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Read the passage carefully and answer the following questionsThe difference between Cezanne and Gauguin is subtle but goes very deep. For both the ultimate and internal significance of what they painted counted for more than the significance which is momentary and external. Cezanne saw in a tree, a heap of apples, a human face, a group of bathing men or women, something more abiding than either photography or impressionist painting could present. He painted the "treeness" of the tree, as a modern critic has admirably expressed it. But in everything he did he showed the architectural mind of the true Frenchman. His landscape studies were based on a profound sense of the structure of rocks and hills, and being structural, his art depends essentially on reality. Though he did not scruple, and rightly, to sacrifice accuracy of form to the inner need, the material of which his art was composed was drawn from the huge stores of actual nature.Gauguin has greater solemnity and fire than Cezanne. His pictures are tragic or passionate poems. He also sacrifices conventional form to inner expression, but his art tends ever towards the spiritual, towards that profounder emphasis which cannot be expressed in natural objects nor in words. True his abandonment of representative methods did not lead him to an abandonment of natural terms of expression - that is to say human figures, trees and animals do appear in his pictures. But that he was much nearer a complete rejection of representation than was Cezanne is shown by the course followed by their respective disciples.The generation immediately subsequent to Cezanne, Herbin, Vlaminck, Friesz, Marquet, etc., do little more than exaggerate Cezannes technique, until there appear the first signs of Cubism. These are seen very clearly in Herbin. Objects begin to be treated in flat planes. A round vase is represented by a series of planes set one into the other, which at a distance blend into a curve. This is the first stage.The real plunge into Cubism was taken by Picasso, who, nurtured on Cezanne, carried to its perfectly logical conclusion the masters structural treatment of nature. Representation disappears. Starting from a single natural object, Picasso and the Cubists produce lines and project angles till their canvases are covered with intricate and often very beautiful series of balanced lines and curves. They persist, however, in giving them picture titles which recall the natural object from which their minds first took flight.With Gauguin the case is different. The generation of his disciples which followed him - I put it thus to distinguish them from his actual pupils at Pont Aven, Serusier and the rest - carried the tendency further. One hesitates to mention Derain, for his beginnings, full of vitality and promise, have given place to a dreary compromise with Cubism, without visible future, and above all without humour. But there is no better example of the development of synthetic symbolism than his first book of woodcuts. Here is work which keeps the merest semblance of conventional form, which gives its effect by startling masses of black and white, by sudden curves, but more frequently by sudden angles.In the process of the gradual abandonment of natural form the "angle" school is paralleled by the "curve" school, which also descends wholly from Gauguin. The best known representative is Maurice Denis. But he has become a slave to sentimentality, and has been left behind. Matisse is the most prominent French artist who has followed Gauguin with curves. In Germany a group of young men, who form the Neue Kunstlevereinigung in Munich, work almost entirely in sweeping curves, and have reduced natural objects purely to flowing, decorative units.But while they have followed Gauguins lead in abandoning representation both of these two groups of advance are lacking in spiritual meaning. Their aim becomes more and more decorative, with an undercurrent of suggestion of simplified form. Anyone who has studied Gauguin will be aware of the intense spiritual value of his work. The man is a preacher and a psychologist, universal by his very unorthodoxy, fundamental because he goes deeper than civilization. In his disciples this great element is wanting. Kandinsky has supplied the need. He is not only on the track of an art more purely spiritual than was conceived even by Gauguin, but he has achieved the final abandonment of all representative intention. In this way he combines in himself the spiritual and technical tendencies of one great branch of Post-Impressionism.Q.Which of the following statements can be inferred from the information given in the passage?I) Picasso maintained accuracy of form even though he rejected external representation of objectsII) Gauguin’s work is less spiritual in nature than Kandinsky’sIII) If not for the title, one would not be able to recognize the natural object that inspired the art of a Cubista)I onlyb)I and II onlyc)II and III onlyd)All of the aboveCorrect answer is option 'B'. Can you explain this answer? for CAT 2024 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about Read the passage carefully and answer the following questionsThe difference between Cezanne and Gauguin is subtle but goes very deep. For both the ultimate and internal significance of what they painted counted for more than the significance which is momentary and external. Cezanne saw in a tree, a heap of apples, a human face, a group of bathing men or women, something more abiding than either photography or impressionist painting could present. He painted the "treeness" of the tree, as a modern critic has admirably expressed it. But in everything he did he showed the