20 Nineteenth-century art critics judged art by the realism of its method of 8 n a" l. Z8 l# H3 D: erepresentation. It was assumed that the realistic method developed 1 L& L& ?: c' Z7 |* M: Nfrom primitive beginnings to the perfection of formal realism. It is one 8 U$ |# m" j/ [5 b" dof the permanent gains of the artistic revolution of the twentieth century" p l/ l% I; P$ o2 D/ m
that we are rid of this type of aesthetics. + @- N% h, G3 U _ p L8 Z 6 r( G _1 {0 D w6 r
It can be inferred from the information given that the artistic revolution # c$ w3 N6 d* a9 Iof the twentieth century had which of the following effects? + O4 T- {( Q9 E- K! X % ?( H2 m+ c3 b: F# e* f# R
It deemphasized realistic representation as an evaluative con-- `! _3 r& H: J
sideration for judging works of art. & I8 |6 a) o0 h# m/ q D2 X# w
It permitted modern critics to appreciate the simplicity of primi- . F/ x: l* J$ P1 [ tive art. 5 V; ]' g: H% F: C0 T; u It repudiated the realistic representation found in art before the: F3 J& Z' K6 G: T& k5 m9 Q
nineteenth century. , [; c! s8 `& h( r! j4 g It reinforced traditional ways of looking at and judging great art. 2 U) L+ L: k5 h k4 G/ u) X A E It allowed art critics to understand the evolution and nature of art.