The author of the above passage has examined 'Mona Lisa' from ?->(Show Answer!)

1. The author of the above passage has examined 'Mona Lisa' from

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MCQ->Most rhapsodical nonsense has been written about 'Mona Lisa' and her enigmatic smile and there have been endless speculations as to her character and meaning of the expression.It is all beside the mark.The truth is that Mona Lisa is a work of modeling.Leonardo da Vinci had discovered that expression of smiling is much more a matter of modeling of the cheek and of the forms below the eye than of the change in the line of the lips.It interested him to produce a smile wholly by these delicate changes of surfacehence the mysterious expression The word rhapsodical as used in the passage means....

MCQ-> Read the passage given below and answer the questions that follow it:There are no Commandments in art and no easy axioms for art appreciation. “Do I like this?” is the question anyone should ask themselves at the moment of confrontation with the picture. But if “yes,” why “yes”? and if “no,” why “no”? The obvious direct emotional response is never simple, and ninety-nine times out of a hundred, the “yes” or “no” has nothing at all to do with the picture in its own right. “I don’t understand this poem” and “I don’t like this picture” are statements that tell us something about the speaker. That should be obvious, but in fact, such statements are offered as criticisms of art, as evidence against, not least because the ignorant, the lazy, or the plain confused are not likely to want to admit themselves as such. We hear a lot about the arrogance of the artist but nothing about the arrogance of the audience. The audience, who have given no thought to the medium or the method, will glance up, flick through, chatter over the opening chords, then snap their fingers and walk away like some monstrous Roman tyrant. This is not arrogance; of course, they can absorb in a few moments, and without any effort, the sum of the artist and the art.Admire me is the sub-text of so much of our looking; the demand put on art that it should reflect the reality of the viewer. The true painting, in its stubborn independence, cannot do this, except coincidentally. Its reality is imaginative not mundane.When the thick curtain of protection is taken away; protection of prejudice, protection of authority, protection of trivia, even the most familiar of paintings can begin to work its power. There are very few people who could manage an hour alone with the Mona Lisa. Our poor art-lover in his aesthetic laboratory has not succeeded in freeing himself from the protection of assumption. What he has found is that the painting objects to his lack of concentration; his failure to meet intensity with intensity. He still has not discovered anything about the painting, but the painting has discovered a lot about him. He is inadequate, and the painting has told him so.When you say “This work is boring/ pointless/silly/obscure/élitist etc.,” you might be right, because you are looking at a fad, or you might be wrong because the work falls so outside of the safety of your own experience that in order to keep your own world intact, you must deny the other world of the painting. This denial of imaginative experience happens at a deeper level than our affirmation of our daily world. Every day, in countless ways, you and I convince ourselves about ourselves. True art, when it happens to us, challenges the “I” that we are and you say, “This work has nothing to do with me.”Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. We say we have no time for art. If we say that art, all art. is no longer relevant to our lives, then we might at least risk the question “What has happened to our lives?” The usual question, “What has happened to art?” is too easy an escape route.A young man visits a critically acclaimed modern art exhibition in his city and finds that he doesn’t like any of the exhibits. If he were to share his experience with the author of the passage, which of the following is most likely to be the author’s response?
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MCQ->The author of the above passage has examined 'Mona Lisa' from....

MCQ-> Study the given information carefully to answer the given questions.M, N, O, P, Q R and S are seven people live on seven different floors of a building but not necessarily in the same order. The lower most floor of the building is numbered 1, the one above that is numbered 2 and so on till the topmost floor is numbered 7. Each one of them have different income i.e., 3500, 15000, 7500, 9000, 11000, 13500 and 5000. (But not necessarily in the same order.) M lives on an odd numbered floor but not on the floor numbered 3. The one who has income of 11000 lives immediately above M. Only two people live between M and the one who has income of 7500. The one who has income of 15000 lives on one of the odd numbered floors above P. Only three people live between 0 and the one who has income of 15000. The one who has income of 7500 lives immediately above 0. R earns 4000 more than Q. The one who has income of 3500 lives immediately above the one who has income of 5000. S lives on an odd numbered floor. Only one person lives between N and Q. N lives on one of the floors above Q. Neither 0 nor M has income of 0000. Q does not has income of 500. How much income M has ?
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