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18 Aug 2024, 03:01
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Difficulty:
45%
(medium)
Question Stats:
68% (01:57) correct
32%
(02:21)
wrong
based on 396
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In determining the authenticity of a painting, connoisseurs claim to be guided by the emotional impact the work has on them. For example, if a painting purportedly by Rembrandt is expressive and emotionally moving in a certain way, then this is supposedly evidence that the work was created by Rembrandt himself, and not by one of his students. But the degree to which an artwork has an emotional impact differs wildly from person to person. So, a connoisseur’s assessment cannot be given credence.
The reasoning in the argument is most vulnerable to criticism on the grounds that the argument
(A) ignores the fact that anybody, not just a connoisseur, can give an assessment of the emotional impact of a painting
(B) is based on the consideration of the nature of just one painter’s works, even though the conclusion is about paintings in general
(C) neglects the possibility that there may be widespread agreement among connoisseurs about emotional impact even when the public’s assessment varies wildly
(D) presumes, without giving justification, that a painting’s emotional impact is irrelevant to the determination of that painting’s authenticity
(E) presumes, without offering evidence, that Rembrandt was better at conveying emotions in painting than were other painter
The reasoning in the argument is most vulnerable to criticism on the grounds that the argument
(A) ignores the fact that anybody, not just a connoisseur, can give an assessment of the emotional impact of a painting
(B) is based on the consideration of the nature of just one painter’s works, even though the conclusion is about paintings in general
(C) neglects the possibility that there may be widespread agreement among connoisseurs about emotional impact even when the public’s assessment varies wildly
(D) presumes, without giving justification, that a painting’s emotional impact is irrelevant to the determination of that painting’s authenticity
(E) presumes, without offering evidence, that Rembrandt was better at conveying emotions in painting than were other painter
13 Sep 2024, 07:30
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The argument claims that because the emotional impact of a painting varies widely from person to person, a connoisseur’s assessment of a painting’s authenticity cannot be trusted. However, this reasoning overlooks the possibility that connoisseurs, even if emotional impact varies among the general public, might have more consistent and expert evaluations of emotional impact.
A) Ignores the fact that anybody, not just a connoisseur, can give an assessment of the emotional impact of a painting.
While it may be true that anyone can assess emotional impact, this is irrelevant to the argument, which is focused on connoisseurs' expertise.
B) Is based on the consideration of the nature of just one painter’s works, even though the conclusion is about paintings in general.
Although Rembrandt is used as an example, the focus of the argument is the reliability of connoisseurs' emotional assessments, not a specific painter's works. This option misses the point.
C) Neglects the possibility that there may be widespread agreement among connoisseurs about emotional impact even when the public’s assessment varies wildly.
This is correct. The argument assumes that emotional impact varies so widely that connoisseurs' judgments are unreliable, but it overlooks the possibility that connoisseurs, as experts, might reach a consensus even if the general public's opinions differ.
D) Presumes, without giving justification, that a painting’s emotional impact is irrelevant to the determination of that painting’s authenticity.
The argument doesn’t claim emotional impact is irrelevant. Rather, it questions the reliability of emotional impact as a criterion due to its subjective nature.
E) Presumes, without offering evidence, that Rembrandt was better at conveying emotions in painting than were other painters.
The argument does not make any claims about Rembrandt's skill compared to other painters, so this choice is not relevant.
The correct answer is C) neglects the possibility that there may be widespread agreement among connoisseurs about emotional impact even when the public’s assessment varies wildly. This identifies the flaw in the argument by pointing out that the variation in emotional response among the public does not necessarily extend to experts.
A) Ignores the fact that anybody, not just a connoisseur, can give an assessment of the emotional impact of a painting.
While it may be true that anyone can assess emotional impact, this is irrelevant to the argument, which is focused on connoisseurs' expertise.
B) Is based on the consideration of the nature of just one painter’s works, even though the conclusion is about paintings in general.
Although Rembrandt is used as an example, the focus of the argument is the reliability of connoisseurs' emotional assessments, not a specific painter's works. This option misses the point.
C) Neglects the possibility that there may be widespread agreement among connoisseurs about emotional impact even when the public’s assessment varies wildly.
This is correct. The argument assumes that emotional impact varies so widely that connoisseurs' judgments are unreliable, but it overlooks the possibility that connoisseurs, as experts, might reach a consensus even if the general public's opinions differ.
D) Presumes, without giving justification, that a painting’s emotional impact is irrelevant to the determination of that painting’s authenticity.
The argument doesn’t claim emotional impact is irrelevant. Rather, it questions the reliability of emotional impact as a criterion due to its subjective nature.
E) Presumes, without offering evidence, that Rembrandt was better at conveying emotions in painting than were other painters.
The argument does not make any claims about Rembrandt's skill compared to other painters, so this choice is not relevant.
The correct answer is C) neglects the possibility that there may be widespread agreement among connoisseurs about emotional impact even when the public’s assessment varies wildly. This identifies the flaw in the argument by pointing out that the variation in emotional response among the public does not necessarily extend to experts.
14 Nov 2024, 14:16
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Option C
If impact on connoisseurs (expert judge in matter of taste) - then painting is authentic.
Author says it is the amount of impact on people and not on connoisseurs (...differs widely from person to person).
Suddenly the author shifts from experts (connoisseurs) to the general public while discussing impact.
This aspect clearly states the author’s assumption that the experts and general public have the same opinions (both are comparable when evaluating a work of art) whereas the reality could be experts agreeing with one another while the general public may have different opinions.
If impact on connoisseurs (expert judge in matter of taste) - then painting is authentic.
Author says it is the amount of impact on people and not on connoisseurs (...differs widely from person to person).
Suddenly the author shifts from experts (connoisseurs) to the general public while discussing impact.
This aspect clearly states the author’s assumption that the experts and general public have the same opinions (both are comparable when evaluating a work of art) whereas the reality could be experts agreeing with one another while the general public may have different opinions.
