For some years before the outbreak of World War I, a number of painters in different European countries developed works of art that some have described as prophetic: paintings that by challenging viewers' habitual ways of perceiving the world of the present are thus said to anticipate a future world that would be very different. The artistic styles that they brought into being varied widely, but all these styles had in common a very important break with traditions of representational art that stretched back to the Renaissance.
So fundamental is this break with tradition that it is not surprising to discover that these artists ?among them Picasso and Braque in France, Kandinsky in Germany, and Malevich in Russia ?are often credited with having anticipated not just subsequent developments in the arts, but also the political and social disruptions and upheavals of the modern world that came into being during and after the war. One art critic even goes so far as to claim that it is the very prophetic power of these artworks, and not their break with traditional artistic techniques, that constitutes their chief interest and value.
No one will deny that an artist may, just as much as a writer or a politician, speculate about the future and then try to express a vision of that future through making use of a particular style or choice of imagery; speculation about the possibility of war in Europe was certainly widespread during the early years of the twentieth century. But the forward-looking quality attributed to these artists should instead be credited to their exceptional aesthetic innovations rather than to any power to make clever guesses about political or social trends. For example, the clear impression we get of Picasso and Braque, the joint founders of cubism, from their contemporaries as well as from later statements made by the artists themselves, is that they were primarily concerned with problems of representation and form and with efforts to create a far more "real" reality than the one that was accessible only to the eye. The reformation of society was of no interest to them as artists.
It is also important to remember that not all decisive changes in art are quickly followed by dramatic events in the world outside art. The case of Delacroix, the nineteenth-century French painter, is revealing. His stylistic innovations startled his contemporaries ?and still retain that power over modern viewers ?but most art historians have decided that Delacroix adjusted himself to new social conditions that were already coming into being as a result of political upheavals that had occurred in 1830, as opposed to other artists who supposedly told of changes still to come.
According to the author, the work of the pre-World War I painters described in the passage contains an example of each of the following EXCEPT:
A. an interest in issues of representation and form
B. a stylistic break with traditional art
C. the introduction of new artistic techniques
D. the ability to anticipate later artists E. the power to predict social changes
For some years before the outbreak of World War I, a number of painters in different European countries developed works of art that some have described as prophetic: paintings that by challenging viewers' habitual ways of perceiving the world of the present are thus said to anticipate a future world that would be very different. The artistic styles that they brought into being varied widely, but all these styles had in common a very important break with traditions of representational art that stretched back to the Renaissance.
So fundamental is this break with tradition that it is not surprising to discover that these artists ?among them Picasso and Braque in France, Kandinsky in Germany, and Malevich in Russia ?are often credited with having anticipated not just subsequent developments in the arts, but also the political and social disruptions and upheavals of the modern world that came into being during and after the war. One art critic even goes so far as to claim that it is the very prophetic power of these artworks, and not their break with traditional artistic techniques, that constitutes their chief interest and value.
No one will deny that an artist may, just as much as a writer or a politician, speculate about the future and then try to express a vision of that future through making use of a particular style or choice of imagery; speculation about the possibility of war in Europe was certainly widespread during the early years of the twentieth century. But the forward-looking quality attributed to these artists should instead be credited to their exceptional aesthetic innovations rather than to any power to make clever guesses about political or social trends. For example, the clear impression we get of Picasso and Braque, the joint founders of cubism, from their contemporaries as well as from later statements made by the artists themselves, is that they were primarily concerned with problems of representation and form and with efforts to create a far more "real" reality than the one that was accessible only to the eye. The reformation of society was of no interest to them as artists.
It is also important to remember that not all decisive changes in art are quickly followed by dramatic events in the world outside art. The case of Delacroix, the nineteenth-century French painter, is revealing. His stylistic innovations startled his contemporaries ?and still retain that power over modern viewers ?but most art historians have decided that Delacroix adjusted himself to new social conditions that were already coming into being as a result of political upheavals that had occurred in 1830, as opposed to other artists who supposedly told of changes still to come.
Which one of the following most accurately describes the contents of the passage?
A. The author describes an artistic phenomenon; introduces one interpretation of this phenomenon; proposes an alternative interpretation and then supports this alternative by criticizing the original interpretation.
B. The author describes an artistic phenomenon; identifies the causes of that phenomenon; illustrates some of the consequences of the phenomenon and then speculates about the significance of these consequences.
