20 Nineteenth-century art critics judged art by the realism of its method of 1 Y7 s0 _4 Z2 H1 _2 drepresentation. It was assumed that the realistic method developed 5 o8 b& t- l( ~ b$ Y3 R# Nfrom primitive beginnings to the perfection of formal realism. It is one . }6 Y( }/ t& b
of the permanent gains of the artistic revolution of the twentieth century : d @, _ K% x5 `: jthat we are rid of this type of aesthetics. + d% A5 l( I7 n7 D ~5 E y5 I" g: A. M( t
It can be inferred from the information given that the artistic revolution / B7 u* t& n% P x; i0 z- r
of the twentieth century had which of the following effects?5 j1 a0 [( f0 X" [1 P5 F, w; O1 S* k
( g" M# R9 b- L; j It deemphasized realistic representation as an evaluative con- # i' H- ~( F# x/ q7 C/ w( b sideration for judging works of art. ( g2 b3 L. p+ `
It permitted modern critics to appreciate the simplicity of primi- 0 b2 M) d) v+ y+ {) Q& \4 F- S2 o3 Z tive art. 7 _$ @ O. }8 ^4 W It repudiated the realistic representation found in art before the. y3 r2 o2 d, N% f5 X9 Z5 u1 D" r
nineteenth century. 8 a- _6 O6 @% P8 ?3 P3 n5 C- K! C
It reinforced traditional ways of looking at and judging great art. ; T+ ~( Y5 ` {2 Y" C7 N
It allowed art critics to understand the evolution and nature of art.