artistic exercise and that artists consider their relationship with their

Artistic exercise and that artists consider their

This preview shows page 410 - 412 out of 464 pages.

artistic exercise, and that artists consider their relationship with their sitters to be somehow significant. Thus, choice (C) is a good statement of the author’s primary point. Choice (A) is the second-best response. It embraces the passage as a whole and properly focuses on the author’s primary concern with exploring the relationship between artist and sitter. However, the passage does not discuss how or whether this relationship 394 PART III: The Practice Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Image of page 410
results in a “successful” portrait; thus choice (A) distorts the information in the passage. Choice (B) is off focus and calls for an unwarranted generalization. Admittedly, the author does claim that the Reynolds paradigm (described by Hazlitt as well as by the author in the third paragraph) is “quite different” (line 46) from the two paradigms discussed in the second paragraph, and the latter does indeed involve a painter (Reynolds) while the other two paradigms involve photographers (Cartier-Bresson and Avedon). However, nowhere in the passage does the author generalize from this fact that a portrait artist’s approach or view depends upon whether the artist is a painter or a photographer. Choice (D) distorts the information in the passage and departs from the topic at hand. Although the passage does support the notion that a portrait might reveal something about the relationship between artist and sitter, the author neither states nor implies that a portrait reveals anything about the artist’s other relationships. Moreover, nowhere in the passage does the author compare portraiture with other art forms. Choice (E) is too narrow and refers to information not mentioned in the passage. The passage is not just about Reynolds, but about the portraiture encounter in general. Also, the author does not comment on Reynolds’ “success” or about how his relationship with his sitters may have contributed to his success. 15. The correct answer is (D). This is a relatively easy comparative reading question in which you must recall explicit information. Both passages clearly identify Jordan and Turner as restorationists, and both passages critique the writings of Jordan and Turner: passage A explains why their ideas are “puzzling,” while passage B criticizes their statements as not cohering well with their announced principles. Choices (A) and (B) are both incorrect because passage B provides no critique of environmental preservationism or of the claims of modern-day environmentalists. Choice (C) is incorrect for two reasons. First, it distorts the point in passage A that Turner and Jordan don’t see that dualism is logically unnecessary for environmental preservationism. (Also, the author never mentions domination model in this context.) Secondly, passage B provides no direct critique of the dualism assumption. Choice (E) confuses the point in passage A that Turner and Jordan fail to criticize mainstream industry for plundering the natural world.
Image of page 411
Image of page 412

You've reached the end of your free preview.

Want to read all 464 pages?

  • Spring '14
  • The Lottery, ........., Law School Admission Test

  • Left Quote Icon

    Student Picture

  • Left Quote Icon

    Student Picture

  • Left Quote Icon

    Student Picture

Stuck? We have tutors online 24/7 who can help you get unstuck.
A+ icon
Ask Expert Tutors You can ask You can ask You can ask (will expire )
Answers in as fast as 15 minutes