Social and Political Art

Which of the following statements may be incurred from the passage?

Directions: Read the following passage carefully and answer the question that follows.

The gallery named ‘Fifth Dimension’ was started by a young lady in 1978 and for about over 3 decades she has tried to work for the promotion of the young, upcoming and talented artists. Particularly, she has tried to promote the works in rather less explored media like sculpture and printmaking. It has been no less challenging experience for her. It is observed that the medium of sculpture has received comparatively less attention in the contemporary art than painting instead of sculpture for different reasons. However, sculpture has been an integral part of collection at ‘Fifth Dimension’. There are works in wood, terracotta, bronze, ceramic, stone and mixed media in its collection. Creations of Prabhu Katayal, an artist working with beaten and welded metal sheets finds a place in the collection. The themes of the works are mostly of mythical and lyrical nature. There is a sense of strength as well as lightness in his works. There are also works by a group of three artists who have been experimenting with ‘smooth against rough’ technique in granite. One of these artists works in a very interesting way of carving out facial forms with only one prominent feature like a finely rendered nose or mouth against a flat and rough ovoid face. Yet another sculptor who works in metal too has his share in the collection of the gallery. This sculptor’s work shows the influence of Chola bronzes i.e., the rich repository of cast-metal works carried out by the craftsmen during the Chola dynasty. Despite his leanings towards the traditional form of art, he has retained an abstract quality in his works.

The art gallery mentioned in the passage does not possess any 3-Dimensional art work carried out in fragile material. The above statement is

Directions: Read the following passage carefully and answer the question that follows.

The gallery named ‘Fifth Dimension’ was started by a young lady in 1978 and for about over 3 decades she has tried to work for the promotion of the young, upcoming and talented artists. Particularly, she has tried to promote the works in rather less explored media like sculpture and printmaking. It has been no less challenging experience for her. It is observed that the medium of sculpture has received comparatively less attention in the contemporary art than painting instead of sculpture for different reasons. However, sculpture has been an integral part of collection at ‘Fifth Dimension’. There are works in wood, terracotta, bronze, ceramic, stone and mixed media in its collection. Creations of Prabhu Katayal, an artist working with beaten and welded metal sheets finds a place in the collection. The themes of the works are mostly of mythical and lyrical nature. There is a sense of strength as well as lightness in his works. There are also works by a group of three artists who have been experimenting with ‘smooth against rough’ technique in granite. One of these artists works in a very interesting way of carving out facial forms with only one prominent feature like a finely rendered nose or mouth against a flat and rough ovoid face. Yet another sculptor who works in metal too has his share in the collection of the gallery. This sculptor’s work shows the influence of Chola bronzes i.e., the rich repository of cast-metal works carried out by the craftsmen during the Chola dynasty. Despite his leanings towards the traditional form of art, he has retained an abstract quality in his works.

Politicians are primarily concerned with their own survival; artists are concerned with revealing truth. Of course, the difference in their reactions is readily predictable. For example, while the governmental leaders wrote laws to ensure the triumph of industrialization in Western Europe, artists painted, wrote about, and composed music in response to the horrible conditions created by the Industrial Revolution. Only later did political leaders come to see what the artists had immediately perceived, and then only through a dark glass. Experience teaches us that___________.

Which of the following represents the most critical continuation of the passage?

What is the meaning of a portrait statue?

Directions: Read the passage and answer the following question

I wonder if you have ever heard the anecdote about the artist of Düsseldorf and the jealous courtiers. This is it. It seems there was once a very famous artist who lived in the little town of Düsseldorf. He did such fine work that the Elector, Prince Johann Wilhelm, ordered a portrait statue of himself, on horseback, to be done in bronze. The artist was overjoyed at the commission, and worked early and late at the statue.
   At last the work was done, and the artist had the great statue set up in the public square of Düsseldorf, ready for the opening view. The Elector came on the appointed day, and with him came his favourite courtiers from the castle. Then the statue was unveiled. It was very beautiful, -- so beautiful that the prince exclaimed in surprise. He could not look enough, and presently he turned to the artist and shook hands with him, like an old friend. ``Herr Grupello,'' he said, ``you are a great artist, and this statue will make your fame even greater than it is; the portrait of me is perfect!''
   When the courtiers heard this, and saw the friendly hand-grasp, their jealousy of the artist was beyond bounds. Their one thought was, how could they safely do something to humiliate him. They dared not pick flaws in the portrait statue, for the prince had declared it perfect. But at last one of them said, with an air of great frankness, ``Indeed, Herr Grupello, the portrait of his Royal Highness is perfect; but permit me to say that the statue of the horse is not quite so successful: the head is too large; it is out of proportion.''
   ``No,'' said another, ``the horse is really not so successful; the turn of the neck, there, is awkward.''
   ``If you would change the right hind-foot, Herr Grupello,'' said a third, ``it would be an improvement.''
   Still another found fault with the horse's tail.
   The artist listened, quietly. When they had all finished, he turned to the prince and said, ``Your courtiers, Prince, find a good many flaws in the statue of the horse; will you permit me to keep it a few days more, to do what I can with it?''
   The Elector assented, and the artist ordered a temporary screen built around the statue, so that his assistants could work undisturbed. For several days the sound of hammering came steadily from behind the enclosure. The courtiers, who took care to pass that way, often, were delighted. Each one said to himself, ``I must have been right, really; the artist himself sees that something was wrong; now I shall have credit for saving the prince's portrait by my artistic taste!''
   Once more the artist summoned the prince and his courtiers, and once more the statue was unveiled. Again the Elector exclaimed at its beauty, and then he turned to his courtiers, one after another, to see what they had to say.
   ``Perfect!'' said the first. ``Now that the horse's head is in proportion, there is not a flaw.''
   ``The change in the neck was just what was needed,'' said the second; ``it is very graceful now.''
   ``The rear right foot is as it should be, now,'' said a third, ``and it adds so much to the beauty of the whole!''
   The fourth said that he considered the tail greatly improved.
   ``My courtiers are much pleased now,'' said the prince to Herr Grupello; ``they think the statue much improved by the changes you have made.''
   Herr Grupello smiled a little. ``I am glad they are pleased,'' he said, ``but the fact is, I have changed nothing!''
   ``What do you mean?'' said the prince in surprise. ``Have we not heard the sound of hammering every day? What were you hammering at then?''
   ``I was hammering at the reputation of your courtiers, who found fault simply because they were jealous,'' said the artist. ``And I rather think that their reputation is pretty well hammered to pieces!''
   It was, indeed. The Elector laughed heartily, but the courtiers slunk away, one after another, without a word.