukr · Answer

4. The author presents the example of Delacroix in order to illustrate which one of the following claims?

(A) Social or political changes usually lead to important artistic innovations.
 distortion of the facts of the passage, wherein it is highlighted that the art works depict future polltical and social transformation, as per some art critics

(B) Artistic innovations do not necessarily anticipate social or political upheavals.
  In the last paragraph, the author highlights that 'not all decisive changes in art are quickly followed by dramatic events in the world outside art'; in this regard, the author presents the example of Delacroix in order to illustrate that Delacroix adjusted himself to new social conditions, rather than using the art works to depict political or social transformation in future..CORRECT answer

(C) Some European painters have used art to predict social or political changes.
 interpretation of some art critics; however, the author has not presented the example of Delacroix in order to illustrate this aspect

(D) Important stylistic innovations are best achieved by abandoning past traditions.
 no such claims made by presenting the example of Delacroix in the passage

(E) Innovative artists can adapt themselves to social or political changes.
 The capability of artists to adapt themselves to social or political changes has not been illustrated through presenting the example of Delacroix in the last paragraph; rather the illustration pertains to artistic innovations not necessarily anticipating social or political upheavals.

(B) is the CORRECT answer

pintukr · Answer

5. Which one of the following most accurately describes the contents of the passage?

(A) The author describes an artistic phenomenon; introduces one interpretation of this phenomenon; proposes an alternative interpretation and then supports this alternative by criticizing the original interpretation.
  1st paragraph -- description of works of the pre–World War I European painters
2nd paragraph -- interpretation of critics highlighted
3rd paragraph -- alternative interpretation by the author ie, 'works' as exceptional aesthetic innovations, ie, a novel way of depiction of reality
4th paragraph -- criticism of original representation through exemplification ie, the case of Delacroix

(B) The author describes an artistic phenomenon; identifies the causes of that phenomenon; illustrates some of the consequences of the phenomenon and then speculates about the significance of these consequences.
 causes and consequences of the phenomenon not highlighted in the passage

(C) The author describes an artistic phenomenon; articulates the traditional interpretation of this phenomenon; identifies two common criticisms of this view and then dismisses each of these criticisms by appeal to an example.
 only 'one' criticism ie, as guided by futuristic interpretation in the form of existing social and political arena -- drawn out in the passage

(D) The author describes an artistic phenomenon; presents two competing interpretations of the phenomenon; dismisses both interpretations by appeal to an example and then introduces an alternative interpretation.
 totally incorrect, since both interpretations have not been dismissed by the author of the passage

(E) The author describes an artistic phenomenon; identifies the causes of the phenomenon; presents an argument for the importance of the phenomenon and then advocates an attempt to recreate the phenomenon.
 the author is not arguing 'for' the phenomenon; rather, he is analyzing certain interpretations of the phenomenon

(A) is the CORRECT answer

pintukr · Answer

6. According to the author, the work of the pre–World War I painters described in the passage contains an example of each of the following EXCEPT:

(A) an interest in issues of representation and form
 the author's interpretation ' -- as exemplified in the 1st paragraph

(B) a stylistic break with traditional art
 the art critics' interpretation -- as exemplified in the 2nd paragraph

(C) the introduction of new artistic techniques
 the author's interpretation ' as exemplified in the 3rd paragraph

(D) the ability to anticipate later artists
 the art critics' interpretation -- as exemplified in the 2nd paragraph

(E) the power to predict social changes
  while this prompt relates to the facts presented in the passage, no concrete examples of this interpretation have been presented in the passage..CORRECT answer r

(E) is the CORRECT answer

pintukr · Answer

7. Which one of the following characteristics of the painters discussed in the second paragraph does the author of the passage appear to value most highly?

(A) their insights into pre–World War I politics
 the author argues 'against' this interpretation by citing that such interpretation is probably wrong

(B) the visionary nature of their social views
 the author argues 'against' this interpretation !!