architectural mind of the true Frenchman. His landscape studies were based on a profound sense of the structure of rocks and hills, and being structural, his art depends essentially on reality. Though he did not scruple, and rightly, to sacrifice accuracy of form to the inner need, the material of which his art was composed was drawn from the huge stores of actual nature.Gauguin has greater solemnity and fire than Cezanne. His pictures are tragic or passionate poems. He also sacrifices conventional form to inner expression, but his art tends ever towards the spiritual, towards that profounder emphasis which cannot be expressed in natural objects nor in words. True his abandonment of representative methods did not lead him to an abandonment of natural terms of expression - that is to say human figures, trees and animals do appear in his pictures. But that he was much nearer a complete rejection of representation than was Cezanne is shown by the course followed by their respective disciples.The generation immediately subsequent to Cezanne, Herbin, Vlaminck, Friesz, Marquet, etc., do little more than exaggerate Cezannes technique, until there appear the first signs of Cubism. These are seen very clearly in Herbin. Objects begin to be treated in flat planes. A round vase is represented by a series of planes set one into the other, which at a distance blend into a curve. This is the first stage.The real plunge into Cubism was taken by Picasso, who, nurtured on Cezanne, carried to its perfectly logical conclusion the masters structural treatment of nature. Representation disappears. Starting from a single natural object, Picasso and the Cubists produce lines and project angles till their canvases are covered with intricate and often very beautiful series of balanced lines and curves. They persist, however, in giving them picture titles which recall the natural object from which their minds first took flight.With Gauguin the case is different. The generation of his disciples which followed him - I put it thus to distinguish them from his actual pupils at Pont Aven, Serusier and the rest - carried the tendency further. One hesitates to mention Derain, for his beginnings, full of vitality and promise, have given place to a dreary compromise with Cubism, without visible future, and above all without humour. But there is no better example of the development of synthetic symbolism than his first book of woodcuts. Here is work which keeps the merest semblance of conventional form, which gives its effect by startling masses of black and white, by sudden curves, but more frequently by sudden angles.In the process of the gradual abandonment of natural form the "angle" school is paralleled by the "curve" school, which also descends wholly from Gauguin. The best known representative is Maurice Denis. But he has become a slave to sentimentality, and has been left behind. Matisse is the most prominent French artist who has followed Gauguin with curves. In Germany a group of young men, who form the Neue Kunstlevereinigung in Munich, work almost entirely in sweeping curves, and have reduced natural objects purely to flowing, decorative units.But while they have followed Gauguins lead in abandoning representation both of these two groups of advance are lacking in spiritual meaning. Their aim becomes more and more decorative, with an undercurrent of suggestion of simplified form. Anyone who has studied Gauguin will be aware of the intense spiritual value of his work. The man is a preacher and a psychologist, universal by his very unorthodoxy, fundamental because he goes deeper than civilization. In his disciples this great element is wanting. Kandinsky has supplied the need. He is not only on the track of an art more purely spiritual than was conceived even by Gauguin, but he has achieved the final abandonment of all representative intention. In this way he combines in himself the spiritual and technical tendencies of one great branch of Post-Impressionism.Q.Which of the following statements can be inferred from the information given in the passage?I) Picasso maintained accuracy of form even though he rejected external representation of objectsII) Gauguin’s work is less spiritual in nature than Kandinsky’sIII) If not for the title, one would not be able to recognize the natural object that inspired the art of a Cubista)I onlyb)I and II onlyc)II and III onlyd)All of the aboveCorrect answer is option 'B'. Can you explain this answer? covers all topics & solutions for CAT 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Read the passage carefully and answer the following questionsThe difference between Cezanne and Gauguin is subtle but goes very deep. For both the ultimate and internal significance of what they painted counted for more than the significance which is momentary and external. Cezanne saw in a tree, a heap of apples, a human face, a group of bathing men or women, something more abiding than either photography or impressionist painting could present. He painted the "treeness" of the tree, as a modern critic has admirably expressed it. But in everything he did he showed the architectural mind of the true Frenchman. His landscape studies were based on a profound sense of the structure of rocks and hills, and being structural, his art depends essentially on reality. Though he did not scruple, and rightly, to sacrifice accuracy of form to the inner need, the material of which his art was composed was drawn from the huge stores of actual nature.Gauguin has greater solemnity and fire than Cezanne. His pictures are tragic or passionate poems. He also sacrifices conventional form to inner expression, but his art tends ever towards the spiritual, towards that profounder emphasis which cannot