Even those who believe that the art of each age and culture has its own standards of beauty must admit that some painters are simply superior to others in the execution of their artistic visions. ███ ████ ███████████ ████ ██ ████████ ██ █████ ██ ███ ████████ █████████ █████ ███ ████ ███████ ███ ████████ ██ ████ ███ ████████ ████ ███ ███ █████████████ ████████ ██████ ███ ███ ██ ██████ ███████ ███ ████ ████ ███ █████████ ██ ███ █████████ ████████ ████ ████ ██████████
The superiority of some painters to others in executing their artistic visions should be determined in light of the artists’ purposes. For example, Jose Rey Toledo has definitively extraordinary art even though his art is is not literally representative of its subjects.
This is the claim that the conclusion tells us how to evaluate. The argument takes this as true and tells us how to measure superiority in the execution of their artistic visions: in light of their purposes.
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The argument accepts this claim as true. It says that everyone “must admit” it.
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The argument does not illustrate an objection. It agrees with the claim and argues how to evaluate it.
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The conclusion specifies that this claim should be understood in light of the artist’s purposes.
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This claim is part of the context that sets up the argument about measuring it. It neither gives nor receives support.
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This claim does not justify the relevance of the example, nor is it used as any sort of support. Instead, the example supports how we should measure this claim.