Support The judgment that an artist is great always rests on assessments of the work the artist has produced. █ ██████ ██ █████ █████ ██ ███ ████ █████████ ██ ██████████ ██████████ ██ ███ ████ ██ ██████ ██ █████ ██ ████ ██ █████████ ███ ███████ ██ ███ ██ ███ █████ ██████ ███ ███ ████████ █████████ ███ ███████ ██ █████ ███ ██████████ ███ ███████ ██ ███ ████████ ███████ ██ ██████ ██████
The author concludes that knowing an artist is great does not help you predict how good his future works will be. His reasoning is that previously creating great works is a necessary condition for being considered a great artist in the first place.
The author’s conclusion is extreme: previous great works provide no basis for predicting the quality of future works. The flaw in his reasoning is assuming that a history of great works is only a necessary condition for being considered great. It’s possible that it also provides a basis for predictions about the quality of future work.
Suppose a painter’s 1000 previous paintings have been great. That could be both necessary to consider him a great artist, and good reason to believe the 1001st painting will also be great.
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