Questions 11-21 Panel painting, com

Questions 11-21
Panel painting, common in thirteenth-and fourteenth-century Europe, involved a painstaking, laborious process. Wooden planks were joined, covered witesso to prepare the surface for painting, and then polished smooth with special tools. On this perfect surface, the artist would sketch a composition with chalk, refine it with inks, and then begin the deliberate process of applying thin layers of egg tempera paint (egg yolk in which pigments are suspended) with small brushes. The successive layering of these meticulously applied paints produced the final, translucent colors.
Backgrounds or gold were made by carefully applying sheets of gold leaf, and then embellishing of decorating the gold leaf by punching it with a metal rod on which a pattern had been embossed. Every step in the process was slow and deliberate. The quick-drying tempera demanded that the artist know exactly where each stroke be placed before the brush met the panel, and it required the use of fine brushes. It was, therefore, an ideal technique for emphasizing the hard linear edges and pure, fine areas of color that were so much a part of the overall aesthetic of the time. The notion that an artist could or would dash off an idea in a fit of spontaneous inspiration was completely alien to these deliberately produced works.
Furthermore, making these paintings was so time-consuming that it demanded assistance. All such work was done by collective enterprise in the workshops. The painter or master who is credited with having created the painting may have designed the work and overseen its production, but it is highly unlikely that the artist’s hand applied every stroke of the brush. More likely, numerous assistants, who had been trained to imitate the artist’s style, applied the paint. The carpenter’s shop probably provided the frame and perhaps supplied the panel, and yet another shop supplied the gold. Thus, not only many hands, but also many shops were involved in the final product.
In spite of problems with their condition, restoration, and preservation many panel
paintings have survived, and today many of them are housed in museum collections.
11. What aspect of panel paintings does the passage mainly discuss?
(A) Famous example
(B) Different styles
(C) Restoration
(D) Production
12. According to the passage, what was the first step in making a panel painting?
(A) Mixing the paint
(B) Preparing the panel
(C) Buying the gold leaf
(D) Making ink drawings
13. The word “it” in line 4 refers to
(A) chalk
(B) composition
(C) artist
(D) surface
14. The word “deliberate” in line 5 is closest in meaning to
(A) decisive
(B) careful
(C) natural
(D) unusual
15. Which of the following processes produced the translucent colors found on panel paintings?
(A) Joining wooden planks to form large sheets
(B) Polishing the gesso
(C) Applying many layers of paint
(D) Covering the background with gold leaf
16. What characteristic of tempera paint is mentioned in the passage?
(A) It dries quickly
(B) It is difficult to make
(C) It dissolves easily
(D) It has to be applied directly to wood
17. The word “demanded” in line 17 is closest in meaning ot
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(A) ordered
(B) reported
(C) required
(D) questioned
18. The “collective enterprise” mentioned in line 18 includes all of the following EXCEPT
(A) supplying the gold leaf
(B) building the panels
(C) applying the paint
(D) selling the painting
19. The word “imitate” in line 22 is closest in meaning to
(A) copy
(B) illustrate
(C) promote
(D) believe in
20. The author mention all of the following as problems with the survival of panel paintings
EXCEPT
(A) condition
(B) theft
(C) preservation
(D) restoration
21. The word “them” in line 27 refers to
(A) problem
(B) condition, restoration, preservation
(C) panel paintings
(D) museum collections
Questions 22-32
Grows are probably the most frequently met and easily identifiable members of the native fauna of the United States. The great number of tales, legends, and myths about these birds indicates that people have been exceptionally interested in them for a long time. On the other hand, when it comes to substantive-particularly behavioral-information, crows are less well known than many comparably common species and, for that matter, not a few quite uncommon ones: the endangered California condor to cite one obvious example. There are practical reasons for this.
Grows are notoriously poor and aggravating subjects for field research. Keen observers and quick learners, they are astute about the intentions of other creatures, including researchers, and adapt at avoiding them. Because they are so numerous, active, and monochromatic, it is difficult to distinguish one crow from another. Bands, radio transmitters, or other identifying devices can be attached to them, but this of course requires catching live crows, who are among the wariest and most untrappable of birds.
Teclmical difficulties aside, crow research is daunting because the ways of the birds are so complex and various. As preeminent generalists, members of this species ingeniously exploit a great range of habitats and resources, and they can quickly adjust to changes in their circumstances. Being so educable, individual birds have markedly different interests and inclinations, strategies and scams. For example, one pet crow learned how to let a dog out of its kennel by pulling the pin on the door. When the dog escaped, the bird went into the kennel and ate its food.

