1.Cubism was a new movement in art that revolutionized European painting and sculpture. Its emergence in France led to new movements in music and literature.
2.George Braque developed Cubic art with Pablo Picasso, and his paintings "Violence and Candlestick” and 'Women with a Guitar' give abstract reality. Objects look broken up, as the artist depicts the subject from multi-dimensional perspective.
3.Cubic art originated in the works of Paul Cezanne who treated the forms of Nature as if they were cones, spheres, and cylinders.
4.The Cubists were experimenters. They disintegrated the subject and depicted a new vision of reality in broken form. The evolution of Czech Cubism has to be understood in this perspective.

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Solution

The correct option is C
IFII

Statement 1 is based on inference that the emergence of Cubism led to the growth of other movements in music and literature. Statement 2 is based on facts. Statement 3 is inference based: Since the works of Paul Cezanne treated the forms of Nature as if they were cones, spheres, and cylinders, he must be the originator of cubism. Statement 4 is based on inference again, that the Czech cubism has to be understood in this perspective. Option: (c)

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Art historians’ approach to French Impressionism has changed significantly in recent years. While a decade ago Rewald’s History of Impressionism, which emphasizes Impressionist painters’ stylistic innovations, was unchallenged, the literature on impressionism has now become a kind of ideological battlefield, in which more attention is paid to the subject matter of the paintings, and to the social and moral issues raised by it, than to their style. Recently, politically charged discussions that address the impressionists’ unequal treatment of men and women and the exclusion of modern industry and labor from their pictures have tended to crowd out the stylistic analysis favored by Rewald and his followers. In a new work illustrating this trend, Robert L. Herbert dissociates himself from formalists whose preoccupation with the stylistic features of impressionist painting has, in Herbert’s view, left the history out of art history; his aim is to restore impressionist paintings “to their socio-cultural context.” However, his arguments are not finally persuasive.

In attempting to place impressionist painting in its proper historical context, Herbert has redrawn the traditional boundaries of impressionism. Limiting himself to the two decades between 1860 and 1880, he assembles under the impressionist banner what can only be described as a somewhat eccentric grouping of painters. Cezanne, Pisarro, and Sisley are almost entirely ignored, largely because their paintings do not suit Herbert’s emphasis on themes of urban life and suburban leisure, while Manet, Degas, and Caillebotte—who paint scenes of urban life but whom many would hardly characterize as impressionists dominate the first half of the book. Although this new description of Impressionist painting provides a more unified conception of nineteenth-century French painting by grouping quite disparate modernist painters together and emphasizing their common concerns rather than their stylistic difference, it also forces Herbert to overlook some of the most important genres of impressionist painting—portraiture, pure landscape, and still-life painting.

Moreover, the rationale for Herbert’s emphasis on the social and political realities that Impressionist paintings can be said to communicate rather than on their style is finally undermined by what even Herbert concedes was the failure of Impressionist painters to serve as particularly conscientious illustrators of their social milieu. They left much ordinary experience—work and poverty, for example—out of their paintings and what they did put in was transformed by a style that had only an indirect relationship to the social realities of the world they depicted. Not only were their pictures inventions rather than photographs, they were inventions in which style to some degree disrupted description. Their painting in effect have two levels of subject: what is represented and how it is represented, and no art historian can afford to emphasize one at the expense of the other.

The author’s statement that impressionist paintings “were inventions in which style to some degree disrupted description” serves to:

