LSAT PREP 101 Section 1

Evaluating Your Chil.. Fragments and Run... APA Title Page 7th E.. I Free APA Citation G.. G CRA Instructional A... T PrepTest 101 / Section 1 Directions Passage Only View Find Text Type Here U D D P . | AA = |Section Time Remaining: 07:44 A fake can be defined as an artwork intended to deceive. The 23. According to the passage, an artwork can be definitively motives of its creator are decisive, and the merit of the object itself classified as a fake if the person who created it is a separate issue. The question mark in the title of Mark Jones's Fake? The Art of Deception reveals the study's broader concerns. Indeed, it might equally be entitled Original?, and the text begins by A consciously adopted the artistic style of an influential noting a variety of possibilities somewhere between the two mentor extremes. These include works by an artist's followers in the style of the master, deliberate archaism, copying for pedagogical B deliberately imitated a famous work of art as a learning O purposes, and the production of commercial facsimiles. exercise The greater part of Fake? is devoted to a chronological survey suggesting that faking feeds on the many different motives people wanted other people to be fooled by its appearance O have for collecting art, and that, on the whole, the faking of art flourishes whenever art collecting flourishes. In imperial Rome there was a widespread interest in collecting earlier Greek art, and D made multiple, identical copies of the work available for therefore in faking it. No doubt many of the sculptures now sale exhibited as "Roman copies" were originally passed off as Greek. In medieval Europe, because art was celebrated more for its devotional uses than for its provenance or the ingenuity of its E made the work resemble the art of an earlier era O creators, the faking of art was virtually nonexistent. The modern age of faking began in the Italian Renaissance, with two linked developments: a passionate identification with the world of antiquity and a growing sense of individual artistic identity. A patron of the young Michelangelo prevailed upon the artist to make his sculpture Sleeping Cupid look as though it had been buried in the earth so that "it will be taken for antique, and you will sell it much better." Within a few years, however, beginning with his first masterpiece, O 16 23 25 26 Q zm 45