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In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphere—all require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a new—and to me at least — a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commander‘s part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used 'neat.‘ Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.The author‘s statement ―"But [the fighting troops], in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect"assumes thata)chaotic painting cannot have an unintended artistic effect. b)an artist naturally resists direction from another individual. c)a painting cannot help but reflect the mental state of its painter. d)it is impossible for painters to collaborate on a work without confusion.e)troops always need someone to guide themCorrect answer is option 'A'. Can you explain this answer? for Verbal 2024 is part of Verbal preparation. The Question and answers have been prepared according to the Verbal exam syllabus. Information about In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphere—all require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a new—and to me at least — a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commander‘s part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used 'neat.‘ Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.The author‘s statement ―"But [the fighting troops], in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect"assumes thata)chaotic painting cannot have an unintended artistic effect. b)an artist naturally resists direction from another individual. c)a painting cannot help but reflect the mental state of its painter. d)it is impossible for painters to collaborate on a work without confusion.e)troops always need someone to guide themCorrect answer is option 'A'. Can you explain this answer? covers all topics & solutions for Verbal 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphere—all require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a new—and to me at least — a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commander‘s part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used 'neat.‘ Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.The author‘s statement ―"But [the fighting troops], in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect"assumes thata)chaotic painting cannot have an unintended artistic effect. b)an artist naturally resists direction from another individual. c)a painting cannot help but reflect the mental state of its painter. d)it is impossible for painters to collaborate on a work without confusion.e)troops always need someone to guide themCorrect answer is option 'A'. Can you explain this answer?.

Solutions for In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphere—all require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a new—and to me at least — a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commander‘s part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used 'neat.‘ Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.The author‘s statement ―"But [the fighting troops], in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect"assumes thata)chaotic painting cannot have an unintended artistic effect. b)an artist naturally resists direction from another individual. c)a painting cannot help but reflect the mental state of its painter. d)it is impossible for painters to collaborate on a work without confusion.e)troops always need someone to guide themCorrect answer is option 'A'. Can you explain this answer? in English & in Hindi are available as part of our courses for Verbal. Download more important topics, notes, lectures and mock test series for Verbal Exam by signing up for free.

Here you can find the meaning of In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphere—all require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a new—and to me at least — a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commander‘s part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used 'neat.‘ Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.The author‘s statement ―"But [the fighting troops], in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect"assumes thata)chaotic painting cannot have an unintended artistic effect. b)an artist naturally resists direction from another individual. c)a painting cannot help but reflect the mental state of its painter. d)it is impossible for painters to collaborate on a work without confusion.e)troops always need someone to guide themCorrect answer is option 'A'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphere—all require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a new—and to me at least — a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commander‘s part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used 'neat.‘ Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.The author‘s statement ―"But [the fighting troops], in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect"assumes thata)chaotic painting cannot have an unintended artistic effect. b)an artist naturally resists direction from another individual. c)a painting cannot help but reflect the mental state of its painter. d)it is impossible for painters to collaborate on a work without confusion.e)troops always need someone to guide themCorrect answer is option 'A'. Can you explain this answer?, a detailed solution for In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphere—all require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a new—and to me at least — a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commander‘s part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used 'neat.‘ Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.The author‘s statement ―"But [the fighting troops], in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect"assumes thata)chaotic painting cannot have an unintended artistic effect. b)an artist naturally resists direction from another individual. c)a painting cannot help but reflect the mental state of its painter. d)it is impossible for painters to collaborate on a work without confusion.e)troops always need someone to guide themCorrect answer is option 'A'. Can you explain this answer? has been provided alongside types of In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphere—all require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a new—and to me at least — a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commander‘s part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used 'neat.‘ Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.The author‘s statement ―"But [the fighting troops], in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect"assumes thata)chaotic painting cannot have an unintended artistic effect. b)an artist naturally resists direction from another individual. c)a painting cannot help but reflect the mental state of its painter. d)it is impossible for painters to collaborate on a work without confusion.e)troops always need someone to guide themCorrect answer is option 'A'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice In all battles two things are usually required of the Commander-in-Chief: to make a good plan for his army and to keep a strong reserve. Both of these are also obligatory for the painter. To make a plan, thorough reconnaissance of the country where the battle is to be fought is needed. Its fields, its mountains, its rivers, its bridges, its trees, its flowers, its atmosphere—all require and repay attentive observation from a special point of view.I think this is one of the chief delights that have come to me through painting. No doubt many people who are lovers of art have acquired it to a high degree without actually practicing. But I expect that nothing will make one observe more quickly or more thoroughly than having to face the difficulty of representing the thing observed. And mind you, if you do observe accurately and with refinement, and if you do record what you have seen with tolerable correspondence, the result follows on the canvas with startling obedience.But in order to make his plan, the General must not only reconnoitre the battle-ground; he must also study the achievements of the great Captains of the past. He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.Considering this fact, the galleries of Europe take on a new—and to me at least — a severely practical interest. You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. Not only is your observation of Nature sensibly improved and developed, but also your comprehension of the masterpieces of art.But it is in the use and withholding of their reserves that the great commanders have generally excelled. After all, when once the last reserve has been thrown in, the commander‘s part is played. If that does not win the battle, he has nothing else to give. Everything must be left to luck and to the fighting troops. But these last reserves, in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect. Mere masses count no more. The largest brush, the brightest colours cannot even make an impression. The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war. Even though the General plunges in himself and emerges bespattered, as he sometimes does, he will not retrieve the day. In painting, the reserves consist in Proportion or Relation. And it is here that the art of the painter marches along the road which is traversed by all the greatest harmonies in thought. At one side of the palette there is white, at the other black; and neither is ever used 'neat.‘ Between these two rigid limits all the action must lie, all the power required must be generated. Black and white themselves placed in juxtaposition make no great impression; and yet they are the most that you can do in pure contrast. Directions: Read the above paragraph and answer the followingQ.The author‘s statement ―"But [the fighting troops], in the absence of high direction, are apt to get into sad confusion, all mixed together in a nasty mess, without order or plan—and consequently without effect"assumes thata)chaotic painting cannot have an unintended artistic effect. b)an artist naturally resists direction from another individual. c)a painting cannot help but reflect the mental state of its painter. d)it is impossible for painters to collaborate on a work without confusion.e)troops always need someone to guide themCorrect answer is option 'A'. 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