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All of Francoise Duparc’s

All of Francoise Duparc’s surviving paintings blend portraiture and genre. Her subjects appear to be acquaintances whom she has asked to pose; she has captured both their self-consciousness and the spontaneity of their everyday activities, the depiction of which characterizes genre painting. But genre painting, especially when it portrayed members of the humblest classes, was never popular in eighteenth-century France. The Le Nain brothers and Georges de La Tour, who also chose such themes, were largely ignored. Their present high standing is due to a different, more democratic political climate and to different aesthetic values: we no longer require artists to provide ideal images of humanity for our moral edification but rather regard such idealization as a falsification of the truth. Duparc gives no improving message and discreetly refrains from judging her subjects. In brief, her works neither elevate nor instruct. This restraint largely explains her lack of popular success during her lifetime, even if her talent did not go completely unrecognized by her eighteenth-century French contemporaries.

24. According to the passage, modern viewers are not likely to value which of the following qualities in a painting?

(A) The technical elements of the painting

(B) The spontaneity of the painting

(C) The moral lesson imparted by the painting

(D) The degree to which the painting realistically depicts its subject(C)

(E) The degree to which the artist’s personality is revealed in the painting

25. If the history of Duparc’s artistic reputation were to follow that of the Le Nain brothers and Georges de La Tour, present-day assessments of her work would be likely to contain which of the following?

(A) An evaluation that accords high status to her work

(B) Acknowledgement of her technical expertise but dismissal of her subject matter as trivial

(C) Agreement with assessments made in her own time but acknowledgements of the exceptional quality of a few of her paintings

(D) Placement of her among the foremost artists of her century(A)

(E) A reclassification of her work as portraiture rather than genre painting

26. It can be inferred from the passage that the term “genre painting” would most likely apply to which of the following?

(A) A painting depicting a glorious moment of victory following a battle

(B) A painting illustrating a narrative from the Bible

(C) A portrayal of a mythological Greek goddess

(D) A portrayal of a servant engaged in his work(D)

(E) A formal portrait of an eighteenth-century king

27. The argument of the passage best supports which of the following contentions concerning judgments of artistic work?

(A) Aesthetic judgments can be influenced by the political beliefs of those making the judgment.

(B) Judgments of the value of an artist’s work made by his or her contemporaries must be discounted before a true judgment can be made.

(C) Modern aesthetic taste is once again moving in the direction of regarding idealistic painting as the most desirable form of painting.

(D) In order to be highly regarded, an artist cannot be solely identified with one particular kind of painting.(A)

(E) Spontaneity is the most valuable quality a portrait painter can have.

  1. Paule Marshall’s Brown Girl,

Paule Marshall’s Brown Girl, Brownstones (1959) was a landmark in the depiction of female characters in Black American literature. Marshall avoided the oppressed and tragic heroine in conflict with White society that had been typical of the protest novels of the early twentieth century. Like her immediate predecessors, Zora Neale Hurston and Gwendolyn Brooks, she focused her novel on an ordinary Black woman’s search for identity within the context of a Black community. But Marshall extended the analysis of Black female characters begun by Hurston and Brooks by depicting her heroine’s development in terms of the relationship between her Barbadian American parents, and by exploring how male and female roles were defined by their immigrant culture, which in turn was influenced by the materialism of White America. By placing characters within a wider cultural context, Marshall attacked racial and sexual stereotypes and paved the way for explorations of race, class, and gender in the novels of the 1970’s.

24. The passage is primarily concerned with

(A) comparing the works of three Black American authors

(B) describing common themes in Black American literature

(C) discussing an important work in Black American literature

(D) providing insights about Black American literature in the early twentieth century(C)

(E) providing historical information about the writing of Black American novels in the second half the twentieth century

25. According to the passage, Hurston, Brooks, and Marshall are alike in that they

(A) did not examine the effects of White culture on their characters’ lives

(B) were heavily influenced by the protest novels of the early twentieth century

(C) used Black communities as the settings for their novels

(D) wrote primarily about the difficulties their characters encountered in White culture(C)

(E) wrote exclusively about female characters and the experiences of women

26. The author’s description of the way in which Marshall depicts her heroine’s development is most probably intended to

(A) continue the discussion of similarities in the works of Brooks, Hurston, and Marshall

(B) describe the specific racial and sexual stereotypes that Marshall attacked

(C) contrast the characters in Marshall’s novels with those in later works

(D) show how Marshall extends the portrayal of character initiated by her predecessors(D)

(E) compare themes in Marshall’s early work with themes in her later novels

27. It can be inferred that the author of the passage would describe Brown Girl, Brownstones as being

(A) completely different from novels written before 1959

(B) highly influenced by novels written in the early twentieth century

(C) similar to the protest novels that preceded it

(D) important in the late 1950’s but dated today(E)

(E) an important influence on novels written in the 1970’s

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