(C) their mastery of the techniques of representational art
 though the author conveys that the art works represent clean break from the erstwhile techniques of representational art, it can't be inferred that the author of the passage appears to value this aspect 'most highly'

(D) their ability to adjust to changing social conditions
 the author highlights this aspect in the 4th paragraph, but doesn't side with this interpretation explicitly

(E) their stylistic and aesthetic accomplishments
  the author has explicitly favored and highlighted the 'exceptional aesthetic innovation' --as depicted through his /her views presented in the 3rd paragraph..CORRECT answer

(E) is the CORRECT answer

violetskiez03 · Answer

I am confused as to why Choice (D) is not correct answer for Question 5:

(D) The author describes an artistic phenomenon; presents two competing interpretations of the phenomenon; dismisses both interpretations by appeal to an example and then introduces an alternative interpretation.

Here, artistic phenomenon - break from traditional art style 
presents two competing interpretations of the phenomenon - first, that social change following change in art style should be credited to prophetic nature > artistic innovation and second (artist's view) credit should be to artistic innovation > any prophetic quality
dismisses both interpretations by appeal to an example - example of delacroix 
d then introduces an alternative interpretation - that social change does not follow art rather art can follow social change instead

Why is this interpretation incorrect? Thank you

guddo · Answer

5. Which one of the following most accurately describes the contents of the passage?

The passage describes early twentieth-century European art that broke sharply from Renaissance-style representation and was later called “prophetic.” The author argues that the “prophetic” label is  misattributed  and that the forward-looking feel of the work is better explained by  aesthetic innovation  than by artists correctly predicting political or social upheaval.

A. The author describes an artistic phenomenon; introduces one interpretation of this phenomenon; proposes an alternative interpretation and then supports this alternative by criticizing the original interpretation.

This matches the passage.  The author describes the phenomenon, presents the “prophetic” interpretation, then offers the alternative (innovation, not prediction) and supports it by pushing back against prophecy claims using Picasso and Braque plus the Delacroix comparison.

B. The author describes an artistic phenomenon; identifies the causes of that phenomenon; illustrates some of the consequences of the phenomenon and then speculates about the significance of these consequences.

Wrong. The author is not laying out causes of the phenomenon in that sense, and the passage is not mainly about consequences followed by speculation. It is a debate about how to interpret the “prophetic” label.

C. The author describes an artistic phenomenon; articulates the traditional interpretation of this phenomenon; identifies two common criticisms of this view and then dismisses each of these criticisms by appeal to an example.

Wrong. The author does not defend the traditional “prophetic” view against criticisms. The author is the one criticizing that view.

D. The author describes an artistic phenomenon; presents two competing interpretations of the phenomenon; dismisses both interpretations by appeal to an example and then introduces an alternative interpretation.

Wrong. The author rejects the prophecy interpretation but does not dismiss the alternative. The alternative is the author’s own view and it is defended, not discarded.

E. The author describes an artistic phenomenon; identifies the causes of the phenomenon; presents an argument for the importance of the phenomenon and then advocates an attempt to recreate the phenomenon.

Wrong. There is no advocacy to recreate the phenomenon, and the passage is not structured as “cause, importance, recreate.”

Answer: (A)

guddo · Answer

Your mapping is mixing up what the passage treats as “interpretations,” and it also flips what the Delacroix example is doing.

The passage does not present “prophetic power” and “aesthetic innovation” as two competing interpretations that get dismissed. The author treats  prophetic power  as the view to reject, and  aesthetic innovation  as the view to accept and defend. 
 The Delacroix example is not used to dismiss the “aesthetic innovation” view. It is used to show that big stylistic breaks are not reliably followed by outside upheavals, so you cannot infer prophecy from later events. That supports the author’s anti prophecy point. 
 There is no “third alternative” introduced after dismissing both. The author’s line is consistent throughout: the “forward-looking” feel comes from innovation in representation, not from predicting social change. The Delacroix point is a caution against reading art as prediction, not a switch to “art follows social change” as the main thesis.

So D fails because it says the author dismisses both interpretations and then offers a new one. In the passage, the author dismisses one and argues for the other. That is why  A  fits better.

For some years before the outbreak of World War I, a number of painter

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For some years before the outbreak of World War I, a number of painter

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