Self-study
Curator: Conclusion The decision to restore the cloak of the central figure in Veronese's painting from its present red to the green found underneath is fully justified. ████████ █████ ███ ████████ █████ ████ ████ ███ ███ ███████ ███ ███████ █████ ███ ████████ ███ ████ ██████████ ███ ████ ███ ███ █████ ███ ███ █████ ██ ██████████ █████████ █████ ██ ███████ ██████ ████ ██ ██████ █████ ████ ████████ ████████ ████ ██████████ ████████ █████ ███ ███████████
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Curator's Argument
The curator argues that the decision to restore part of a painting to its original green, rather than the current red, is justified. The curator supports this claim by asserting that another artist probably added the red to the painting. This assertion is a sub-conclusion, further supported by the factual premises that the red paint was a late addition to the painting, and wasn’t from the original artist’s workshop.
Art Critic's Argument
The art critic doesn't directly state a conclusion, but seems to disagree with the curator about whether the restoration was justified. The critic points out that a contemporary copy of the painting had a red cloak, not green. Since it would be unlikely for a copyist to make such a change so soon, it seems the cloak was probably red shortly after Veronese's death.
10.
The art critic's response to ███ ███████ █████ ███████ ███ █████████ ███████ ███ █████ ███ ██ ███ █████████ ████████████
a
The copy of ██████████ ████████ ████ ███ ████ ████ █████ ███ █████████ █████ ██ █████████████████ ████ ███ █████████
All we know about the copy is that it featured a red cloak, and probably so did the original painting at the time the copy was made. But it's entirely possible there were other differences—including differences in the respective artists' skill. Saying they were "indistinguishable" is too strong.
b
No painting should ██ ████████ ██████ ███ ████████ ██ ██████ ████ ███████████████ █████████████ ██████████
The art critic doesn't seem to care what equipment was used to test the painting. The critic is just focused on historical evidence about the painting's appearance at a certain time, so a claim about equipment isn't supported.
c
The proposed restoration ████ ████ ██ ███████ ██████████ ████████ ██ ███ ██████████ ██ ███ ██ ███ ███ ██ ███ ████████ █████████
The critic's argument, if true, gives us reason to believe the cloak was red at the end of Veronese's lifetime. Since the restoration will turn the cloak green, it's strongly supported to say the restoration will restore a different appearance.
d
The value of ██ ████████ ████ ██ ███ ███████████ ███████████ ████ ████ ████ ██ ████████ ████ ██ █████ ████████
The art critic doesn't bring up the idea of artworks' value; in fact, neither speaker does. So the critic's statements don't support any particular claims about the value of an artwork.
e
Veronese did not ██████████ ██████ ███ ███████ ████████ █████ ██ ██ ██████
(E) is a trap answer, but there's a subtle distinction at play. The critic only discusses how the painting likely looked shortly after Veronese died—which doesn't necessarily reflect Veronese's original intentions. What if Veronese painted a green cloak, and someone else repainted it red before he died? That's why (E) is unsupported.