be expressed in natural objects nor in words. True his abandonment of representative methods did not lead him to an abandonment of natural terms of expression - that is to say human figures, trees and animals do appear in his pictures. But that he was much nearer a complete rejection of representation than was Cezanne is shown by the course followed by their respective disciples.The generation immediately subsequent to Cezanne, Herbin, Vlaminck, Friesz, Marquet, etc., do little more than exaggerate Cezannes technique, until there appear the first signs of Cubism. These are seen very clearly in Herbin. Objects begin to be treated in flat planes. A round vase is represented by a series of planes set one into the other, which at a distance blend into a curve. This is the first stage.The real plunge into Cubism was taken by Picasso, who, nurtured on Cezanne, carried to its perfectly logical conclusion the masters structural treatment of nature. Representation disappears. Starting from a single natural object, Picasso and the Cubists produce lines and project angles till their canvases are covered with intricate and often very beautiful series of balanced lines and curves. They persist, however, in giving them picture titles which recall the natural object from which their minds first took flight.With Gauguin the case is different. The generation of his disciples which followed him - I put it thus to distinguish them from his actual pupils at Pont Aven, Serusier and the rest - carried the tendency further. One hesitates to mention Derain, for his beginnings, full of vitality and promise, have given place to a dreary compromise with Cubism, without visible future, and above all without humour. But there is no better example of the development of synthetic symbolism than his first book of woodcuts. Here is work which keeps the merest semblance of conventional form, which gives its effect by startling masses of black and white, by sudden curves, but more frequently by sudden angles.In the process of the gradual abandonment of natural form the "angle" school is paralleled by the "curve" school, which also descends wholly from Gauguin. The best known representative is Maurice Denis. But he has become a slave to sentimentality, and has been left behind. Matisse is the most prominent French artist who has followed Gauguin with curves. In Germany a group of young men, who form the Neue Kunstlevereinigung in Munich, work almost entirely in sweeping curves, and have reduced natural objects purely to flowing, decorative units.But while they have followed Gauguins lead in abandoning representation both of these two groups of advance are lacking in spiritual meaning. Their aim becomes more and more decorative, with an undercurrent of suggestion of simplified form. Anyone who has studied Gauguin will be aware of the intense spiritual value of his work. The man is a preacher and a psychologist, universal by his very unorthodoxy, fundamental because he goes deeper than civilization. In his disciples this great element is wanting. Kandinsky has supplied the need. He is not only on the track of an art more purely spiritual than was conceived even by Gauguin, but he has achieved the final abandonment of all representative intention. In this way he combines in himself the spiritual and technical tendencies of one great branch of Post-Impressionism.Q.Which of the following statements can be inferred from the information given in the passage?I) Picasso maintained accuracy of form even though he rejected external representation of objectsII) Gauguin’s work is less spiritual in nature than Kandinsky’sIII) If not for the title, one would not be able to recognize the natural object that inspired the art of a Cubista)I onlyb)I and II onlyc)II and III onlyd)All of the aboveCorrect answer is option 'B'. Can you explain this answer?.

Solutions for Read the passage carefully and answer the following questionsThe difference between Cezanne and Gauguin is subtle but goes very deep. For both the ultimate and internal significance of what they painted counted for more than the significance which is momentary and external. Cezanne saw in a tree, a heap of apples, a human face, a group of bathing men or women, something more abiding than either photography or impressionist painting could present. He painted the "treeness" of the tree, as a modern critic has admirably expressed it. But in everything he did he showed the architectural mind of the true Frenchman. His landscape studies were based on a profound sense of the structure of rocks and hills, and being structural, his art depends essentially on reality. Though he did not scruple, and rightly, to sacrifice accuracy of form to the inner need, the material of which his art was composed was drawn from the huge stores of actual nature.Gauguin has greater solemnity and fire than Cezanne. His pictures are tragic or passionate poems. He also sacrifices conventional form to inner expression, but his art tends ever towards the spiritual, towards that profounder emphasis which cannot be expressed in natural objects nor in words. True his abandonment of representative methods did not lead him to an abandonment of natural terms of expression - that is to say human figures, trees and animals do appear in his pictures. But that he was much nearer a complete rejection of representation than was Cezanne is shown by the course followed by their respective disciples.The generation immediately subsequent to Cezanne, Herbin, Vlaminck, Friesz, Marquet, etc., do little more than exaggerate Cezannes technique, until there appear the first signs of Cubism. These are seen very clearly in Herbin. Objects begin to be treated in flat planes. A round vase is represented by a series