C. The author describes an artistic phenomenon; articulates the traditional interpretation of this phenomenon; identifies two common criticisms of this view and then dismisses each of these criticisms by appeal to an example.
D. The author describes an artistic phenomenon; presents two competing interpretations of the phenomenon; dismisses both interpretations by appeal to an example and then introduces an alternative interpretation.
E. The author describes an artistic phenomenon; identifies the causes of the phenomenon; presents an argument for the importance of the phenomenon and then advocates an attempt to recreate the phenomenon.
For some years before the outbreak of World War I, a number of painters in different European countries developed works of art that some have described as prophetic: paintings that by challenging viewers' habitual ways of perceiving the world of the present are thus said to anticipate a future world that would be very different. The artistic styles that they brought into being varied widely, but all these styles had in common a very important break with traditions of representational art that stretched back to the Renaissance.
So fundamental is this break with tradition that it is not surprising to discover that these artists ?among them Picasso and Braque in France, Kandinsky in Germany, and Malevich in Russia ?are often credited with having anticipated not just subsequent developments in the arts, but also the political and social disruptions and upheavals of the modern world that came into being during and after the war. One art critic even goes so far as to claim that it is the very prophetic power of these artworks, and not their break with traditional artistic techniques, that constitutes their chief interest and value.
No one will deny that an artist may, just as much as a writer or a politician, speculate about the future and then try to express a vision of that future through making use of a particular style or choice of imagery; speculation about the possibility of war in Europe was certainly widespread during the early years of the twentieth century. But the forward-looking quality attributed to these artists should instead be credited to their exceptional aesthetic innovations rather than to any power to make clever guesses about political or social trends. For example, the clear impression we get of Picasso and Braque, the joint founders of cubism, from their contemporaries as well as from later statements made by the artists themselves, is that they were primarily concerned with problems of representation and form and with efforts to create a far more "real" reality than the one that was accessible only to the eye. The reformation of society was of no interest to them as artists.
It is also important to remember that not all decisive changes in art are quickly followed by dramatic events in the world outside art. The case of Delacroix, the nineteenth-century French painter, is revealing. His stylistic innovations startled his contemporaries ?and still retain that power over modern viewers ?but most art historians have decided that Delacroix adjusted himself to new social conditions that were already coming into being as a result of political upheavals that had occurred in 1830, as opposed to other artists who supposedly told of changes still to come.
The author presents the example of Delacroix in order to illustrate which one of the following claims?
A. Social or political changes usually lead to important artistic innovations.
B. Artistic innovations do not necessarily anticipate social or political upheavals.
C. Some European painters have used art to predict social or political changes.
D. Important stylistic innovations are best achieved by abandoning past traditions.
E. Innovative artists can adapt themselves to social or political changes.
For some years before the outbreak of World War I, a number of painters in different European countries developed works of art that some have described as prophetic: paintings that by challenging viewers' habitual ways of perceiving the world of the present are thus said to anticipate a future world that would be very different. The artistic styles that they brought into being varied widely, but all these styles had in common a very important break with traditions of representational art that stretched back to the Renaissance.
So fundamental is this break with tradition that it is not surprising to discover that these artists ?among them Picasso and Braque in France, Kandinsky in Germany, and Malevich in Russia ?are often credited with having anticipated not just subsequent developments in the arts, but also the political and social disruptions and upheavals of the modern world that came into being during and after the war. One art critic even goes so far as to claim that it is the very prophetic power of these artworks, and not their break with traditional artistic techniques, that constitutes their chief interest and value.
No one will deny that an artist may, just as much as a writer or a politician, speculate about the future and then try to express a vision of that future through making use of a particular style or choice of imagery; speculation about the possibility of war in Europe was certainly widespread during the early years of the twentieth century. But the forward-looking quality attributed to these artists should instead be credited to their exceptional aesthetic innovations rather than to any power to make clever guesses about political or social trends. For example, the clear impression we get of Picasso and Braque, the joint founders of cubism, from their contemporaries as well as from later statements made by the artists themselves, is that they were primarily concerned with problems of representation and form and with efforts to create a far more "real" reality than the one that was accessible only to the eye. The reformation of society was of no interest to them as artists.
It is also important to remember that not all decisive changes in art are quickly followed by dramatic events in the world outside art. The case of Delacroix, the nineteenth-century French painter, is revealing. His stylistic innovations startled his contemporaries ?and still retain that power over modern viewers ?but most art historians have decided that Delacroix adjusted himself to new social conditions that were already coming into being as a result of political upheavals that had occurred in 1830, as opposed to other artists who supposedly told of changes still to come.
