PT107.S2.P1.Q4

PrepTest 107 - Section 2 - Passage 1 - Question 4

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P1

For some years before the outbreak of World War I, a number of painters in different European countries developed works of art that some have described as prophetic: paintings that by challenging viewers' habitual ways of perceiving the world of the present are thus said to anticipate a future world that would be very different. ███

Other People's View · Belief that pre-WWI paintings were prophetic
"Prophetic" meaning that they asked viewers to change the way they view the world, like these paintings were prophesying the future world to come.
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Fact: New Style · These painters displayed various styles but all broke with tradition of representational art
This is a common theme in "art" passages in RC. Usually, we only talk about art or artists that invented something new.
P2

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Other People's View · These painters anticipated social and political changes
Their break with tradition was so fundamental that some critics credited these artists with having anticipated political and social disruptions of WWI. Huh?
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Other People's View · Their prophetic power is what's most interesting about them
Really? Not the new artistic techniques?
P3

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Concession · Artists are free to speculate about the future, like anyone else
I get the feeling that the author's setting up here to disagree with the critics.
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Author's Critique · The painting's aesthetic innovations are what is most important
The author disagrees with the critics. This makes sense. It's just a weird argument that these renowned painters are remembered for... not their art but rather their social / political prophesies.
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Example · Picasso; Braque; cubism
Picasso and Braque told everyone that that they were trying to innovate modes of representation; that they were not concerned with reforming society.
P4

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Author’s Critique · Not all changes in art were followed by dramatic world events
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Example · Delacroix
Delacroix made stylistic changes in response to (not in anticipation of) social changes.
Passage Style
Critique or debate
Show answer
4.

The author presents the example ██ █████████ ██ █████ ██ ██████████ █████ ███ ██ ███ █████████ ███████

a

Social or political ███████ ███████ ████ ██ █████████ ████████ ████████████

This is not the point expressed in the line immediately before the Delacroix example is brought up.

2%
b

Artistic innovations do ███ ███████████ ██████████ ██████ ██ █████████ ██████████

This is a rephrasing of the idea expressed in the line immediately before the Delacroix example is brought up.

81%
c

Some European painters ████ ████ ███ ██ ███████ ██████ ██ █████████ ████████

This is not the point expressed in the line immediately before the Delacroix example is brought up. In addition, the whole point of the passage is that certain artists that people think predicted social/political changes actually did not do that through their art.

1%
d

Important stylistic innovations ███ ████ ████████ ██ ██████████ ████ ███████████

This is not the point expressed in the line immediately before the Delacroix example is brought up.

0%
e

Innovative artists can █████ ██████████ ██ ██████ ██ █████████ ████████

If you’re tempted by this, it might be because you think it’s supported by the case of Delacroix. That’s arguably true, but there’s no reason to dwell on that issue. Even if (E) is supported, it’s not the author’s purpose in bring up Delacroix. The purpose is to illustrate the point made in the line immediately before Delacroix was mentioned. This points means that art changes are not always followed by dramatic social/political events. The point has nothing to do with what innovative artists can adapt to.

16%

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