Kết quả (Việt) 1:

Questions 11-21 Panel painting, common in thirteenth-and fourteenth-century Europe, involved a painstaking, laborious process. Wooden planks were joined, covered witesso to prepare the surface for painting, and then polished smooth with special tools. On this perfect surface, the artist would sketch a composition with chalk, refine it with inks, and then begin the deliberate process of applying thin layers of egg tempera paint (egg yolk in which pigments are suspended) with small brushes. The successive layering of these meticulously applied paints produced the final, translucent colors. Backgrounds or gold were made by carefully applying sheets of gold leaf, and then embellishing of decorating the gold leaf by punching it with a metal rod on which a pattern had been embossed. Every step in the process was slow and deliberate. The quick-drying tempera demanded that the artist know exactly where each stroke be placed before the brush met the panel, and it required the use of fine brushes. It was, therefore, an ideal technique for emphasizing the hard linear edges and pure, fine areas of color that were so much a part of the overall aesthetic of the time. The notion that an artist could or would dash off an idea in a fit of spontaneous inspiration was completely alien to these deliberately produced works. Hơn nữa, làm cho những bức tranh là rất tốn thời gian nó yêu cầu sự trợ giúp. Tất cả các công việc như vậy đã được thực hiện bởi các doanh nghiệp tập thể ở các hội thảo. Họa sĩ hay người được cho là đã có tạo ra những bức tranh có thể đã thiết kế các công việc và giám sát sản xuất của nó, nhưng nó là rất khó mà bàn tay của nghệ sĩ áp dụng mỗi đột quỵ của các brush. Nhiều khả năng, áp dụng rất nhiều trợ lý, những người đã được đào tạo để bắt chước phong cách của nghệ sĩ, sơn. Cửa hàng của người thợ mộc có thể cung cấp khung và có lẽ cung cấp bảng điều khiển, và chưa một cửa hàng cung cấp vàng. Vì vậy, không chỉ có bàn tay nhiều, nhưng cũng có nhiều cửa hàng đã tham gia trong các sản phẩm cuối cùng. Mặc dù vấn đề với điều kiện, phục hồi và bảo tồn của họ nhiều bảng điều khiển bức tranh đã sống sót, và vào ngày hôm nay nhiều người trong số họ được đặt trong các bộ sưu tập của bảo tàng. 11. khía cạnh của bảng điều khiển tranh nào thông qua chủ yếu là thảo luận? (A) nổi tiếng ví dụ (B) phong cách khác nhau (C) phục hồi (D) sản xuất 12. theo đoạn văn, những gì là bước đầu tiên trong việc đưa ra một bức tranh bảng điều khiển? (A) trộn sơn (B) chuẩn bị bảng điều khiển (C) mua vàng lá (D) làm cho mực in bản vẽ 13. từ "nó" trong dòng 4 đề cập đến (A) đá phấn (B) thành phần (C) nghệ sĩ (D) bề mặt 14. từ "cố ý" trong dòng 5 là gần nhất với ý nghĩa (A) quyết định (B) cẩn thận (C) tự nhiên (D) không bình thường 15. trong các quá trình tạo ra màu sắc mờ tìm thấy trên bảng điều khiển tranh? (A) tham gia các tấm ván gỗ để tạo thành tấm lớn (B) đánh bóng gesso (C) việc áp dụng nhiều lớp sơn (D) bao gồm các nền với lá vàng 16. đặc tính của tempera sơn được đề cập trong các đoạn văn? (A) nó khô một cách nhanh chóng (B) nó là khó khăn để thực hiện (C) nó hòa tan dễ dàng (D) nó đã được áp dụng trực tiếp lên gỗ 17. từ "yêu cầu" trong dòng 17 là gần nhất trong ý nghĩa ot http://luyenthianhvan.blogsyot.com http://luyenthianhvan.blogsyot.com (A) ra lệnh cho (B) báo cáo (C) yêu cầu (D) đặt câu hỏi 18. "tập thể doanh nghiệp" được đề cập trong dòng 18 bao gồm tất cả trừ sau (A) cung cấp vàng lá (B) xây dựng các tấm pin (C) việc áp dụng sơn (D) bán các bức tranh 19. từ "bắt chước" trong đường dây 22 là gần nhất với ý nghĩa (A) bản sao (B) minh họa (C) thúc đẩy (D) tin vào 20. tác giả đề cập đến tất cả những điều sau đây là vấn đề với sự sống còn của bảng điều khiển tranh NGOẠI TRỪ (A) điều kiện (B) trộm cắp (C) bảo quản (D) phục hồi 21. từ "họ" trong dòng 27 đề cập đến (A) vấn đề (B) điều kiện, khôi phục, bảo tồn (C) bảng điều khiển tranh (D) bảo tàng bộ sưu tập Câu hỏi 22-32 Grows are probably the most frequently met and easily identifiable members of the native fauna of the United States. The great number of tales, legends, and myths about these birds indicates that people have been exceptionally interested in them for a long time. On the other hand, when it comes to substantive-particularly behavioral-information, crows are less well known than many comparably common species and, for that matter, not a few quite uncommon ones: the endangered California condor to cite one obvious example. There are practical reasons for this. Grows are notoriously poor and aggravating subjects for field research. Keen observers and quick learners, they are astute about the intentions of other creatures, including researchers, and adapt at avoiding them. Because they are so numerous, active, and monochromatic, it is difficult to distinguish one crow from another. Bands, radio transmitters, or other identifying devices can be attached to them, but this of course requires catching live crows, who are among the wariest and most untrappable of birds. Teclmical difficulties aside, crow research is daunting because the ways of the birds are so complex and various. As preeminent generalists, members of this species ingeniously exploit a great range of habitats and resources, and they can quickly adjust to changes in their circumstances. Being so educable, individual birds have markedly different interests and inclinations, strategies and scams. For example, one pet crow learned how to let a dog out of its kennel by pulling the pin on the door. When the dog escaped, the bird went into the kennel and ate its food.