#RC:
Leonardo da Vinci's painting, the Mona Lisa, it seems fair to say, is more than just a painting - it is a touchstone of Western culture. It has been copied, parodied, praised, mocked, co-opted, analysed and speculated upon more than any other work of art. Its origins have
captivated scholars, and its name has leant itself to operas, movies, songs, people, ships - even a crater on Venus. Its current insurance
value is estimated at nearly $700 million - far in excess of any painting ever sold - but it is unclear that any price could be meaningfully
assigned to it.
Knowing all this, a naïve visitor to the Louvre might be forgiven for experiencing a sense of, well, disappointment upon first laying eyes on
the most famous painting in the world. In fact, if someone didn't already know it beforehand, I doubt that they would consider it the obvious
contender for most-famous-painting award. While it does look like an amazing accomplishment of artistic talent, it is no more so than any
number of the other great works of art on display at the Louvre.
Now, art critics might claim that there are attributes of mastery that are evident only to the trained eye, and that neophytes would do better
to simply accept what they're told. But if that's true, you would expect that the same perfection that is obvious to modern art critics would
have been obvious to other art experts throughout history. And yet, for centuries, the Mona Lisa was a relatively obscure painting - still a
masterpiece, to be sure, but only one among many. And admired as he was, up until the 1850s, da Vinci was considered no match for the
true greats of painting, like Titian and Raphael. In fact, it wasn't until the twentieth century that the Mona Lisa began its meteoric rise to
global brand name. And even then it wasn't the result of art critics suddenly appreciating the genius that had sat among them for so long.
Rather, it was due to the publicity surrounding its theft in 1911.
From that point on, the Mona Lisa never looked back. It is impossible now to imagine the history of Western art without the Mona Lisa, and
in that sense it truly is the greatest of paintings. But it is also impossible to attribute its unique status to anything about the painting itself.
This presents a problem because when we try to explain the success of the Mona Lisa, it is precisely its attributes on which we focus our
attention. According to many art critics, the Mona Lisa is the most famous painting in the world because it is the best, and although it might
have taken us a while to figure this out, it was inevitable that we would. And yet, whatever attributes the experts cite as evidence - the
novel painting technique that Leonardo employed to produce so gauzy a finish, the mysterious subject, her enigmatic smile, even da
Vinci's own fame - one can always find numerous other works of art that would seem as good, or even better.
Of course, one can always get around this problem by pointing out that it's not any one attribute of the Mona Lisa that makes it so special,
but rather the combination of all its attributes. There's actually no way to beat this argument, because the Mona Lisa is of course a unique
object. No matter how many similar paintings some pesky sceptic points to, one can always find some difference between them and the
one that we all know is the deserving winner. Unfortunately, however, this argument wins only at the cost of eviscerating itself. It sounds
as if we're assessing the quality of a work of art in terms of its attributes, but in fact we're doing the opposite - deciding first which painting
is the best, and only then inferring from its attributes the metrics of quality. Subsequently, we can invoke these metrics to justify the known
outcome in a way that seems rational and objective. But the result is circular reasoning. We claim to be saying that the Mona Lisa is the
most famous painting in the world because it has attributes X, Y, and Z. But really what we're saying is that the Mona Lisa is famous
because it's more like the Mona Lisa than anything else.
What is the author's opinion about the Mona Lisa?
1) He feels that it is overrated and does not deserve to be considered the most famous painting in the world.
2) He finds it a disappointing painting, and thinks that modern art critics exaggerate its worth due to circular reasoning.
3) He thinks that though it is a good painting, it is not really a masterpiece and should not be treated as such.
4)
He admits it is a masterpiece and an icon of Western culture, but thinks that it is so for reasons other than its intrinsic
qualities.
Which of the following is not true regarding the Mona Lisa as per this passage?
1) It was bought for $700 million.
2) Its worldwide fame is little more than a century old.
3) It was painted using a then-new kind of technique.
4) It is currently displayed in the Louvre.
Assume that after writing this passage, the author reads a newly published book about the unique and unparalleled qualities of the Mona
Lisa that make it the greatest painting ever. Would this affect his views about the painting, and if so, why?
1) It would not affect his views on the Mona Lisa, as it would be just another example of circular reasoning.
2) It would not affect his views on the Mona Lisa, as it would be just another example of circular reasoning.
3) It might affect his views on the Mona Lisa, inasmuch as it might motivate him to rethink his assumptions in this passage.
4)
There is not enough information in the passage to determine what effect such a book would have on the author's views on
the Mona Lisa.
The author of this passage can be inferred to be:
1) an art critic.
2) an art historian.
3) an art columnist.
4) cannot be determined
What does the word 'eviscerating' as used in this passage mean?
1) Causing uncertainty regarding
2) Raising multiple questions about
3) Depriving of essential content
4) Destroying completely
-IMS