Michelangelo’s sixteenth-century Sistine Chapel paintings are currentl

Question

Michelangelo’s sixteenth-century Sistine Chapel paintings are currently being restored. A goal of the restorers is to uncover Michelangelo’s original work, and so additions made to Michelangelo’s paintings by later artists are being removed. However, the restorers have decided to make one exception: to leave intact additions that were painted by da Volterra.

Which one of the following, if true, most helps to reconcile the restorers’ decision with the goal stated in the passage?

Which one of the following, if true, most helps to reconcile the restorers’ decision with the goal stated in the passage?

(A) The restorers believe that da Volterra stripped away all previous layers of paint before he painted his own additions to the Sistine Chapel.
(B) Because da Volterra used a type of pigment that is especially sensitive to light, the additions to the Sistine Chapel that ad Volterra painted have relatively muted colors.
(C) Da Volterra’s additions were painted in a style that was similar to the style used by Michelangelo.
(D) Michelangelo is famous primarily for his sculptures and only secondarily for his paintings, whereas da Volterra is known exclusively for his paintings.
(E) Da Volterra’s work is considered by certain art historians to be just as valuable as the work of additions to Michelangelo’s work.

Labmalo · Accepted Answer

IMO A. if Volterra stripped away   all previous layers   of paint before he painted his own additions, it means he even took away the original one, so his own addition is the only clue that helps researchers uncover Michelangelo’s original work. So restorers can not take down Volterra's work.

Kritisood · Answer

Why is it A and not B? How does A help in strengthening the goal to uncover Michelangelos work? 
IMO B, because if the "additions to the Sistine Chapel that da Volterra painted have relatively muted colours" then it still shows Michelangelos OG work.

Karmesh · Answer

Kritisood 
Let's say you paint a portrait. I come in and add a mild shadow to the portrait. Your work is still perfectly visible, it just has an extra layer of shadow now.
Would you say that work is original? 
Maybe you did not want a shadow! maybe that's your style.
However subtle my addition may be, it is still an addition.

Makes sense ?

gullyboy09 · Answer

Hi  MartyMurray ,  GMATNinja , can you please help me with this question? According to option A, if restorers know that Volterra's stripped all previous layers, then what's left to restore of Michelangelo's? Then goal of restoring his original work doesnt make sense.

guddo · Answer

Michelangelo’s sixteenth-century Sistine Chapel paintings are currently being restored. A goal of the restorers is to uncover Michelangelo’s original work, and so additions made to Michelangelo’s paintings by later artists are being removed. However, the restorers have decided to make one exception: to leave intact additions that were painted by da Volterra.

Which one of the following, if true, most helps to reconcile the restorers’ decision with the goal stated in the passage?

Which one of the following, if true, most helps to reconcile the restorers’ decision with the goal stated in the passage?

Restorers want to uncover Michelangelo’s original paintings, so they are removing later additions, but they will leave da Volterra’s additions. The right choice must explain how keeping those additions still fits the goal of revealing the original.

(A) The restorers believe that da Volterra stripped away all previous layers of paint before he painted his own additions to the Sistine Chapel.

This reconciles the decision best. If da Volterra removed earlier layers first, then his additions are not sitting on top of Michelangelo’s original work (they would have replaced what was already not original). Leaving them would not block uncovering Michelangelo’s original, because that original layer is already gone there.  So the exception can be consistent with the goal.

(B) Because da Volterra used a pigment sensitive to light, his additions have muted colors.

Muted color does not explain why the additions should remain if the goal is to uncover Michelangelo’s original. It is irrelevant to the stated purpose.

(C) Da Volterra’s additions were painted in a style similar to Michelangelo’s.

Similarity in style does not make the additions part of Michelangelo’s original work. The goal is originality, not stylistic continuity.

(D) Michelangelo is famous primarily for sculptures, da Volterra only for paintings.

This is about reputation, not whether leaving additions helps uncover the original.

(E) Da Volterra’s work is considered as valuable as Michelangelo’s additions.

Value is a different goal. The goal given is to uncover Michelangelo’s original work, so this does not reconcile the exception.

Answer: (A)

AkshayMetha · Answer

Answer / neither option is making sense. Still as we have to go with one (the best available) I would have went with C or B (Preferably C), but never A. Where question stem itself mentions Goal as "uncovering Original work" - that has to be respected. 
Option A instead erases the original work and what else could weaken the goal as this option does.
Option B talks about muted color. We never know if warm colors would have been used in original art and using muted color would completely transform the art (positively or negatively) hampering the goal of uncovering original
Option C - states addition were made in same style. Though not an absolute correct answer, but among other choices, atleast this option hints that of making additions in same style wouldnt have impacted original artform and accordingly we could still uncover original art (more or less closely). So I believe this could be one.

If dont agree with C, I would have went with B on similar lines that say muted colors wouldnt have changed much.. But A? Why? Couldnt connect at all. Please explain

AbhishekP220108 · Answer

Hi AkshayMetha , can you please check this solution https://gmatclub.com/forum/michelangelo ... l#p3744702 . If you still have doubts, do let me know.

Michelangelo’s sixteenth-century Sistine Chapel paintings are currentl

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