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
The writer wants to conclude the passage with a sentence that emphasizes an enduring legacy of Kingman’s work. Which choice would best accomplish this goal?
Although Kingman’s work might not be as famous as that of some other watercolor painters, such as Georgia O’Keeffe and Edward Hopper, it is well regarded by many people.
Since Kingman’s death in 2000, museums across the United States and in China have continued to ensure that his now-iconic landscapes remain available for the public to enjoy.
The urban landscapes depicted in Kingman’s body of work are a testament to aptness of the name chosen for Kingman when he was just a boy.
Kingman’s work was but one example of a long-lasting tradition refreshed by an innovative artist with a new perspective.
View Correct Answer
Choice B is the best answer because it concludes the passage with a sentence that emphasizes the enduring legacy of Kingman’s work by indicating that museums continue to make Kingman’s iconic paintings accessible to the public.
Choice A is not the best answer because it concludes the passage with a sentence that acknowledges that other painters’ work is more famous than Kingman’s (which downplays, rather than emphasizes, the enduring legacy of Kingman’s work) and offers only a general assertion that Kingman’s work is “well regarded by many people.”
Choice C is not the best answer because instead of referring to the enduring legacy of Kingman’s work, it concludes the passage with a sentence that recalls a detail the passage provides about Kingman’s early life.
Choice D is not the best answer because it concludes the passage with a sentence that is too vague and general to emphasize effectively an enduring legacy of Kingman’s work. It is not clear what the idea of refreshing a long-lasting tradition is intended to mean or how (or even whether) this represents an enduring legacy. Moreover, referring to Kingman’s work as “but one example” downplays the significance of any potential legacy that might be suggested.
Students must determine the most effective ending of a text given a particular writing goal.