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In context, which of the following sentences would best fit between sentences 4 and 5?

Directions for the question:

The following passage is an early draft of an essay. Some parts of the passage need to be rewritten. Read the passage and select the best answer for the question that follows. Keep in mind that some questions are about particular sentences or parts of sentences and ask you to improve sentence structure or word choice. Other questions ask to consider organization and development. In choosing the answer, follow the requirements of standard written English.

[1] Art probably owes more to form for its range of expression than to color. [2] Many of the noblest things it is capable of conveying are expressed by form more directly than by anything else. [3] And it is interesting to notice how some of the world's greatest artists have been very restricted in their use of color, preferring to depend on form for their chief appeal. [4] It is reported that Apelles only used three colors, black, red, and yellow, and Rembrandt used little else. [5] Drawing, although the first, is also the last thing the painter usually studies. [6] There is more in it that can be taught and that requires constant application and effort. [7] A student should set himself to acquire well-trained eye of which he might be capable of; for the appreciation of every form of art. [8] It is not enough in artistic drawing to portray accurately. [9] But to express any form one must first be moved by it. [10] There is in the appearance of all objects, animate and inanimate, a hidden rhythm that is not caught by the accurate, painstaking, but cold artist. [11] This form is never found in a mechanical reproduction like a photograph. [12] You are never moved to say when looking at one, "What fine form." [13] It is difficult to say in what this quality consists. [14] The emphasis and selection that is unconsciously given in a drawing, done directly under the guidance of strong feeling, are too subtle to be tabulated. [15] But it is this selection of the significant and suppression of the non-essential that often gives to a few lines drawn quickly, and having a somewhat remote relation to the complex appearance of the real object, more vitality and truth than are to be found in a highly-wrought and painstaking drawing, during the process of which the essential and vital things have been lost sight of in the labor of the work; and the non-essential, which is usually more obvious, is allowed to creep in and obscure the original impression.