PrepTest 57, Section 3, Question 13
Art historian: More than any other genre of representational painting, still-life painting lends itself naturally to art whose goal is the artist's self-expression, rather than merely the reflection of a preexisting external reality. This is because in still-life painting, the artist invariably chooses, modifies, and arranges the objects to be painted. Thus, the artist has considerably more control over the composition and subject of a still-life painting than over those of a landscape painting or portrait, for example.
Art historian: More than any other genre of representational painting, still-life painting lends itself naturally to art whose goal is the artist's self-expression, rather than merely the reflection of a preexisting external reality. This is because in still-life painting, the artist invariably chooses, modifies, and arranges the objects to be painted. Thus, the artist has considerably more control over the composition and subject of a still-life painting than over those of a landscape painting or portrait, for example.
Art historian: More than any other genre of representational painting, still-life painting lends itself naturally to art whose goal is the artist's self-expression, rather than merely the reflection of a preexisting external reality. This is because in still-life painting, the artist invariably chooses, modifies, and arranges the objects to be painted. Thus, the artist has considerably more control over the composition and subject of a still-life painting than over those of a landscape painting or portrait, for example.
Art historian: More than any other genre of representational painting, still-life painting lends itself naturally to art whose goal is the artist's self-expression, rather than merely the reflection of a preexisting external reality. This is because in still-life painting, the artist invariably chooses, modifies, and arranges the objects to be painted. Thus, the artist has considerably more control over the composition and subject of a still-life painting than over those of a landscape painting or portrait, for example.
Which one of the following is most strongly supported by the art historian's statements?
Landscape painting and portraiture are the artistic genres that lend themselves most naturally to the mere reflection of a preexisting external reality.
The only way in which artists control the composition and subject of a painting is by choosing, modifying, and arranging the objects to be represented in that painting.
Nonrepresentational painting does not lend itself as naturally as still-life painting does to the goal of the artist's self-expression.
In genres of representational painting other than still-life painting, the artist does not always choose, modify, and arrange the objects to be painted.
When painting a portrait, artists rarely attempt to express themselves through the choice, modification, or arrangement of the background elements against which the subject of the portrait is painted.
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