Soru

The following dual passages discuss the historical impact of photography on painting.

Passage A
Before the invention of photography in the 19th century, portrait painting served primarily a documentary function. The wealthy commissioned painters to create accurate visual records of their likenesses, families, and estates. When the daguerreotype and subsequent photographic processes emerged, they offered a level of precise, objective realism that no human hand could perfectly replicate, and at a fraction of the cost. However, rather than destroying the art of painting, this technological disruption ultimately liberated it. Freed from the mandate to produce strict physical likenesses, painters were forced to reevaluate the purpose of their medium. This led directly to the rise of movements like Impressionism and Expressionism, where artists prioritized the capture of light, emotion, psychological depth, and subjective experience. Because a camera could perfectly record the external reality of a subject, the painter was now free to explore the internal reality. Thus, photography did not render painting obsolete; instead, it pushed painting to evolve into a more profoundly expressive art form.

Passage B
The introduction of commercial photography in the mid-1800s sent shockwaves through the established artistic community, particularly among traditional portrait painters. For centuries, artists had painstakingly developed techniques to capture the exact features and proportions of their sitters. Suddenly, a mechanical device could accomplish in minutes what took a master painter weeks to achieve, and with an undeniable mechanical precision. Consequently, the livelihood of thousands of mid-tier portraitists vanished almost overnight. The middle class, who previously might have saved for years to commission a painted portrait, flocked to photographic studios for cheap, exact reproductions of their faces. While some art historians argue that this shift gracefully pushed painters toward modern abstract movements, this view glosses over the immediate economic devastation experienced by the artistic working class. Many painters were forced to abandon their brushes altogether and find new professions, or ironically, become photographers themselves. The camera undeniably assumed the societal role of exact visual documentation, displacing the craftsmen who had formerly monopolized that essential service.

Which one of the following expresses a point of agreement between the authors of the two passages?