of planes set one into the other, which at a distance blend into a curve. This is the first stage.The real plunge into Cubism was taken by Picasso, who, nurtured on Cezanne, carried to its perfectly logical conclusion the masters structural treatment of nature. Representation disappears. Starting from a single natural object, Picasso and the Cubists produce lines and project angles till their canvases are covered with intricate and often very beautiful series of balanced lines and curves. They persist, however, in giving them picture titles which recall the natural object from which their minds first took flight.With Gauguin the case is different. The generation of his disciples which followed him - I put it thus to distinguish them from his actual pupils at Pont Aven, Serusier and the rest - carried the tendency further. One hesitates to mention Derain, for his beginnings, full of vitality and promise, have given place to a dreary compromise with Cubism, without visible future, and above all without humour. But there is no better example of the development of synthetic symbolism than his first book of woodcuts. Here is work which keeps the merest semblance of conventional form, which gives its effect by startling masses of black and white, by sudden curves, but more frequently by sudden angles.In the process of the gradual abandonment of natural form the "angle" school is paralleled by the "curve" school, which also descends wholly from Gauguin. The best known representative is Maurice Denis. But he has become a slave to sentimentality, and has been left behind. Matisse is the most prominent French artist who has followed Gauguin with curves. In Germany a group of young men, who form the Neue Kunstlevereinigung in Munich, work almost entirely in sweeping curves, and have reduced natural objects purely to flowing, decorative units.But while they have followed Gauguins lead in abandoning representation both of these two groups of advance are lacking in spiritual meaning. Their aim becomes more and more decorative, with an undercurrent of suggestion of simplified form. Anyone who has studied Gauguin will be aware of the intense spiritual value of his work. The man is a preacher and a psychologist, universal by his very unorthodoxy, fundamental because he goes deeper than civilization. In his disciples this great element is wanting. Kandinsky has supplied the need. He is not only on the track of an art more purely spiritual than was conceived even by Gauguin, but he has achieved the final abandonment of all representative intention. In this way he combines in himself the spiritual and technical tendencies of one great branch of Post-Impressionism.Q.Which of the following statements can be inferred from the information given in the passage?I) Picasso maintained accuracy of form even though he rejected external representation of objectsII) Gauguin’s work is less spiritual in nature than Kandinsky’sIII) If not for the title, one would not be able to recognize the natural object that inspired the art of a Cubista)I onlyb)I and II onlyc)II and III onlyd)All of the aboveCorrect answer is option 'B'. Can you explain this answer? in English & in Hindi are available as part of our courses for CAT. Download more important topics, notes, lectures and mock test series for CAT Exam by signing up for free.

Here you can find the meaning of Read the passage carefully and answer the following questionsThe difference between Cezanne and Gauguin is subtle but goes very deep. For both the ultimate and internal significance of what they painted counted for more than the significance which is momentary and external. Cezanne saw in a tree, a heap of apples, a human face, a group of bathing men or women, something more abiding than either photography or impressionist painting could present. He painted the "treeness" of the tree, as a modern critic has admirably expressed it. But in everything he did he showed the architectural mind of the true Frenchman. His landscape studies were based on a profound sense of the structure of rocks and hills, and being structural, his art depends essentially on reality. Though he did not scruple, and rightly, to sacrifice accuracy of form to the inner need, the material of which his art was composed was drawn from the huge stores of actual nature.Gauguin has greater solemnity and fire than Cezanne. His pictures are tragic or passionate poems. He also sacrifices conventional form to inner expression, but his art tends ever towards the spiritual, towards that profounder emphasis which cannot be expressed in natural objects nor in words. True his abandonment of representative methods did not lead him to an abandonment of natural terms of expression - that is to say human figures, trees and animals do appear in his pictures. But that he was much nearer a complete rejection of representation than was Cezanne is shown by the course followed by their respective disciples.The generation immediately subsequent to Cezanne, Herbin, Vlaminck, Friesz, Marquet, etc., do little more than exaggerate Cezannes technique, until there appear the first signs of Cubism. These are seen very clearly in Herbin. Objects begin to be treated in flat planes. A round vase is represented by a series of planes set one into the other, which at a distance blend into a curve. This is the first stage.The real plunge into Cubism was taken by Picasso, who, nurtured on Cezanne, carried to its perfectly logical conclusion the masters structural treatment of nature. Representation disappears. Starting from a single natural object, Picasso and the Cubists produce lines and project angles till their canvases are covered with intricate and often very beautiful series of balanced lines and curves. They