PT122.S3.P2.Q13 > Analytics

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Intro Topic · Refined techniques for African sculptures

Art historians are better now at figuring out which tribes made which sculptures.

One Critic's View · Techniques are oversimplified

One critic believes that a sculpture's style doesn't necessarily tell you which tribe it came from.

Premise (for Critique) · Sculptures are diffused across regions via trade

Workshops of artists sell their work over a large area. A better way to classify is to think of "centers of style" that cover a large area with many tribes. Analogy(?): Instead of this is NYC pizza and this is Boston pizza, think this is "Northeast" pizza, because someone in Connecticut made it and shipped it to NYC and Boston.

Premise (for Critique) · An artist family creates works for client tribes

Because the same artists make the sculptures, there will be some stylistic similarity. But they must also introduce stylistic differences in order to satisfy the demands of their clients. This is what confuses the art historians.

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Example (of Critique) · Konaté family as a "center of style"

Konaté sculptors produce works for five neighboring tribes and also for tourists. Their work is stylistically similar in proportions, composition, color, and technique. But subtly different in details like foliate patterns or diamond-shaped mouths.

Conclusion / Critique · Art historian's "refined techniques" are flawed

Art historians should recognize the reality of how these sculptures are produced an hence stop trying to finely categorize styles and sub-styles.

Passage Style

Single position

13.

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

Question Type

Meaning in context (of word, phrase, or idea)

Structure

“Centers of style” are places “where families, clans, and workshops produce sculpture and other art that is dispersed over a large, multitribal geographical area.” These families produce works that in distinctive styles for different groups, but the styles also show similarities.

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The sculptures are not “interchangeable” — as P2 explains, there are certain stylistic features that the clients want. Those features are not necessarily the same for different clients.

locations in which █████ ██ ███ ███ ████████ ██ █████████ █████ █ ██████████ █████ ███ ████ ████████ █████ ███████ ██████████ █████ ███████████ ████████████ █████

We don’t know that families “instruct other artists” throughout large areas.

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This is the best meaning. Works produced at a center of style have stylistic similarities, but also subtle differences, and are distributed to surrounding groups.

76%

large geographical areas ██████████ █████ ███ ███████ ██████ ███████ █████ ██ ███ ████ ██████ ██████ █████ ██████ █████ ███ ███ ██ ███████ ████ ████ ███ ████ █████████ ███ ███████ █████████ ██ ███████████ ████ ███ ███████

A center of style is not necessarily a “large geographical area.” Rather, a center of a style involves “workshops of artists who sell their work over a large geographical area.”

17%

locations in which ██████████ ███ ███████ █████ ██ ███ ███ █████████████ ████████ ██ █ ███████ █████████ ██ ███████ ███ ███████ ██ ████ ███████ ██████ ██ ███████████ █████

We have no reason to think centers of style are places where artists “migrated” from surrounding areas.

PrepTest 122 - Section 3 - Passage 2 - Question 13

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