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Reading Passage Question
The encounter that a portrait records is most tangibly the sitting itself, which may be brief or extended, collegial or confrontational. Renowned photographer Cartier-Bresson has expressed his passion for portrait photography by characterizing it as “a duel without rules, a delicate rape.” Such metaphors contrast quite sharply with RichardAvedon’s conception of a sitting. While Cartier-Bresson reveals himself as an interloper and opportunist, Avedon confesses—perhaps uncomfortably—to a role as diagnostician and (by implication) psychic healer: not as someone who necessarily transforms his subjects, but as someone who reveals their essential nature. Both photographers, however, agree that the fundamental dynamic in this process lies squarely in the hands of the artist.
A quite-different paradigm has its roots not in confrontation or consultation but in active collaboration between the artist and sitter. This very different kind of relationship was formulated most vividly by William Hazlitt in his essay entitled “On Sitting for One’s Picture” (1823). To Hazlitt, the “bond of connection” between painter and sitter is most like the relationship between two lovers. Hazlitt fleshes out his thesis by recalling the career of Sir Joshua Reynolds. According to Hazlitt, Reynolds’ sitters were meant to enjoy an atmosphere that was both comfortable for them and conducive to the enterprise of the portrait painter, who was simultaneously their host and their contractual employee.
“The encounter that a portrait records is most tangibly the sitting itself"- is a GMAT reading comprehension passage with answers. Candidates need a strong knowledge of English GMAT reading comprehension.
This GMAT Reading Comprehension consists of 7 comprehension questions. The GMAT Reading Comprehension questions are designed for the purpose of testing candidates’ abilities in understanding, analyzing, and applying information or concepts. Candidates can actively prepare with the help of GMAT Reading Comprehension Practice Questions.
Solution and Explanation
- The author of the passage quotes Cartier-Bresson (Highlighted) in order to
(A) refute Avedon’s conception of a portrait sitting.
(B) provide one perspective of the portraiture encounter.
(C) support the claim that portrait sittings are, more often than not, confrontational encounters.
(D) show that a portraiture encounter can be either brief or extended.
(E) distinguish a sitting for a photographic portrait from a sitting for a painted portrait.
Answer: B
Explanation:
(A) refute Avedon's idea of a portrait sitting. Author has not quoted in order to refute A's point of view.
(B) describe one aspect of the portraiture encounter. - Correct - The author is simply providing a view of CB and then using it to demonstrate a contrast in view by A.
(C) agree with the assertion that portrait sessions are frequently confrontational encounters. As such, the author makes no such claims.
(D) demonstrate that a portraiture encounter can be brief or lengthy. - No, they are only one of the possible outcomes of sitting.
(E) differentiate between a sitting for a photographic portrait and a sitting for a painted portrait. - Painters are mentioned in the following paragraph.
- Which of the following characterizations of the portraiture experience as viewed by Avedon is most readily inferable from the passage?
(A) A collaboration
(B) A mutual accommodation
(C) A confrontation
(D) An uncomfortable encounter
(E) A consultation
Answer: E
Explanation:
(A) A collaboration - These are Painted ones' characteristics.
(B) A mutual accommodation - Not always
(C) An altercation CB's sitting experience, not Avedon's, may be confrontational.
(D) An uncomfortable encounter - He admits that the sitting itself was not uncomfortable.
(E) A consultation - The quote "confesses —perhaps uncomfortably—to a role as diagnostician and (by implication) psychic healer" implies that A's sittings were confrontational in nature.
- Which of the following best expresses the passage’s main idea?
(A) The success of a portrait depends largely on the relationship between artist and subject.
(B) Portraits, more than most other art forms, provide insight into the artist’s social relationships.
(C) The social aspect of portraiture plays an important part in the sitting’s outcome.
(D) Photographers and painters differ in their views regarding their role in portrait photography.
(E) The paintings of Reynolds provide a record of his success in achieving a social bond with his subjects.
Answer: C
Explanation:
(A) The success of a portrait is heavily dependent on the relationship between the artist and the subject. - There is no discussion of success.
(B) Portraits, more than most other forms of art, reveal information about the artist's social relationships. Other forms of art are not discussed.
(C) The social aspect of portraiture sitting is important in the outcome of the sitting.Correct - first para about the social aspect of sitting from photographic portraits and second para about the social aspect of painters portraits.
(D) Photographers and painters have different perspectives on their roles in portrait photography, as do photographers themselves. The author's idea is that of relationships - a social aspect of sitting.
(E) Reynolds' paintings document his success in establishing a social bond.
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