Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each...

LQ

Lê Quỳnh Anh

29 tháng 3 2017

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

According to the passage, where were many of the first American folk art portraits painted?

A. In western New York

B. In Illinois and Missouri

C. In Connecticut and Massachusetts

D. In Ohio

#Mẫu giáo

1

DH

Dương Hoàn Anh

29 tháng 3 2017

Đáp án C

Thông tin: The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition.

Dịch nghĩa: Các bức chân dung nghệ thuật dân gian Mỹ đầu tiên đến, một cách không đáng ngạc nhiên, từ New England - đặc biệt là Connecticut và Massachusetts - vì đây là một khu vực giàu có và đông dân và là trung tâm của một truyền thống thủ công mạnh mẽ.

Như vậy rất nhiều những bức chân dung nghệ thuật dân gian Mỹ đầu tiên đến từ Connecticut và Massachusetts. Phương án C là phương án chính xác nhất.

A. In western New York = Ở phía tây New York.

B. In Illinois and Missouri = Ở Illinois và Missouri.

D. In Ohio = Ở Ohio.

Ba phương án trên không chính xác vì đó là những nơi có thể tìm thấy các nghệ sĩ vẽ chân dung sau 1776 chứ không phải nơi các bức chân dung đầu tiên ra đời.

Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. = Trong vòng một vài thập kỷ sau khi ký bản Tuyên ngôn Độc lập năm 1776, dân số đã được đẩy về phía tây, và họa sĩ chân dung có thể được tìm thấy tại nơi làm việc ở phía tây New York, Ohio, Kentucky, Illinois và Missouri.

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Lê Quỳnh Anh

9 tháng 4 2017

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

In lines 4-5 the author mentions seventeenth-century Dutch burghers as an example of a group that

A. consisted mainly of self-taught artists

B. appreciated portraits

C. influenced American folk art

D. had little time for the arts

#Mẫu giáo

1

DH

Dương Hoàn Anh

9 tháng 4 2017

Đáp án B

Thông tin: Citizens of prosperous, essentially middle-class republics - whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans - have always shown a marked taste for portraiture

Dịch nghĩa: Những công dân của các nước cộng hòa thịnh vượng, về cơ bản thuộc tầng lớp trung lưu - cho dù người La Mã cổ đại, dân thành thị Hà Lan thế kỷ XVII, hoặc người Mỹ thế kỷ XIX - luôn thể hiện một thị hiếu đáng đối với vẽ chân dung.

Như vậy những người dân thành thị Hà Lan được nhắc đến như là một ví dụ cho những người có thị hiếu rõ rệt đối với tranh chân dung.

Phương án B. appreciated portraits = đánh giá cao tranh chân dung; là phương án chính xác nhất.

A. consisted mainly of self-taught artists = gồm chủ yếu là các nghệ sĩ tự học.

Không có thông tin như vậy trong bài.

C. influenced American folk art = ảnh hưởng nghệ thuật dân gian của Mỹ.

Không có thông tin như vậy trong bài.

D. had little time for the arts = có ít thời gian dành cho nghệ thuật.

Không có thông tin như vậy trong bài.

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LQ

Lê Quỳnh Anh

19 tháng 8 2017

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

Question 48. According to the passage, which of the following contributed to a decline in the What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

According to the passage, which of the following contributed to a decline in the demand for painted portrait?

A. The lack of a strong craft tradition

B. The westward migration of many painters

C. The growing preference for landscape paintings

D. The invention of the camera

#Mẫu giáo

1

DH

Dương Hoàn Anh

19 tháng 8 2017

Đáp án D

Thông tin: During these years the demand for portraits grew and grew eventually to be satisfied by the camera.

Dịch nghĩa: Trong những năm này nhu cầu cho bức chân dung tăng lên và tăng lên cuối cùng được thỏa mãn bởi máy ảnh.

Như vậy nghĩa là sự ra đời của máy ảnh đã đáp ứng được nhu cầu ngày càng tăng đối với tranh chân dung. Đó cũng là yếu tố khiến nhu cầu tranh chân dung bị giảm sút.

Phương án D. The invention of the camera = Sự phát minh của máy ảnh; là phương án chính xác nhất.

A. The lack of a strong craft tradition = Việc thiếu một truyền thống thủ công mạnh mẽ.

Không có thông tin như vậy trong bài.

B. The westward migration of many painters = Sự di chuyển về phía tây của nhiều họa sĩ.

Không có thông tin như vậy trong bài.

C. The growing preference for landscape paintings = Sự ưu tiên phát triển cho các bức tranh phong cảnh.

Không có thông tin như vậy trong bài.

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LQ

Lê Quỳnh Anh

9 tháng 12 2018

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

How much did the population of the United States increase in the first fifty years following independence?