According to the passage, the statements of Picasso and Braque indicate that
A. they had a long-standing interest in politics
B. they worked actively to bring about social change
C. their formal innovations were actually the result of chance
D. their work was a deliberate attempt to transcend visual reality
E. the formal aspects of their work were of little interest to them
For some years before the outbreak of World War I, a number of painters in different European countries developed works of art that some have described as prophetic: paintings that by challenging viewers' habitual ways of perceiving the world of the present are thus said to anticipate a future world that would be very different. The artistic styles that they brought into being varied widely, but all these styles had in common a very important break with traditions of representational art that stretched back to the Renaissance.
So fundamental is this break with tradition that it is not surprising to discover that these artists ?among them Picasso and Braque in France, Kandinsky in Germany, and Malevich in Russia ?are often credited with having anticipated not just subsequent developments in the arts, but also the political and social disruptions and upheavals of the modern world that came into being during and after the war. One art critic even goes so far as to claim that it is the very prophetic power of these artworks, and not their break with traditional artistic techniques, that constitutes their chief interest and value.
No one will deny that an artist may, just as much as a writer or a politician, speculate about the future and then try to express a vision of that future through making use of a particular style or choice of imagery; speculation about the possibility of war in Europe was certainly widespread during the early years of the twentieth century. But the forward-looking quality attributed to these artists should instead be credited to their exceptional aesthetic innovations rather than to any power to make clever guesses about political or social trends. For example, the clear impression we get of Picasso and Braque, the joint founders of cubism, from their contemporaries as well as from later statements made by the artists themselves, is that they were primarily concerned with problems of representation and form and with efforts to create a far more "real" reality than the one that was accessible only to the eye. The reformation of society was of no interest to them as artists.
It is also important to remember that not all decisive changes in art are quickly followed by dramatic events in the world outside art. The case of Delacroix, the nineteenth-century French painter, is revealing. His stylistic innovations startled his contemporaries ?and still retain that power over modern viewers ?but most art historians have decided that Delacroix adjusted himself to new social conditions that were already coming into being as a result of political upheavals that had occurred in 1830, as opposed to other artists who supposedly told of changes still to come.
The art critic mentioned in 2nd paragraph would be most likely to agree with which one of the following statements?
A. The supposed innovations of Picasso, Braque, Kandinsky, and Malevich were based on stylistic discoveries that had been made in the Renaissance but went unexplored for centuries.
B. The work of Picasso, Braque, Kandinsky, and Malevich possessed prophetic power because these artists employed the traditional techniques of representational art with unusual skill.
C. The importance of the work of Picasso, Braque, Kandinsky, and Malevich is due largely to the fact that the work was stylistically ahead of its time.
D. The prophecies embodied in the work of Picasso, Braque, Kandinsky, and Malevich were shrewd predictions based on insights into the European political situation.
E. The artistic styles brought into being by Picasso, Braque, Kandinsky, and Malevich, while stylistically innovative, were of little significance to the history of post-World War I art.
For some years before the outbreak of World War I, a number of painters in different European countries developed works of art that some have described as prophetic: paintings that by challenging viewers' habitual ways of perceiving the world of the present are thus said to anticipate a future world that would be very different. The artistic styles that they brought into being varied widely, but all these styles had in common a very important break with traditions of representational art that stretched back to the Renaissance.
So fundamental is this break with tradition that it is not surprising to discover that these artists ?among
them Picasso and Braque in France, Kandinsky in Germany, and Malevich in Russia ?are often credited with having anticipated not just subsequent developments in the arts, but also the political and social disruptions and upheavals of the modern world that came into being during and after the war. One art critic even goes so far as to claim that it is the very prophetic power of these artworks, and not their break with traditional artistic techniques, that constitutes their chief interest and value.
No one will deny that an artist may, just as much as a writer or a politician, speculate about the future and then try to express a vision of that future through making use of a particular style or choice of imagery; speculation about the possibility of war in Europe was certainly widespread during the early years of the twentieth century. But the forward-looking quality attributed to these artists should instead be credited to their exceptional aesthetic innovations rather than to any power to make clever guesses about political or social trends. For example, the clear impression we get of Picasso and Braque, the joint founders of cubism, from their contemporaries as well as from later statements made by the artists themselves, is that they were primarily concerned with problems of representation and form and with efforts to create a far more "real" reality than the one that was accessible only to the eye. The reformation of society was of no interest to them as artists.
