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Question

Read the passage given below and answer the question that follows:


A newly discovered painting seems to be the work of one of two seventeenth-century artists either the northern German Johannes Drechen or the Frenchmen Louis Birelle who sometimes painted in the same style as Drechne. Analysis of the carved picture frame which has been identified as the paintings original seventeenth-century frame showed that it is made of wood found widely in northern Germany at the time but rare in the part of France where Birelle lived. This shows that the painting is most likely the work of Drechen.
Which of the following is an assumption that the arguments requires?

A
The frame was made from wood local to the region where the picture was painted
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B
Drechen is unlikely to have ever visited the home region of Birelle in France
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C
Sometimes a painting so resembles others of its era that no expert is able to confidently decide who painted it
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D
The painter of the picture chose chose the frame for the picture
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E
The carving style of the picture frame is not typical of any specific region of Europe
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Solution

The correct option is B The frame was made from wood local to the region where the picture was painted
Compared to the other options, it is only option A that links the argument and the conclusion together. If we deny the assumption that the wood of the frame was probably local to the region where the picture was painted, then the wood could have come from any other part of the world. This does not anything about who painted the painting. The negation of this assumption will destroy the entire argument. The same cannot be said of the other options. Thus, A is our answer.

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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:


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