persist, however, in giving them picture titles which recall the natural object from which their minds first took flight.With Gauguin the case is different. The generation of his disciples which followed him - I put it thus to distinguish them from his actual pupils at Pont Aven, Serusier and the rest - carried the tendency further. One hesitates to mention Derain, for his beginnings, full of vitality and promise, have given place to a dreary compromise with Cubism, without visible future, and above all without humour. But there is no better example of the development of synthetic symbolism than his first book of woodcuts. Here is work which keeps the merest semblance of conventional form, which gives its effect by startling masses of black and white, by sudden curves, but more frequently by sudden angles.In the process of the gradual abandonment of natural form the "angle" school is paralleled by the "curve" school, which also descends wholly from Gauguin. The best known representative is Maurice Denis. But he has become a slave to sentimentality, and has been left behind. Matisse is the most prominent French artist who has followed Gauguin with curves. In Germany a group of young men, who form the Neue Kunstlevereinigung in Munich, work almost entirely in sweeping curves, and have reduced natural objects purely to flowing, decorative units.But while they have followed Gauguins lead in abandoning representation both of these two groups of advance are lacking in spiritual meaning. Their aim becomes more and more decorative, with an undercurrent of suggestion of simplified form. Anyone who has studied Gauguin will be aware of the intense spiritual value of his work. The man is a preacher and a psychologist, universal by his very unorthodoxy, fundamental because he goes deeper than civilization. In his disciples this great element is wanting. Kandinsky has supplied the need. He is not only on the track of an art more purely spiritual than was conceived even by Gauguin, but he has achieved the final abandonment of all representative intention. In this way he combines in himself the spiritual and technical tendencies of one great branch of Post-Impressionism.Q.Which of the following statements can be inferred from the information given in the passage?I) Picasso maintained accuracy of form even though he rejected external representation of objectsII) Gauguin’s work is less spiritual in nature than Kandinsky’sIII) If not for the title, one would not be able to recognize the natural object that inspired the art of a Cubista)I onlyb)I and II onlyc)II and III onlyd)All of the aboveCorrect answer is option 'B'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Read the passage carefully and answer the following questionsThe difference between Cezanne and Gauguin is subtle but goes very deep. For both the ultimate and internal significance of what they painted counted for more than the significance which is momentary and external. Cezanne saw in a tree, a heap of apples, a human face, a group of bathing men or women, something more abiding than either photography or impressionist painting could present. He painted the "treeness" of the tree, as a modern critic has admirably expressed it. But in everything he did he showed the architectural mind of the true Frenchman. His landscape studies were based on a profound sense of the structure of rocks and hills, and being structural, his art depends essentially on reality. Though he did not scruple, and rightly, to sacrifice accuracy of form to the inner need, the material of which his art was composed was drawn from the huge stores of actual nature.Gauguin has greater solemnity and fire than Cezanne. His pictures are tragic or passionate poems. He also sacrifices conventional form to inner expression, but his art tends ever towards the spiritual, towards that profounder emphasis which cannot be expressed in natural objects nor in words. True his abandonment of representative methods did not lead him to an abandonment of natural terms of expression - that is to say human figures, trees and animals do appear in his pictures. But that he was much nearer a complete rejection of representation than was Cezanne is shown by the course followed by their respective disciples.The generation immediately subsequent to Cezanne, Herbin, Vlaminck, Friesz, Marquet, etc., do little more than exaggerate Cezannes technique, until there appear the first signs of Cubism. These are seen very clearly in Herbin. Objects begin to be treated in flat planes. A round vase is represented by a series of planes set one into the other, which at a distance blend into a curve. This is the first stage.The real plunge into Cubism was taken by Picasso, who, nurtured on Cezanne, carried to its perfectly logical conclusion the masters structural treatment of nature. Representation disappears. Starting from a single natural object, Picasso and the Cubists produce lines and project angles till their canvases are covered with intricate and often very beautiful series of balanced lines and curves. They persist, however, in giving them picture titles which recall the natural object from which their minds first took flight.With Gauguin the case is different. The generation of his disciples which followed him - I put it thus to distinguish them from his actual pupils at Pont Aven, Serusier and the rest - carried the tendency further. One hesitates to mention Derain, for his beginnings, full of vitality and promise, have given place to a dreary compromise with Cubism, without visible future, and above all without humour. But there is no better example of the development of synthetic symbolism than his first book of woodcuts. Here is work which keeps the merest semblance of