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passage 2
P1
Through the last half century, the techniques used by certain .
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.
P2
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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.
P3
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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.
P4
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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
9.
According to the passage, which ███ ██ ███ █████████ ██ █ ███████ ████ ███████ █████████ ███ ████████ ██ █ ███████████ ██ █ ██████████ ██████ ██████
a
horizontal incisions
b
eye position
c
top attachments
d
bottom decorations
e
mouth shape