Questions 12-22 are based on the following passage.
Dong Kingman: Painter of Cities
A 1954 documentary about renowned watercolor painter Dong Kingman shows the artist sitting on a stool on Mott Street in New York City’s Chinatown. A crowd of admiring spectators 12 watched as Kingman squeezes dollops of paint from several tubes into a tin watercolor 13 box, from just a few primary colors, Kingman creates dozens of beautiful hues as he layers the translucent paint onto the paper on his easel. Each stroke of the brush and dab of the sponge transforms thinly sketched outlines into buildings, shop signs, and streetlamps. The street scene Kingman begins composing in this short film is very much in keeping with the urban landscapes for which he is best known.
 Kingman was keenly interested in landscape painting from an early age.  In Hong Kong, where Kingman completed his schooling, teachers at that time customarily assigned students a formal “school name.”  His interest was so keen, in fact, that he was named after it.  The young boy who had been Dong Moy Shu became Dong Kingman.  The name Kingman was selected for its two 14 parts, “king” and “man”; Cantonese for “scenery” and “composition.”  As Kingman developed as a painter, his works were often compared to 15 paintings by Chinese landscape artists dating back to CE 960, a time when a strong tradition of landscape painting emerged in Chinese art.  Kingman, however, 16 vacated from that tradition in a number of ways, most notably in that he chose to focus not on natural landscapes, such as mountains and rivers, but on cities. 17
18 His fine brushwork conveys detailed street-level activity: a peanut vendor pushing his cart on the sidewalk, a pigeon pecking for crumbs around a fire 19 hydrant, an old man tending to a baby outside a doorway. His broader brush strokes and sponge-painted shapes create majestic city skylines, with skyscrapers towering in the background, bridges connecting neighborhoods on either side of a river, and 20 delicately painted creatures, such as a tiny, barely visible cat prowling in the bushes of a park. To art critics and fans alike, these city scenes represent the innovative spirit of twentieth-century urban Modernism.
During his career, Kingman exhibited his work 21 internationally. He garnered much acclaim. In 1936, a critic described one of Kingman’s solo exhibits as “twenty of the freshest, most satisfying watercolors that have been seen hereabouts in many a day.” 22
Select an Answer
To make this paragraph most logical, sentence 3 should be placed
where it is now.
before sentence 1.
after sentence 1.
after sentence 4.
View Correct Answer
Choice C is the best answer because placing sentence 3 after sentence 1 makes the paragraph most cohesive. Sentence 3 refers to Kingman’s “interest” being “so keen,” a continuation of the idea in sentence 1, which says that “Kingman was keenly interested in landscape painting from an early age.”
Choice A is not the best answer because leaving sentence 3 where it is now creates a sequence of sentences that lacks sufficient cohesion. Keeping sentence 3 in its current location disrupts the link between sentence 2 (which describes the concept of “school names” in Hong Kong) and sentence 4 (which reveals that Dong Kingman was the school name of Dong Moy Shu).
Choice B is not the best answer because placing sentence 3 before sentence 1 creates a sequence of sentences that lacks sufficient cohesion. Putting sentence 3 at the beginning of the paragraph would offer a poor introduction to the paragraph, in large part because sentence 3 builds directly on a point made in sentence 1.
Choice D is not the best answer because placing sentence 3 after sentence 4 creates a sequence of sentences that lacks sufficient cohesion. Putting sentence 3 after sentence 4 would disrupt the link between sentence 4 (which mentions that Dong Moy Shu was given the school name Dong Kingman) and sentence 5 (which explains what the two parts comprising the name Kingman mean in Cantonese).
Students must improve the cohesion of a paragraph.