LSAT考试全真试题四SECTION1（6）

会计考友

(20) originally passed off as Greek. In medieval Europe. because art was 　celebrated more for its devotional uses than for its provenance or the 　ingenuity of its creators the faking of art was virtually nonexistent. The 　modern age of faking began in the ltalian Renaissance, with

(25) two linked developments a passionate identification with the world of 　antiquity and a growing sense of individual artistie identity A patron of the 　young Michelangelo prevailed upon the artist to make his Seulpture Sleeping 　Chpld look as though it had been
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(30) buried in the earth so that "it will be taken for antique, and you will sell it 　much better." Within a few years however beginning with his first masterpiece 　the Bacchus, Michelangelo had shown his contemporaries that great art can 　assimilate and transcend what came
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(35) before resulting in a wholly original work. Soon his genius made him the 　object of imitators.

, y# ^  w* v: B　　　Fake? also reminds us that in certain cuitures authenticity is a foreign 　concept This is true of much African art when the authenticity of an object is

# R1 r/ l# A  U0 q. y4 T(40) considered by collectors to depend on its function As an illustration, the 　study commpares two versions of a chi wara mask made by the Bambara 　people of Mali One has pegs allowing it to be attached to a cap for its 　intended ceremonial purpose. The second, otherwise
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(45) identical, lacks the pegs and is a replica made for sale African carving is 　notoriously difficult to date, but even if the ritual mask is recent, made 　perhaps to replace a damaged predecessor, and the replica much older, only 　the ritual mask should be seen as authentic
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3 U) h! z1 Y, s( ^" ]% U(50) for it is tied to the form s original function. That at least is the consensus of 　the so-called experts. One wonders whether the Bambaran artists would 　agree

21. The passage can best be described as doing which one of the following?
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(A) recondciling varied points of view
(B) chronicling the evolution of a phenomenon
& K3 ^% v) F; b% {+ W9 E(C) exploring a complex question
(D) advocating a new approach
(E) rejecting an inadequate explanation

22. Which one of the following best expresses the author s main point?
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0 v- h& |& u4 P* G2 H' @(A) The faking of art has occurred throughout history and in virtually every 　　culture.
6 e; X* {& j! ^9 l: {/ l(B) Whether a work of art is fake or not is less important than whether it has 　　artistic merit
, S2 p5 }3 o$ d. W' o(C) It is possible to show that a work of art is fake, but the authenticity of a 　　work cannot be proved conclusively
- @! f8 S/ l6 u(D) A variety of circumstances make it difficult to determine whether a work of 　　art can appropriately be called a fake
3 j5 l1 S; S) X  H4 R9 x& M& H1 d8 R(E) Without an international market to support it, the faking of art would cease.
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+ [: Q* T' G6 W23. According to the passage an artwork can be definitively classified as a fake if the person who created it
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(A) consciously adopted the artistic style of an influential mentor
(B) deliberately imitated a famous work of art as a learning exercise
2 W& V5 w! ~: j2 J# O+ M(C) wanted other people to be fooled by its appearance
(D) made multiple, identical copies of the work available for sale
" r1 }6 j/ s, W" }: w' E4 B; g, r(E) made the work resemble the art of an earlier era.

6 w+ X7 T) P: `% u3 L6 d5 C  Q24. The author provides at least one example of each of the following EXCEPT:

(A) categories of art that are neither wholly fake not wholly original
(B) cultures in which the faking of art flourished
(C) qualities that art collectors have prized in their acquisitions
(D) cultures in which the categories "fake" and "original" do not apply
- \6 G$ I0 }) E' ](E) contemporary artists whose works have inspired fakes

& K3 ~1 x$ O. I6 k- _25. The author implies which one of the following about the artistie merits of fakes?
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(A) Because of the circumstances of its production a fake cannot be said to 　　have true artistic merit
(B) A fake can be said to have artistic merit only if the attempted deception is 　　successful
(C) A fake may or may not have artistic merit in its own right, regardless of the 　　circumstances of its production
3 a7 x$ Y2 k  |4 w0 Y6 J: z(D) Whether a fake has artistic merit depends on whether its creator is 　　accomplished as an artist
(E) The artistic merit of a fake depends on the merit of the original work that 　　inspited the fake
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+ D' {' t1 R- d+ r4 i1 y# K& v2 h26. By the standard described in the last paragraph of the passage, which one of the following would be considered authentic?
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+ S- E: z3 q  H. F% s(A) an ancient Roman copy of an ancient Greek sculpture
# a' K* z* q5 y(B) a painting begun by Renaissance master and finished by his assistants 　　after his death
(C) a print of a painting signed by the artist who painted the original
' E9 w, c2 o8 _* R' e(D) a faithful replica of a ceremonial crown that preserves all the details of and is 　　indistinguishable from the original
(E) a modern reconstruction of a medieval altarpiece designed to serve its 　　traditional role in a service of worship
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  C) K6 d7 O0 w) K22. Which one of the following best describes how the last paragraph functions in the context of the passage?

; ^' d) N0 R* H8 \: f$ E(A) It offers a tentative answer to a question posed by the author in the opening 　　paragraph
(B) It summarizes an account provided in detail in the preceding paragraph
3 t4 f) G. z# i# ](C) It provides additional support for an argument advanced by the author in the 　　preceding paragraph
(D) It examines another facet of a distinction developed in the preceding 　　paragraphs
(E) It affirms the general principle enunciated at the beginning of the passage