GRE Real 19 Directions: Each passage in this group is followed by questions based on its content...

Ludzie pragną czasami się rozstawać, żeby móc tęsknić, czekać i cieszyć się z powrotem.

After reading a passage, choose the best answer to each questions. Answer all questions following a passage on the basis of what is stated or implied in that passage.




The earliest controversies about

phenomenon of Pop painting during

the relationship between photography
(65) the 1960's. Appreciating photographs and art centered on whether

is a relief to sensibilities tired
Line

of the mental exertions demanded by
photography's fidelity to appearances
(5) and dependence on a machine allowed abstract art. Classical Modernist

it to be a fine art as distinct from

painting— that is, abstract art as
(70) developed in different ways by Picasso,

merely a practical art. Throughout

Kandinsky, and Matisse— presupposes

the nineteenth century, the defense

highly developed skills of looking

of photography was identical with

and a familiarity with other paintings
(10) the struggle to establish it as a

and the history of art. Photography,

fine art. Against the charge that
(75) like Pop painting, reassures viewers

photography was a soulless, mechanical

that art is not hard; photography

copying of reality, photographers

seems to be more about its subjects

asserted that it was instead a
(15) privileged way of seeing, a revolt

than about art.

against commonplace vision, and no


Photography, however, has

less worthy an art than painting.
(80) developed all the anxieties and

self-consciousness of a classic


Ironically, now that photography

Modernist art. Many professionals

is securely established as a fine

privately have begun to worry that
(20) art, many photographers find it

the promotion of photography as an

pretentious or irrelevant to label
(85) activity subversive of the traditional

it as such. Serious photographers

pretensions of art has gone so far

variously claim to be finding,

that the public will forget that

recording, impartially observing,
(25) witnessing events, exploring photography is a distinctive and

themselves anything but making

exalted activity— in short, an art.


works of art. In the nineteenth


century, photography's association

21. In the passage, the author is

with the real world placed it in an


primarily concerned with
(30) ambivalent relation to art; late in


the twentieth century, an ambivalent


(A) defining the Modernist attitude

relation exists because of the




toward art

Modernist heritage in art. That


(B) explaining how photography emerged

important photographers are no longer




as a fine art after the controversies
(35) willing to debate whether photography of the nineteenth century

is or is not a fine art, except to


(C) explaining the attitudes of serious

proclaim that their own work is not




contemporary photographers toward

involved with art, shows the extent




photography as art and placing those

to which they simply take for granted




attitudes in their historical context
(40) the concept of art imposed by the (D) defining the various approaches

triumph of Modernism: the better the




that serious contemporary photographers

art, the more subversive it is of the




take toward their art and assessing the

traditional aims of art.




value of each of those approaches


Photographers' disclaimers of any


(E) identifying the ways that recent
(45) interest in making art tell us more movements in painting and sculpture

about the harried status of the




have influenced the techniques employed

contemporary notion of art than about




by serious photographers

whether photography is or is not art.


For example, those photographers who

22. Which of the following adjectives best
(50) suppose that, by taking pictures, they describes "the concept of art imposed by

are getting away from the pretensions


the triumph of Modernism' as the author

of art as exemplified by painting


represents in lines 40-43?

remind us of those Abstract


Expressionist painters who imagined


(A) Objective
(55) they were getting away from the (B) Mechanical

intellectual austerity of classical

Modernist painting by concentrating


(C) Superficial

on the physical act of painting.


(D) Dramatic

Much of photography' prestige today


(E) Paradoxical
(60) derives from the convergence of its