770 level - RC passage

[abhasjha]

Late-nineteenth-century books about the French
artist Watteau (1684-1721) betray a curious blind
spot: more than any single artist before or since,
Watteau provided his age with an influential image
(5) of itself, and nineteenth-century writers accepted
this image as genuine. This was largely due to the
enterprise of Watteau's friends who, soon after his
death, organized the printing of engraved
reproductions of the great bulk of his work—both
(10) his paintings and his drawings—so that Watteau's
total artistic output became and continued to be
more accessible than that of any other artist until
the twentieth-century advent of art monographs
illustrated with photographs. These engravings
(15) presented aristocratic (and would-be aristocratic)
eighteenth-century French society with an image of
itself that was highly acceptable and widely imitated
by other artists, however little relationship that
image bore to reality. By 1884, the bicentenary of
(20) Watteau's birth, it was standard practice for
biographers to refer to him as "the personification
of the witty and amiable eighteenth century."

In fact, Watteau saw little enough of that "witty
and amiable" century for which so much nostalgia
(25) was generally felt between about 1870 and 1920, a
period during which enthusiasm for the artist
reached its peak. The eighteenth century's first
decades, the period of his artistic activity, were
fairly calamitous ones. During his short life, France
(30) was almost continually at war: his native region was
overrun with foreign troops, and Paris was
threatened by siege and by a rampaging army
rabble. The dreadful winter of 1709, the year of
Watteau's first Paris successes, was marked by
(35) military defeat and a disastrous famine.

Most of Watteau's nineteenth-century admirers
simply ignored the grim background of the works
they found so lyrical and charming. Those who took
the inconvenient historical facts into consideration
(40) did so only in order to refute the widely held
deterministic view that the content and style of an
artist's work were absolutely dictated by heredity
and environment. (For Watteau admirers, such
determinism was unthinkable: the artist was born
(45) in a Flemish town only six years after it first became
part of France, yet Watteau was quintessentially
French. As one patriotic French biographer put it,
"In Dresden, Potsdam, and Berlin I have never
come across a Watteau without feeling refreshed by
(50) a breath of native air.") Even such writers, however,
persisted in according Watteau's canvases a
privileged status as representative
"personifications" of the eighteenth century. The
discrepancy between historical fact and artistic
(55) vision, useful in refuting the extreme deterministic
position, merely forced these writers to seek a new
formula that allowed them to preserve the desired
identity between image and reality, this time a
rather suspiciously psychic one: Watteau did not
(60) record the society he knew, but rather "foresaw" a
society that developed shortly after his death.



14. Which one of the following best describes the overall organization of the passage?
(A) A particular phenomenon is discussed, the reasons that it is atypical are put forward, and these reasons are evaluated and refined.
(B) An assumption is made, results deriving from it are compared with what is known to be true, and the assumption is finally rejected as counter factual.
(C) A point of view is described, one hypothesis accounting for it is introduced and rejected, and a better hypothesis is offered for consideration.
(D) A general characterization is offered, examples supporting it are introduced, and its special applicability to a particular group is asserted.
(E) A particular viewpoint is explained, its shortcomings are discussed, and its persistence in the face of these is noted.

15. The passage suggests that late-nineteenth-century biographers of Watteau considered the eighteenth century to be “witty and amiable” in large part because of
(A) what they saw as Watteau’s typical eighteenth-century talent for transcending reality through art
(B) their opposition to the determinism that dominated late-nineteenth-century French thought
(C) a lack of access to historical source material concerning the early eighteenth century in France
(D) the nature of the image conveyed by the works of Watteau and his many imitators
(E) their political bias in favor of aristocratic regimes and societies

16. According to the passage, explanations of artistic production based on determinism were unthinkable to Watteau admirers for which one of the following reasons?
(A) If such explanations were widely accepted, too many people who would otherwise have admired Watteau would cease to appreciate Watteau’s works.
(B) If such explanations were adopted, they would make it difficult for Watteau admirers to explain why Watteau’s works were purchased and admired by foreigners.
(C) If such explanations were correct, many artists who, like Watteau, considered themselves French would have to excluded from histories of French art.
(D) If such simple explanations were offered, other more complex arguments concerning what made Watteau’s works especially charming would go unexplored.
(E) If such explanations were true, Watteau’s works would reflect a “Flemish” sensibility rather than the especially “French” one these admirers saw in them.

