Read the following passage carefully and give the answer of following questions.

Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
 There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.

England has sporting pictures in abundance but

Read the following passage carefully and give the answer of following questions.

Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
 There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.

British painting of the late eighteenth century and the first halt of the nineteenth century chiefly deals with

Read the following passage carefully and give the answer of following questions.

Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
 There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.

Persistent demand for portraiture could be found

Read the following passage carefully and give the answer of following questions.

Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
 There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.

The motives that played their part in shaping the course of British painting are

Read the following passage carefully and give the answer of following questions.

Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
 There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.

Artists capable of painting sporting pictures were

Read the passage carefully and give the answer of following questions.
Like all visions, this one begins with a dream is of a stresses education system throughout India. That where there is stress it is the exception, not arising out of the system but out of some aberration or other. The extension of that dream is that the children, -thus growing up free will feel better disposed to arrive at the ultimate point of all living, the giving and receiving of love without limits. That growing up in such an atmosphere they become effortlessly harbingers of peace to the world, which is what it seems India used to be in Vedic times. But whatever about the nation's role in the world tomorrow, what is needed is such relationships as both arise out of and strengthen a deep sense of meaning, of self-confidence, of focus, and above all, of peace.
 We want that, for our kids, their reach should exceed their grasp, that the accomplishment of goals be only challenges to greater things, that sensing final arrival is either an illusion or an indication that the dream was itself originally petty. We went that they be open to the impossible, the barely imaginable, the almost magical.

What will be the benefits of children growing up as free individuals?

Read the passage carefully and give the answer of following questions.
Like all visions, this one begins with a dream is of a stresses education system throughout India. That where there is stress it is the exception, not arising out of the system but out of some aberration or other. The extension of that dream is that the children, -thus growing up free will feel better disposed to arrive at the ultimate point of all living, the giving and receiving of love without limits. That growing up in such an atmosphere they become effortlessly harbingers of peace to the world, which is what it seems India used to be in Vedic times. But whatever about the nation's role in the world tomorrow, what is needed is such relationships as both arise out of and strengthen a deep sense of meaning, of self-confidence, of focus, and above all, of peace.
 We want that, for our kids, their reach should exceed their grasp, that the accomplishment of goals be only challenges to greater things, that sensing final arrival is either an illusion or an indication that the dream was itself originally petty. We went that they be open to the impossible, the barely imaginable, the almost magical.

What is the implication for India of a pure and untainted system of education?

Read the passage carefully and give the answer of following questions.
Like all visions, this one begins with a dream is of a stresses education system throughout India. That where there is stress it is the exception, not arising out of the system but out of some aberration or other. The extension of that dream is that the children, -thus growing up free will feel better disposed to arrive at the ultimate point of all living, the giving and receiving of love without limits. That growing up in such an atmosphere they become effortlessly harbingers of peace to the world, which is what it seems India used to be in Vedic times. But whatever about the nation's role in the world tomorrow, what is needed is such relationships as both arise out of and strengthen a deep sense of meaning, of self-confidence, of focus, and above all, of peace.
 We want that, for our kids, their reach should exceed their grasp, that the accomplishment of goals be only challenges to greater things, that sensing final arrival is either an illusion or an indication that the dream was itself originally petty. We went that they be open to the impossible, the barely imaginable, the almost magical.

Which word or group of words in the passage means 'infinite' ?