PT145.S3.P2.Q9 > Analytics

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It is commonly assumed that even if some forgeries have aesthetic merit, no forgery has as much as an original by the imitated artist would. ███

Common belief · Forgeries can't be as good aesthetically as originals

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Conflicting fact · Art specialists can mistake a forgery for an original

This suggests that, at least aesthetically, forgeries can be as good. (Ex. Han van Meegeren's Disciples painting; forged under signatures of Jan Vermeer and thought to be one of Vermeer's best works.)

Questions · Is forgery inherently inferior art? How can be judge forgeries as worse?

The fact that a fake can be confused for an original suggests that it's aesthetically as good.

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Lessing's answer · Lessing has an answer

We'll get the answer in the next paragraph.

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Lessing's answer · Forgeries are worse, but not because of aesthetics

Forgeries lack vision and originality, which are some of the qualities by which we judge art.

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Author's agreement with Lessing · van Meegeren's fake lacked historical significant

It didn't involve origination of the artistic techniques that Vermeer was known for. So, it was worse.

Passage Style

Single position

In the first paragraph, the ██████ ██████ ██ █ ██████ ███████ ████████ ███████████ ██ █████████ ███ ██████████ ███████ ██ ██ █ ███████ ███████ █████████ ██ █████ ██

Question Type

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

Structure

The critics’ persistence in believing the forgery to be genuine is offered to support the following claim in P1: “Yet even the most prominent art specialists can be duped by a talented artist turned forger into mistaking an almost perfect forgery for an original.” We know this because immediately after that claim, the author says, “For instance...” This indicates the discussion concerning The Disciples at Emmaus, including the critic’s reaction, illustrates that claim.

argue that many ███ ███████ ███ ██████████ ██ █████ █████████

The author does not argue that many art critics are inflexible in their judgments of work. The critic’s reaction is not an example of inflexibility, but of the ability of a forgery to dupe even an experienced art critic.

indicate that the ███████ ███ █████████ ███████ ███ █████████ ██ ██████ ████ ███ ██ █████████████ ██ ████ ████████

The critic’s reaction is not an example of the lack of knowledge of some critics, but of the ability of a forgery to dupe even an experienced art critic.

suggest that the ████████ ███ ███ ████ ███ ██ ██ █ ███████ ███████

Anti-supported. The Disciples at Emmaus is a forgery.

emphasize that the ███████ ██ ███████ ██████ ██ ██████████ ██████████

The author does not question the concept of forgery.

illustrate the difficulties ████ ██████████ ████████ █████████ ███ ████ ███ ███ ███████

This best captures the purpose as explained above.

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PrepTest 145 - Section 3 - Passage 2 - Question 9

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PrepTest 145 - Section 3 - Passage 2 - Question 9

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