17. The phrase “curious blind spot” (line 2 -3) can best be interpreted as referring to which one of the following?
(A) some biographers’ persistent inability to appreciate what the author considers a particularly admirable equality
(B) certain writers’ surprising lack of awareness of what the author considers an obvious discrepancy
(C) some writers’ willful refusal to evaluate properly what the author considers a valuable source of information about the past
(D) an inexplicable tendency on the part of some writers to undervalue an artist whom the author considers extremely influential
(E) a marked bias in favor of a certain painter and a concomitant prejudice against contemporaries the author considers equally talented

18. It can be inferred from the passage that the author’s view of Watteau’s works differs most significantly from that of most late-nineteen-century Watteau admirers in which one of the following ways?
(A) Unlike most late-nineteenth-century Watteau admirers, the author appreciates the importance of Watteau’s artistic accomplishment.
(B) The author finds Watteau’s works to be much less lyrical and charming than did most late-nineteenth-century admirers of the works.
(C) In contrast to most late-nineteenth-century Watteau admirers, the author finds it misleading to see Watteau’s works as accurately reflecting social reality.
(D) The author is much more willing to entertain deterministic explanations of the origins of Watteau’s works than were most late-nineteenth-century Watteau admirers.
(E) Unlike most late-nineteenth-century admirers of Watteau, the author considers it impossible for any work of art to personify or represent a particular historical period.

19. The author asserts that during the period of Watteau’s artistic activity French society was experiencing which one of the following?
(A) widespread social upheaval caused by war
(B) a pervasive sense of nostalgia for an idealized past
(C) increased domination of public affairs by a powerful aristocracy
(D) rapid adoption by the middle classes of aristocratic manners and life-style
(E) a need to reconcile the French self-image with French social realities

20. The information given in the passage suggests that which one of the following principles accurately characterizes the relationship between an artist’s work and the impact it is likely to have on a society?
(A) An artist’s recognition by society is most directly determined by the degree to which his or her works are perceived as lyrical and charming.
(B) An artist will have the greatest influence on a society that values art particularly highly.
(C) The works of an artist who captures the true and essential nature of a given society will probably have a great impact on that society.
(D) The degree of influence an artist’s vision will have on a society is conditional on the visibility of the artist’s work.
(E) An artist who is much imitate by contemporaries will usually fail to have an impact on a society unless the imitators are talented.

[riteshbindal]

Real tough RC.
I tried to answer the questions and here are my answers:
14 - A (I was confused in A and D, but choosing D here).
15 - D
16 - E
17 - B
18 - D
19 - A
20 - D

Please post the OA soon

[nanda323]

14c
15d
16a
17e
18c
19a
20d

[shahdevine]

confident most are wrong. however,

14. e
15. b
16. e
17. c
18. c
19. a
20. c

[abhasjha]

Topic and Scope: 18th-century artist Watteau; specifically, the relationship between
Watteau’s work, historical events during his lifetime, and perceptions of him by
19th-century writers.

Purpose and Main Idea: Author’s purpose is to prove that there was a “blind spot” in
19th-century books that regard Watteau as the guy—the representative of that “witty and
amiable 18th century.” Part one of this argument is to show that war-torn 18th-century
France was anything but “witty and amiable.” Part two is to offer some explanations as to
why 19th-century writers so blatantly ignored the historical facts. All things considered,
this passage has the air of a Logical Reasoning “paradox” problem.
Paragraph Structure: ¶1 describes Watteau’s increasing popularity in the 18th and 19th
centuries as an artist who captured the “witty and amiable” character of 18th-century life.
¶2 provides a reality check, pointing out that the early 18th century was in fact a pretty
miserable period for France, notable more for its years of military defeat and disastrous
famine than for its lyricism. ¶3 attempts to explain the “blind spot” in 19th-century books
about Watteau: Some writers just ignored the facts, while others simply argued that artists
aren’t necessarily influenced by their environment. Note the final twist on this position—
some writers were so pro-Watteau that they even argued that he was predicting the society
that evolved after his death.


14. (E)
The trick here is to be clear about the paragraph topics: Once again, ¶1 outlines the
viewpoint of Watteau’s 19th-century biographers, ¶2 pokes it full of holes by presenting
the historical facts, and ¶3 explains why those biographers persisted in their beliefs in spite
of the evidence. (E) fits the way this argument develops.
(A) gets the link between ¶2 and 3 wrong: the author doesn’t evaluate or refine the evidence
presented in ¶2.
(B) The author doesn’t use the passage to test an assumption. The passage does deal with
19th-century assumptions about Watteau, but it goes far beyond simply rejecting them as
counterfactual.
(C) doesn’t account for ¶2; also, the author doesn’t advance two separate theories about the
historians’ “blind spot.”
(D) Au contraire: The author provides evidence that proves the inaccuracy of Watteau’s
19th-century image.