It is also important to remember that not all decisive changes in art are quickly followed by dramatic events in the world outside art. The case of Delacroix, the nineteenth-century French painter, is revealing. His stylistic innovations startled his contemporaries ?and still retain that power over modern viewers ?but most art historians have decided that Delacroix adjusted himself to new social conditions that were already coming into being as a result of political upheavals that had occurred in 1830, as opposed to other artists who supposedly told of changes still to come.
Which one of the following most accurately states the main idea of the passage?
A. Although they flourished independently, the pre-World War I European painters who developed new ways of looking at the world shared a common desire to break with the traditions of representational art.
B. The work of the pre-World War I European painters who developed new ways of looking at the world cannot be said to have intentionally predicted social changes but only to have anticipated new directions in artistic perception and expression.
C. The work of the pre-World War I European painters who developed new ways of looking at the world was important for its ability to predict social changes and its anticipation of new directions in artistic expression.
D. Art critics who believe that the work of some pre-World War I European painters foretold imminent social changes are mistaken because art is incapable of expressing a vision of the future.
E. Art critics who believe that the work of some pre-World War I European painters foretold imminent social changes are mistaken because the social upheavals that followed World War I were impossible to predict.
The village of Vestmannaeyjar, in the far northern country of Iceland, is as bright and clean and up-to-date as any American or Canadian suburb. It is located on the island of Heimaey, just off the mainland. One January night in 1973, however, householders were shocked from their sleep. In some backyards red-hot liquid was spurting from the ground. Flaming "skyrockets" shot up and over the houses. The island's volcano, Helgafell, silent for seven thousand years, was violently erupting! Luckily, the island's fishing fleet was in port, and within twenty-four hours almost everyone was ferried to the mainland. But then the agony of the island began in earnest. As in a nightmare, fountains of burning lava spurted three hundred feet high. Black, baseball-size cinders rained down. An evil-smelling, eye-burning, throat-searing cloud of smoke and gas erupted into the air, and a river of lava flowed down the mountain. The constant shriek of escaping steam was punctuated by ear-splitting explosions. As time went on, the once pleasant village of Vestmannaeyjar took on a weird aspect. Its street lamps still burning against the long Arctic night, the town lay under a thick blanket of cinders. All that could be seen above the ten-foot black drifts were the tips of street signs. Some houses had collapsed under the weight of cinders; others had burst into flames as the heat ignited their oil storage tanks. Lighting the whole lurid scene, fire continued to shoot from the mouth of the looming volcano.
The eruption continued for six months. Scientists and reporters arrived from around the world to observe the awesome natural event. But the town did not die that easily. In July, when the eruption ceased, the people of Heimaey Island returned to assess the chances of rebuilding their homes and lives. They found tons of ash covering the ground. The Icelanders are a tough people, however, accustomed to the strange and violent nature of their Arctic land. They dug out their homes. They even used the cinders to build new roads and airport runways. Now the new homes of Heimaey are warmed from water pipes heated by molten lava.
This volcanic eruption lasted for six ___.
A. weeks
B. hours
C. months
D. days
E. years
The village of Vestmannaeyjar, in the far northern country of Iceland, is as bright and clean and up-to-date as any American or Canadian suburb. It is located on the island of Heimaey, just off the mainland. One January night in 1973, however, householders were shocked from their sleep. In some backyards red-hot liquid was spurting from the ground. Flaming "skyrockets" shot up and over the houses. The island's volcano, Helgafell, silent for seven thousand years, was violently erupting! Luckily, the island's fishing fleet was in port, and within twenty-four hours almost everyone was ferried to the mainland. But then the agony of the island began in earnest. As in a nightmare, fountains of burning lava spurted three hundred feet high. Black, baseball-size cinders rained down. An evil-smelling, eye-burning, throat-searing cloud of smoke and gas erupted into the air, and a river of lava flowed down the mountain. The constant shriek of escaping steam was punctuated by ear-splitting explosions. As time went on, the once pleasant village of Vestmannaeyjar took on a weird aspect. Its street lamps still burning against the long Arctic night, the town lay under a thick blanket of cinders. All that could be seen above the ten-foot black drifts were the tips of street signs. Some houses had collapsed under the weight of cinders; others had burst into flames as the heat ignited their oil storage tanks. Lighting the whole lurid scene, fire continued to shoot from the mouth of the looming volcano.
