PT147.S2.P2.Q12

PrepTest 147 - Section 2 - Passage 2 - Question 12

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P1

Best known for her work with lacquer, Eileen Gray (1878–1976) had a fascinating and multifaceted artistic career: she became a designer of ornaments, furniture, interiors, and eventually homes. ██████ ███ █████████ ███████ ████ ███████ ███████ ██ ███ ████ ██████ ███ ██████ ███████ ██ ████████ ████ ███████ ████ ████ ███████ ███████ ███

Intro topic · Designer Eileen Gray
Detail-oriented artist known for lacquer work
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Focus topic · Gray's use of lacquer
Contrast between lacquer work (straight lines, simple forms) and then-popular Art Nouveau style (flowing, leafy lines)
P2

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Draw comparison · Lacquer work and architecture
Both require a balance between aesthetic and structural considerations. For lacquer, structural considerations require the wood to be lacquered on both sides, meaning half of the work is aesthetically hidden if only viewed from one side.
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Gray's progression · With lacquer work
Started with works viewed only from one side; later works were viewed from multiple sides
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Further progression · Growth into furniture design
Modern, simple, functional
P3

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Further progression · Growth into architecture
Call-back to Gray's balance between aesthetic and structural considerations
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List examples · Of Gray's architectural work
Multi-use architectural features and furniture, blending of indoor and outdoor space
Passage Style
Single position
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Show answer
12.

Which one of the following ████ ██████████ █████████████ ███ ████████ ████████ ██████ ██████ ████████ ████████████████

a

appreciation of the ████ ████ ███ █████████ ███████████ ██ ████ ██ ███ █████████ ███ ████ ███ ███ █████ ██ ███ █████ ████ ███ ████ █████ ████ ████ ██ ████ ██ ███ ██████████████

This is the best answer. The author calls Gray’s career “fascinating and multifaceted.” The bulk of the passage discusses Gray’s aesthetic philosophy and how it applies in a range of different media. We also know that Gray’s lacquer-influenced style was different from that of her contemporaries in Paris.

58%
b

admiration for her ████████ ████████████ ███ ███████ ██ ███████ ██ ████████████ ███ ██████ ████ ██████ ████ ███████ ██████████ ███ ██ ███ █████████ ██ ███ ███ █████

We don’t know that Gray was “on the periphery of the art world.” Although early in her career she didn’t go along with the then-flourishing Art Nouveau movement, this doesn’t imply that she was on the sidelines of the art world.

2%
c

appreciation for the ██████████████ ██ ████████ █████████ ██ ███ █████ ██ █████ ███ ████ █ ██████ ████████████ ██ ██████ █████████████ ██████ █████ █████████ ████████ ██ ████████ █████████████ ██████████

We don’t know that Gray was “faithful to Japanese architectural traditions.” The passage doesn’t discuss Japanese architectural traditions.

9%
d

admiration for the █████ ███████████ ██ ███ ███████ ████ ███ ██████████ ██ ███████ ██████ ████ ██ ██████████ ██ █████ ███████████ ████ ███████ ████ ███████ ███ ██████████ ██ ██ ███████████ ██████

The author never suggests Gray experienced “rapid” development, nor that there’s something particularly interesting about the speed of one’s artistic development. Also, there’s no evidence Gray had a reputation as an avant-garde artist. Avant-garde is associated with experiments, with new things. Working within the tradition of lacquer doesn’t seem avant-garde.

16%
e

appreciation for her ████ ██ ███████████████ ███ █████ ██ ██████████ ██████ ███████ ███ ███ ██ ███████████ █████████ ███ ██████ █████████ ██ ███ █████████ █████████ ███ █████████████ ████

The author never suggests that Gray “revolutionized” the field of structural design.

15%

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