A. It became three times larger

B. It became five times larger

C. It became eleven times larger

D. It became thirteen times larger

#Mẫu giáo

1

DH

Dương Hoàn Anh

9 tháng 12 2018

Đáp án B

Thông tin: Midway through its first century as a nation, the United States's population had increased roughly five times

Dịch nghĩa: Nửa chặng đường qua thế kỷ đầu tiên của nó như là một quốc gia, dân số của Hoa Kỳ đã tăng khoảng năm lần

Như vậy phương án B. It became five times larger = Nó trở nên lớn hơn gấp 5 lần; là phương án chính xác nhất.

A. It became three times larger = Nó trở nên lớn hơn gấp 5 lần.

C. It became eleven times larger = Nó trở nên lớn hơn gấp 11 lần.

D. It became thirteen times larger = Nó trở nên lớn hơn gấp 13 lần.

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LQ

Lê Quỳnh Anh

9 tháng 12 2018

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

The relationship between the daguerreotype (line 16) and the painted portrait is similar to the relationship between the automobile and the

A. highway

B. driver

C. engine

D. horse-drawn carriage

#Mẫu giáo

1

DH

Dương Hoàn Anh

9 tháng 12 2018

Đáp án D

Thông tin: In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits.

Dịch nghĩa: Năm 1839 các bức ảnh được chụp theo phương pháp cổ điển được giới thiệu đến Mỹ, mở ra thời đại của nhiếp ảnh, và trong vòng một thế hệ những phát minh mới đặt dấu chấm hết cho sự phổ biến của những bức chân dung được sơn vẽ.

Khi các bức ảnh đầu tiên ra đời thì nó khiến các bức chân dung vẽ tay bị lụi tàn dần. Mối quan hệ này cũng giống như khi ô tô ra đời khiến các cỗ xe ngựa không được sử dụng nữa.

Phương án D. horse-drawn carriage = Cỗ xe ngựa kéo là phương án chính xác nhất.

A. highway (n) = đường cao tốc

B. driver (n) = tài xế

C. engine (n) = động cơ

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LQ

Lê Quỳnh Anh

17 tháng 4 2018

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

The phrase “worth their while” in line 26 is closest in meaning to

A. essential

B. educational

C. profitable

D. pleasurable

#Mẫu giáo

1

DH

Dương Hoàn Anh

17 tháng 4 2018

Đáp án C

Giải thích: Worth their while = đáng giá, đáng công sức

Dịch nghĩa: artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting = nghệ sĩ cảm thấy nó có giá trị để đóng gói các loại sơn của họ, vải vẽ, và bàn chải và để đi du lịch nông thôn, thường kết hợp trang trí nhà với vẽ tranh chân dung.

Phương án C. profitable = có lợi ích, lợi nhuận; là phương án chính xác nhất.

A. essential (adj) = cần thiết, quan trọng

B. educational (adj) = mang tính giáo dục

D. pleasurable (adj) = vui vẻ, thoải mái

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Lê Quỳnh Anh

9 tháng 6 2018

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

The phrase “ushering in” in line 17 is closest in meaning to

A. beginning

B. demanding

C. publishing

D. increasing

#Mẫu giáo

1

DH

Dương Hoàn Anh

9 tháng 6 2018

Đáp án A

Giải thích: Usher in = bắt đầu thứ gì mới mẻ

Beginning = bắt đầu

Dịch nghĩa: In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. = Năm 1839 các bức ảnh được chụp theo phương pháp cổ điển được giới thiệu đến Mỹ, mở ra thời đại của nhiếp ảnh, và trong vòng một thế hệ những phát minh mới đặt dấu chấm hết cho sự phổ biến của những bức chân dung được sơn vẽ.

B. demanding (v) = đòi hỏi, yêu cầu

C. publishing (v) = xuất bản

D. increasing (v) = tăng lên

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LQ

Lê Quỳnh Anh

8 tháng 4 2017

Read the following passage and mark the letter on your answer sheet to indicate the correct answerBefore photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of...

Đọc tiếp

Read the following passage and mark the letter on your answer sheet to indicate the correct answer

Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in his Boston gallery.

A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training in England. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure. as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

What does the passage mainly discussed?

A. art in 19th century America

B. portraiture in 19th century America

C. the early years of photography

D. the influence of other countries on

#Mẫu giáo

1

DH

Dương Hoàn Anh

8 tháng 4 2017

Đáp án là B. Ý trong bài: From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century.

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LQ

Lê Quỳnh Anh

29 tháng 10 2019

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions. Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

What does the passage mainly discussed?

A. art in 19th century America

B. portraiture in 19th century America

C. the influence of other countries on American art

D. the early years of photography

#Mẫu giáo

1

DH

Dương Hoàn Anh

29 tháng 10 2019

Đáp án : B

Nội dung chủ yếu là về nghệ thuật vẽ chân dung ở Mỹ, ở đầu các đoạn văn có nhắc đến các khoảng thời gian của thế kỷ 19, như “in 1839”, “1840s” và “in the late 19^th century”

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