conventional form, which gives its effect by startling masses of black and white, by sudden curves, but more frequently by sudden angles.In the process of the gradual abandonment of natural form the "angle" school is paralleled by the "curve" school, which also descends wholly from Gauguin. The best known representative is Maurice Denis. But he has become a slave to sentimentality, and has been left behind. Matisse is the most prominent French artist who has followed Gauguin with curves. In Germany a group of young men, who form the Neue Kunstlevereinigung in Munich, work almost entirely in sweeping curves, and have reduced natural objects purely to flowing, decorative units.But while they have followed Gauguins lead in abandoning representation both of these two groups of advance are lacking in spiritual meaning. Their aim becomes more and more decorative, with an undercurrent of suggestion of simplified form. Anyone who has studied Gauguin will be aware of the intense spiritual value of his work. The man is a preacher and a psychologist, universal by his very unorthodoxy, fundamental because he goes deeper than civilization. In his disciples this great element is wanting. Kandinsky has supplied the need. He is not only on the track of an art more purely spiritual than was conceived even by Gauguin, but he has achieved the final abandonment of all representative intention. In this way he combines in himself the spiritual and technical tendencies of one great branch of Post-Impressionism.Q.Which of the following statements can be inferred from the information given in the passage?I) Picasso maintained accuracy of form even though he rejected external representation of objectsII) Gauguin’s work is less spiritual in nature than Kandinsky’sIII) If not for the title, one would not be able to recognize the natural object that inspired the art of a Cubista)I onlyb)I and II onlyc)II and III onlyd)All of the aboveCorrect answer is option 'B'. Can you explain this answer?, a detailed solution for Read the passage carefully and answer the following questionsThe difference between Cezanne and Gauguin is subtle but goes very deep. For both the ultimate and internal significance of what they painted counted for more than the significance which is momentary and external. Cezanne saw in a tree, a heap of apples, a human face, a group of bathing men or women, something more abiding than either photography or impressionist painting could present. He painted the "treeness" of the tree, as a modern critic has admirably expressed it. But in everything he did he showed the architectural mind of the true Frenchman. His landscape studies were based on a profound sense of the structure of rocks and hills, and being structural, his art depends essentially on reality. Though he did not scruple, and rightly, to sacrifice accuracy of form to the inner need, the material of which his art was composed was drawn from the huge stores of actual nature.Gauguin has greater solemnity and fire than Cezanne. His pictures are tragic or passionate poems. He also sacrifices conventional form to inner expression, but his art tends ever towards the spiritual, towards that profounder emphasis which cannot be expressed in natural objects nor in words. True his abandonment of representative methods did not lead him to an abandonment of natural terms of expression - that is to say human figures, trees and animals do appear in his pictures. But that he was much nearer a complete rejection of representation than was Cezanne is shown by the course followed by their respective disciples.The generation immediately subsequent to Cezanne, Herbin, Vlaminck, Friesz, Marquet, etc., do little more than exaggerate Cezannes technique, until there appear the first signs of Cubism. These are seen very clearly in Herbin. Objects begin to be treated in flat planes. A round vase is represented by a series of planes set one into the other, which at a distance blend into a curve. This is the first stage.The real plunge into Cubism was taken by Picasso, who, nurtured on Cezanne, carried to its perfectly logical conclusion the masters structural treatment of nature. Representation disappears. Starting from a single natural object, Picasso and the Cubists produce lines and project angles till their canvases are covered with intricate and often very beautiful series of balanced lines and curves. They persist, however, in giving them picture titles which recall the natural object from which their minds first took flight.With Gauguin the case is different. The generation of his disciples which followed him - I put it thus to distinguish them from his actual pupils at Pont Aven, Serusier and the rest - carried the tendency further. One hesitates to mention Derain, for his beginnings, full of vitality and promise, have given place to a dreary compromise with Cubism, without visible future, and above all without humour. But there is no better example of the development of synthetic symbolism than his first book of woodcuts. Here is work which keeps the merest semblance of conventional form, which gives its effect by startling masses of black and white, by sudden curves, but more frequently by sudden angles.In the process of the gradual abandonment of natural form the "angle" school is paralleled by the "curve" school, which also descends wholly from Gauguin. The best known representative is Maurice Denis. But he has become a slave to sentimentality, and has been left behind. Matisse is the most prominent French artist who has followed Gauguin with curves. In Germany a group of young men, who form the Neue Kunstlevereinigung in Munich, work almost entirely in sweeping curves, and have reduced natural objects purely to flowing, decorative units.But