Question ID:PT18 S2 Q21 Passage:It is very difficult to prove today that a painting done two or three hundred years ago, especially one without a signature or with a questionably authentic signature, is indubitably the work of this or that particular artist. This fact gives the traditional attribution of a disputed painting special weight, since that attribution carries the presumption of historical continuity. Consequently, an art historian arguing for a deattribution will generally convince other art historians only if he or she can persuasively argue for a specific reattribution. Stem:Which one of the following, if true, most strongly supports the position that the traditional attribution of a disputed painting should not have special weight? Correct Answer Choice:AChoice A:Art dealers have always been led by economic self-interest to attribute any unsigned paintings of merit to recognized masters rather than to obscure artists. Choice B:When a painting is originally created, there are invariably at least some eyewitnesses who see the artist at work, and thus questions of correct attribution cannot arise at that time. Choice C:There are not always clearly discernible differences between the occasional inferior work produced by a master and the very best work produced by a lesser talent. Choice D:Attribution can shape perception inasmuch as certain features that would count as marks of greatness in a master’s work would be counted as signs of inferior artistry if a work were attributed to a minor artist. Choice E:Even though some masters had specialists assist them with certain detail work, such as depicting lace, the resulting works are properly attributed to the masters alone.