PrepTest 37, Section 3, Question 16
In determining the authenticity of a painting, connoisseurs claim to be guided by the emotional impact the work has on them. For example, if a painting purportedly by Rembrandt is expressive and emotionally moving in a certain way, then this is supposedly evidence that the work was created by Rembrandt himself, and not by one of his students. But the degree to which an artwork has an emotional impact differs wildly from person to person. So a connoisseur's assessment cannot be given credence.
In determining the authenticity of a painting, connoisseurs claim to be guided by the emotional impact the work has on them. For example, if a painting purportedly by Rembrandt is expressive and emotionally moving in a certain way, then this is supposedly evidence that the work was created by Rembrandt himself, and not by one of his students. But the degree to which an artwork has an emotional impact differs wildly from person to person. So a connoisseur's assessment cannot be given credence.
In determining the authenticity of a painting, connoisseurs claim to be guided by the emotional impact the work has on them. For example, if a painting purportedly by Rembrandt is expressive and emotionally moving in a certain way, then this is supposedly evidence that the work was created by Rembrandt himself, and not by one of his students. But the degree to which an artwork has an emotional impact differs wildly from person to person. So a connoisseur's assessment cannot be given credence.
In determining the authenticity of a painting, connoisseurs claim to be guided by the emotional impact the work has on them. For example, if a painting purportedly by Rembrandt is expressive and emotionally moving in a certain way, then this is supposedly evidence that the work was created by Rembrandt himself, and not by one of his students. But the degree to which an artwork has an emotional impact differs wildly from person to person. So a connoisseur's assessment cannot be given credence.
The reasoning in the argument is most vulnerable to criticism on the grounds that the argument
ignores the fact that anybody, not just a connoisseur, can give an assessment of the emotional impact of a painting
is based on the consideration of the nature of just one painter's works, even though the conclusion is about paintings in general
neglects the possibility that there may be widespread agreement among connoisseurs about emotional impact even when the public's assessment varies wildly
presumes, without giving justification, that a painting's emotional impact is irrelevant to the determination of that painting's authenticity
presumes, without offering evidence, that Rembrandt was better at conveying emotions in painting than were other painters
Explanations
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