while they have followed Gauguins lead in abandoning representation both of these two groups of advance are lacking in spiritual meaning. Their aim becomes more and more decorative, with an undercurrent of suggestion of simplified form. Anyone who has studied Gauguin will be aware of the intense spiritual value of his work. The man is a preacher and a psychologist, universal by his very unorthodoxy, fundamental because he goes deeper than civilization. In his disciples this great element is wanting. Kandinsky has supplied the need. He is not only on the track of an art more purely spiritual than was conceived even by Gauguin, but he has achieved the final abandonment of all representative intention. In this way he combines in himself the spiritual and technical tendencies of one great branch of Post-Impressionism.Q.Which of the following statements can be inferred from the information given in the passage?I) Picasso maintained accuracy of form even though he rejected external representation of objectsII) Gauguin’s work is less spiritual in nature than Kandinsky’sIII) If not for the title, one would not be able to recognize the natural object that inspired the art of a Cubista)I onlyb)I and II onlyc)II and III onlyd)All of the aboveCorrect answer is option 'B'. Can you explain this answer? has been provided alongside types of Read the passage carefully and answer the following questionsThe difference between Cezanne and Gauguin is subtle but goes very deep. For both the ultimate and internal significance of what they painted counted for more than the significance which is momentary and external. Cezanne saw in a tree, a heap of apples, a human face, a group of bathing men or women, something more abiding than either photography or impressionist painting could present. He painted the "treeness" of the tree, as a modern critic has admirably expressed it. But in everything he did he showed the architectural mind of the true Frenchman. His landscape studies were based on a profound sense of the structure of rocks and hills, and being structural, his art depends essentially on reality. Though he did not scruple, and rightly, to sacrifice accuracy of form to the inner need, the material of which his art was composed was drawn from the huge stores of actual nature.Gauguin has greater solemnity and fire than Cezanne. His pictures are tragic or passionate poems. He also sacrifices conventional form to inner expression, but his art tends ever towards the spiritual, towards that profounder emphasis which cannot be expressed in natural objects nor in words. True his abandonment of representative methods did not lead him to an abandonment of natural terms of expression - that is to say human figures, trees and animals do appear in his pictures. But that he was much nearer a complete rejection of representation than was Cezanne is shown by the course followed by their respective disciples.The generation immediately subsequent to Cezanne, Herbin, Vlaminck, Friesz, Marquet, etc., do little more than exaggerate Cezannes technique, until there appear the first signs of Cubism. These are seen very clearly in Herbin. Objects begin to be treated in flat planes. A round vase is represented by a series of planes set one into the other, which at a distance blend into a curve. This is the first stage.The real plunge into Cubism was taken by Picasso, who, nurtured on Cezanne, carried to its perfectly logical conclusion the masters structural treatment of nature. Representation disappears. Starting from a single natural object, Picasso and the Cubists produce lines and project angles till their canvases are covered with intricate and often very beautiful series of balanced lines and curves. They persist, however, in giving them picture titles which recall the natural object from which their minds first took flight.With Gauguin the case is different. The generation of his disciples which followed him - I put it thus to distinguish them from his actual pupils at Pont Aven, Serusier and the rest - carried the tendency further. One hesitates to mention Derain, for his beginnings, full of vitality and promise, have given place to a dreary compromise with Cubism, without visible future, and above all without humour. But there is no better example of the development of synthetic symbolism than his first book of woodcuts. Here is work which keeps the merest semblance of conventional form, which gives its effect by startling masses of black and white, by sudden curves, but more frequently by sudden angles.In the process of the gradual abandonment of natural form the "angle" school is paralleled by the "curve" school, which also descends wholly from Gauguin. The best known representative is Maurice Denis. But he has become a slave to sentimentality, and has been left behind. Matisse is the most prominent French artist who has followed Gauguin with curves. In Germany a group of young men, who form the Neue Kunstlevereinigung in Munich, work almost entirely in sweeping curves, and have reduced natural objects purely to flowing, decorative units.But while they have followed Gauguins lead in abandoning representation both of these two groups of advance are lacking in spiritual meaning. Their aim becomes more and more decorative, with an undercurrent of suggestion of simplified form. Anyone who has studied Gauguin will be aware of the intense spiritual value of his work. The man is a preacher and a psychologist, universal by his very unorthodoxy, fundamental because he goes deeper than civilization. In his disciples this great element is wanting. Kandinsky has supplied the need. He is not only on the track of an art more purely spiritual than was conceived even by Gauguin, but he has achieved the final