Q. Read the following passage and answer the (four) items that follow:
Folk and tribal art forms a part of Indian art as a whole. It has undergone transformation since a long time. They have evolved along with classical art. Tribal and folk art belongs to the section of people who belong to different social groups and it has a native flavor. These are visual arts, for example, paintings that depict their lifestyle, tradition, and culture. They are the ones close to nature and this thing is regional. They have a set of belief system that allows them to interpret things in their own native ways and this influence them in their art even. Puranic gods and legends are often changed into contemporary manner. Tribal and folk art has the inclusion of fairs, festivals, local deities, fantasy in their representation. Indian art cannot do away with this section that has a regional and a mystic aura in it. Nomadic way of life is also an integral part of the tribal and folk art. Pithora paintings of the tribes of Rathwa, Bhilals, and Nayka of Gujarat and Madhya Pradesh are another fine example of Indian tribal art. These paintings convey the joy and celebration of the community. Tribal paintings from Orissa, earlier done as household decoration, but now a commercial art-form done on raw silk fabric, have themes of everyday life. Madhubani paintings depict bright, lively deities, most popularly Krishna and his beloved Radha, and various stories associated with their legend. They are named after the village of their origin. Others such as Phad, Warli, Pithora, and Choittora also fall in this category of Indian art. Tribal art is a term covering the art products and performances of tribes. Indian tribes have definite artistic expression. Geographical, sociological, historical, and traditional factors determine the degree of primitiveness among tribes.
Indian tribal art is always delineated upon positive themes and ideas such as birth, life, harvest, journey, jubilation, or marriage. The Indian tribes pay due veneration and reverence to Mother Earth and its crucial elements. It is a tribal art form where life and ingenuity are fused. Indian tribal paintings and sculptures are of exceedingly high quality and are documents of their cultural heritage. Tribes have made their own place in the contemporary world of art. The art gives the tribes a power and responsibility to control and guide them through it. The symbols portray the imaginations of men and these imaginations are the representative emotions of the people of a particular period and society.
Indian tribal art is an art where life and creativity are inseparable. Indian tribal arts have a unique sensitivity. Their art is a manifestation of their life and holds their passion and mystery. The tribal art is one of the most fascinating parts of the tribal culture in India. The treasure of tribal arts is immense and has an astounding range, diversity, and beauty. Traditional Indian tribal art tries to wholly recreate the immortal charisma of Indian tribal life. One can easily come across exquisite pieces of Indian tribal art in different parts of India. The Indian tribal art is rich in expression and is a living form very much with the times. It has become an intrinsic part of the country's cultural identity.
Through solemn efforts, the Indian tribes try to keep alive a culture that is thousand years’ old, comprising music, traditions, rituals, and art. They live in complete harmony with nature by preserving their resources and blending with the environment. The Indian tribal art is the influence of the contemporary art and its narrative approach is deeply indebted to the contribution of the history of tribal art that cannot be obliterated

Tribal art and folk depicts:

Q. Folk and tribal art forms a part of Indian art as a whole. It has undergone transformation since a long time. They have evolved along with classical art. Tribal and folk art belongs to the section of people who belong to different social groups and it has a native flavor. These are visual arts, for example, paintings that depict their lifestyle, tradition, and culture. They are the ones close to nature and this thing is regional. They have a set of belief system that allows them to interpret things in their own native ways and this influence them in their art even. Puranic gods and legends are often changed into contemporary manner. Tribal and folk art has the inclusion of fairs, festivals, local deities, fantasy in their representation. Indian art cannot do away with this section that has a regional and a mystic aura in it. Nomadic way of life is also an integral part of the tribal and folk art. Pithora paintings of the tribes of Rathwa, Bhilals, and Nayka of Gujarat and Madhya Pradesh are another fine example of Indian tribal art. These paintings convey the joy and celebration of the community. Tribal paintings from Orissa, earlier done as household decoration, but now a commercial art-form done on raw silk fabric, have themes of everyday life. Madhubani paintings depict bright, lively deities, most popularly Krishna and his beloved Radha, and various stories associated with their legend. They are named after the village of their origin. Others such as Phad, Warli, Pithora, and Choittora also fall in this category of Indian art. Tribal art is a term covering the art products and performances of tribes. Indian tribes have definite artistic expression. Geographical, sociological, historical, and traditional factors determine the degree of primitiveness among tribes.
Indian tribal art is always delineated upon positive themes and ideas such as birth, life, harvest, journey, jubilation, or marriage. The Indian tribes pay due veneration and reverence to Mother Earth and its crucial elements. It is a tribal art form where life and ingenuity are fused. Indian tribal paintings and sculptures are of exceedingly high quality and are documents of their cultural heritage. Tribes have made their own place in the contemporary world of art. The art gives the tribes a power and responsibility to control and guide them through it. The symbols portray the imaginations of men and these imaginations are the representative emotions of the people of a particular period and society.
Indian tribal art is an art where life and creativity are inseparable. Indian tribal arts have a unique sensitivity. Their art is a manifestation of their life and holds their passion and mystery. The tribal art is one of the most fascinating parts of the tribal culture in India. The treasure of tribal arts is immense and has an astounding range, diversity, and beauty. Traditional Indian tribal art tries to wholly recreate the immortal charisma of Indian tribal life. One can easily come across exquisite pieces of Indian tribal art in different parts of India. The Indian tribal art is rich in expression and is a living form very much with the times. It has become an intrinsic part of the country's cultural identity.
Through solemn efforts, the Indian tribes try to keep alive a culture that is thousand years’ old, comprising music, traditions, rituals, and art. They live in complete harmony with nature by preserving their resources and blending with the environment. The Indian tribal art is the influence of the contemporary art and its narrative approach is deeply indebted to the contribution of the history of tribal art that cannot be obliterated.

The statement "geographical, sociological, historical, and traditional factors determine the degree of primitiveness among tribes" implies

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