15. (D)
The end of ¶1 explains the most basic reason for Watteau’s reputation: Writers, aristocrats
and would-be aristocrats ignored the historical facts because Watteau presented such a
flattering picture of 18th-century French life.
(A) is tricky: According to ¶3, it was only the minority of writers who developed the
sophisticated argument that Watteau was transcending reality.
(B) also refers to this minority of writers (¶3) who opposed the determinist stance.
(C) is well outside the scope; no lack of historical source material is discussed.
(E) distorts the passage. Nothing as radical as a political bias towards aristocrats is
mentioned.


16. (E)
¶3 explains that the determinist viewpoint was “unthinkable” to these particular Watteau
fanatics because Watteau was quintessentially French, even though born in a Flemish town.
(E) captures the logic of this faction—if artists were primarily influenced by their
environment, Watteau would have produced “quintessentially Flemish” works.
(A) Au contraire: Watteau was widely admired precisely because people believed in the
determinist philosophy.
(B) is geographically outside the scope—the passage never discusses Watteau’s popularity
outside of France.
(C) can be quickly rejected because the passage never considers Watteau’s view of himself.
Watteau is of course long dead and buried during the events and viewpoints of the
passage (happy 200th birthday, Pierre—see line 19).
(D) Abstruse phrasing should flag this choice as outside the scope. There’s no debate
about “simple” versus “complex” explanations offered, nor is the author concerned with
why Watteau’s works were charming.


17. (B)
True to its pole position at the head of ¶1, the “blind spot” is the problem in 19th-century
scholarship that the author attacks throughout the passage. It’s the “obvious discrepancy”
between 19th-century writers’ acceptance that Watteau portrayed his age realistically, and
the historical facts mentioned in ¶2.
(A) and (D) misrepresent the author’s position: She doesn’t single out anything
“admirable” about Watteau’s work or accuse others of not appreciating Watteau enough.
(C) presents an even wilder distortion: No willful disregard of available evidence is cited.
(E) goes beyond the scope, since no neglected contemporaries are discussed.


18. (C)
Nicely paraphrases the argument in ¶2.
(A) Au contraire: 19th-century admirers thought Watteau’s accomplishments were
extremely important.
(B), (D), and (E) all distort the passage. The author never endorses the deterministic
standpoint (D) or indicates whether she finds Watteau’s work lyrical and charming or
otherwise (B). The extreme language in (E) (“impossible for any work of art to personify or
represent a particular historical period”) helps tag this wrong answer choice.


19. (A)
¶2 describes conditions in France during Watteau’s lifetime: Social upheaval caused by
war summarizes the “calamitous” events.
(B) describes 19th-century nostalgia for the witty and amiable past—not what actually
occurred during Watteau’s life.
(C) distorts ¶1’s brief mention of the aristocracy.
(D) also relates to ¶1, but Watteau’s popularity with the aristos (and aristo wannabes)
occurred after his death.
(E) is outside the scope—no sweeping generalizations about French society in this passage.

20. (D)
A tricky question that depends on your picking up on the implied reasons for Watteau’s
success. ¶1 explains why Watteau’s work had such a powerful impact on French society:
Engravings of his work were made available in such numbers that his work became “more
accessible than any other artist until the 20th century.” No word on whether he painted
dogs playing poker or clowns on velvet.
(A) focuses on a detail. Sure, Watteau was successful partly because he produced “lyrical
and charming” images. But we cannot subscribe to (A)’s inference that only “lyrical and
charming” works of art will achieve wide recognition.
(B) is outside the scope. Nowhere does the author suggest that French society had an
exceptional regard for art.
(C) is very tricky. The passage certainly links Watteau’s long-standing appeal to the
perception that he had captured the essential France of his time. But ¶1 indicates that
Watteau only became France’s favorite artist because his work was so widely available, so
we can’t infer that capturing the true nature of your society guarantees artistic success.
After all, Watteau’s “lyrical and charming” engravings wouldn’t have had an impact if they
hadn’t been resurrected and sold like hot cakes. Another problem: As we know, Watteau
didn’t really encapsulate the true nature of his time; (C) makes it sound as if he did.
(E) distorts ¶1’s brief mention of Watteau’s imitators.

[riteshbindal]

Seems like I got most of them correct except 2

[saiyamji]

Hello abhas bhai,

I like your passage and it worth of for the mark of 700.

May you kindly advice me the source of such kind of passages?

I am weak at comprehension, and need your advice.

Thanks and regards

Sai

[tom4lax]

great practice question. What is the source?

[nikilnikil]

This RC is from LSAT