The eruption continued for six months. Scientists and reporters arrived from around the world to observe the awesome natural event. But the town did not die that easily. In July, when the eruption ceased, the people of Heimaey Island returned to assess the chances of rebuilding their homes and lives. They found tons of ash covering the ground. The Icelanders are a tough people, however, accustomed to the strange and violent nature of their Arctic land. They dug out their homes. They even used the cinders to build new roads and airport runways. Now the new homes of Heimaey are warmed from water pipes heated by molten lava.
Despite the eruption
A. buses kept running
B. the radio kept broadcasting
C. the police kept working
D. street lamps kept burning
E. the television kept broadcasting
The village of Vestmannaeyjar, in the far northern country of Iceland, is as bright and clean and up-to-date as any American or Canadian suburb. It is located on the island of Heimaey, just off the mainland. One January night in 1973, however, householders were shocked from their sleep. In some backyards red-hot liquid was spurting from the ground. Flaming "skyrockets" shot up and over the houses. The island's volcano, Helgafell, silent for seven thousand years, was violently erupting! Luckily, the island's fishing fleet was in port, and within twenty-four hours almost everyone was ferried to the mainland. But then the agony of the island began in earnest. As in a nightmare, fountains of burning lava spurted three hundred feet high. Black, baseball-size cinders rained down. An evil-smelling, eye-burning, throat-searing cloud of smoke and gas erupted into the air, and a river of lava flowed down the mountain. The constant shriek of escaping steam was punctuated by ear-splitting explosions. As time went on, the once pleasant village of Vestmannaeyjar took on a weird aspect. Its street lamps still burning against the long Arctic night, the town lay under a thick blanket of cinders. All that could be seen above the ten-foot black drifts were the tips of street signs. Some houses had collapsed under the weight of cinders; others had burst into flames as the heat ignited their oil storage tanks. Lighting the whole lurid scene, fire continued to shoot from the mouth of the looming volcano.
The eruption continued for six months. Scientists and reporters arrived from around the world to observe the awesome natural event. But the town did not die that easily. In July, when the eruption ceased, the people of Heimaey Island returned to assess the chances of rebuilding their homes and lives. They found tons of ash covering the ground. The Icelanders are a tough people, however, accustomed to the strange and violent nature of their Arctic land. They dug out their homes. They even used the cinders to build new roads and airport runways. Now the new homes of Heimaey are warmed from water pipes heated by molten lava.
The island's volcano had been inactive for
A. seventy years
B. seven thousand years
C. seven thousand months
D. seven hundred years
E. seventy decades
The village of Vestmannaeyjar, in the far northern country of Iceland, is as bright and clean and up-to-date as any American or Canadian suburb. It is located on the island of Heimaey, just off the mainland. One January night in 1973, however, householders were shocked from their sleep. In some backyards red-hot liquid was spurting from the ground. Flaming "skyrockets" shot up and over the houses. The island's volcano, Helgafell, silent for seven thousand years, was violently erupting! Luckily, the island's fishing fleet was in port, and within twenty-four hours almost everyone was ferried to the mainland. But then the agony of the island began in earnest. As in a nightmare, fountains of burning lava spurted three hundred feet high. Black, baseball-size cinders rained down. An evil-smelling, eye-burning, throat-searing cloud of smoke and gas erupted into the air, and a river of lava flowed down the mountain. The constant shriek of escaping steam was punctuated by ear-splitting explosions. As time went on, the once pleasant village of Vestmannaeyjar took on a weird aspect. Its street lamps still burning against the long Arctic night, the town lay under a thick blanket of cinders. All that could be seen above the ten-foot black drifts were the tips of street signs. Some houses had collapsed under the weight of cinders; others had burst into flames as the heat ignited their oil storage tanks. Lighting the whole lurid scene, fire continued to shoot from the mouth of the looming volcano.
The eruption continued for six months. Scientists and reporters arrived from around the world to observe the awesome natural event. But the town did not die that easily. In July, when the eruption ceased, the people of Heimaey Island returned to assess the chances of rebuilding their homes and lives. They found tons of ash covering the ground. The Icelanders are a tough people, however, accustomed to the strange and violent nature of their Arctic land. They dug out their homes. They even used the cinders to build new roads and airport runways. Now the new homes of Heimaey are warmed from water pipes heated by molten lava.
Black cinders fell that were the size of ________
A. baseballs
B. pebbles
C. golf balls
D. footballs
E. hail-stones
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