abandonment of all representative intention. In this way he combines in himself the spiritual and technical tendencies of one great branch of Post-Impressionism.Q.Which of the following statements can be inferred from the information given in the passage?I) Picasso maintained accuracy of form even though he rejected external representation of objectsII) Gauguin’s work is less spiritual in nature than Kandinsky’sIII) If not for the title, one would not be able to recognize the natural object that inspired the art of a Cubista)I onlyb)I and II onlyc)II and III onlyd)All of the aboveCorrect answer is option 'B'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Read the passage carefully and answer the following questionsThe difference between Cezanne and Gauguin is subtle but goes very deep. For both the ultimate and internal significance of what they painted counted for more than the significance which is momentary and external. Cezanne saw in a tree, a heap of apples, a human face, a group of bathing men or women, something more abiding than either photography or impressionist painting could present. He painted the "treeness" of the tree, as a modern critic has admirably expressed it. But in everything he did he showed the architectural mind of the true Frenchman. His landscape studies were based on a profound sense of the structure of rocks and hills, and being structural, his art depends essentially on reality. Though he did not scruple, and rightly, to sacrifice accuracy of form to the inner need, the material of which his art was composed was drawn from the huge stores of actual nature.Gauguin has greater solemnity and fire than Cezanne. His pictures are tragic or passionate poems. He also sacrifices conventional form to inner expression, but his art tends ever towards the spiritual, towards that profounder emphasis which cannot be expressed in natural objects nor in words. True his abandonment of representative methods did not lead him to an abandonment of natural terms of expression - that is to say human figures, trees and animals do appear in his pictures. But that he was much nearer a complete rejection of representation than was Cezanne is shown by the course followed by their respective disciples.The generation immediately subsequent to Cezanne, Herbin, Vlaminck, Friesz, Marquet, etc., do little more than exaggerate Cezannes technique, until there appear the first signs of Cubism. These are seen very clearly in Herbin. Objects begin to be treated in flat planes. A round vase is represented by a series of planes set one into the other, which at a distance blend into a curve. This is the first stage.The real plunge into Cubism was taken by Picasso, who, nurtured on Cezanne, carried to its perfectly logical conclusion the masters structural treatment of nature. Representation disappears. Starting from a single natural object, Picasso and the Cubists produce lines and project angles till their canvases are covered with intricate and often very beautiful series of balanced lines and curves. They persist, however, in giving them picture titles which recall the natural object from which their minds first took flight.With Gauguin the case is different. The generation of his disciples which followed him - I put it thus to distinguish them from his actual pupils at Pont Aven, Serusier and the rest - carried the tendency further. One hesitates to mention Derain, for his beginnings, full of vitality and promise, have given place to a dreary compromise with Cubism, without visible future, and above all without humour. But there is no better example of the development of synthetic symbolism than his first book of woodcuts. Here is work which keeps the merest semblance of conventional form, which gives its effect by startling masses of black and white, by sudden curves, but more frequently by sudden angles.In the process of the gradual abandonment of natural form the "angle" school is paralleled by the "curve" school, which also descends wholly from Gauguin. The best known representative is Maurice Denis. But he has become a slave to sentimentality, and has been left behind. Matisse is the most prominent French artist who has followed Gauguin with curves. In Germany a group of young men, who form the Neue Kunstlevereinigung in Munich, work almost entirely in sweeping curves, and have reduced natural objects purely to flowing, decorative units.But while they have followed Gauguins lead in abandoning representation both of these two groups of advance are lacking in spiritual meaning. Their aim becomes more and more decorative, with an undercurrent of suggestion of simplified form. Anyone who has studied Gauguin will be aware of the intense spiritual value of his work. The man is a preacher and a psychologist, universal by his very unorthodoxy, fundamental because he goes deeper than civilization. In his disciples this great element is wanting. Kandinsky has supplied the need. He is not only on the track of an art more purely spiritual than was conceived even by Gauguin, but he has achieved the final abandonment of all representative intention. In this way he combines in himself the spiritual and technical tendencies of one great branch of Post-Impressionism.Q.Which of the following statements can be inferred from the information given in the passage?I) Picasso maintained accuracy of form even though he rejected external representation of objectsII) Gauguin’s work is less spiritual in nature than Kandinsky’sIII) If not for the title, one would not be able to recognize the natural object that inspired the art of a Cubista)I onlyb)I and II onlyc)II and III onlyd)All of the aboveCorrect answer is option 'B'. Can you explain this answer? tests, examples and also practice CAT tests.