- Posts: 34
- Joined: Aug 17, 2019
- Thu Dec 09, 2021 5:14 pm
#92561
It is hard for me to believe that no one has started a thread about this since according to PS it is a challenging question. I am going to take a shot at explaining it.
A) There is no suggestion in the passage that any other sculptors had investigating using chrome-nickel steel in their sculptures.
B) This is the correct answer. The first sentence in paragraph 2 references Noguchi's expertise in conceptualizing the human form. Sculpting a portrait of Fuller also conceptualizes the human form so this is the correct answer.
C) There is no reference in the passage to Fuller's reaction to Noguchi's sculpture so this answer is incorrect.
D) This may or may not have been true, but since the passage doesn't address it, it cannot be the correct answer to a question that asks what the passage most strongly supports. One would have to speculate to select this answer choice.
E) This answer is selected by PS students more often than the correct answer because it is a very cleverly worded wrong answer. The word "It" at the beginning of the answer choice refers to the portrait of Fuller. This answer choice then compares "it" to the sculptures that Noguchi had helped Brancusi produce. Referring to paragraph two, we know that these sculptures were brass and bronze sculptures. We also read in that passage that Noguchi pondered the fact that sculptors relied exclusively upon negative light (shadows) for conceptual communication. This would include the brass and bronze sculptures that Brancusi produced. When this answer choice refers to the "latter's aesthetic effects," it is referring to Brancusi's sculptures, NOT the portrait of Fuller because Brancusi's work was the second one mentioned in the answer choice. This is confusing because chronologically, the portrait of Fuller comes later. Yet Brancusi's work DID depend on the contrasts of light and shadow as stated in the passage so this answer choice is a cleverly disguised opposite answer.
A) There is no suggestion in the passage that any other sculptors had investigating using chrome-nickel steel in their sculptures.
B) This is the correct answer. The first sentence in paragraph 2 references Noguchi's expertise in conceptualizing the human form. Sculpting a portrait of Fuller also conceptualizes the human form so this is the correct answer.
C) There is no reference in the passage to Fuller's reaction to Noguchi's sculpture so this answer is incorrect.
D) This may or may not have been true, but since the passage doesn't address it, it cannot be the correct answer to a question that asks what the passage most strongly supports. One would have to speculate to select this answer choice.
E) This answer is selected by PS students more often than the correct answer because it is a very cleverly worded wrong answer. The word "It" at the beginning of the answer choice refers to the portrait of Fuller. This answer choice then compares "it" to the sculptures that Noguchi had helped Brancusi produce. Referring to paragraph two, we know that these sculptures were brass and bronze sculptures. We also read in that passage that Noguchi pondered the fact that sculptors relied exclusively upon negative light (shadows) for conceptual communication. This would include the brass and bronze sculptures that Brancusi produced. When this answer choice refers to the "latter's aesthetic effects," it is referring to Brancusi's sculptures, NOT the portrait of Fuller because Brancusi's work was the second one mentioned in the answer choice. This is confusing because chronologically, the portrait of Fuller comes later. Yet Brancusi's work DID depend on the contrasts of light and shadow as stated in the passage so this answer choice is a cleverly disguised opposite answer.
