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

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Dương Minh

22 tháng 6 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.In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des...

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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.

In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des Beaux Arts in Paris. Each man had lived in Paris, and each understood the eonomics and social potential of this Parisian housing form. But the Stuyvesant was at best a limited success. In spite of Hunt’s inviting façade, the living space was awkwardly arranged. Those who could afford them were quite content to remain in the more sumptous, single-family homes, leaving the Stuyvesant to newly married couples and bachelors.

The fundamental problem with the Stuyvesant and the other early apartment buildings that quickly followed, in the 1870’s and early 1880’s was that they were confined to the typical New York building lot. That lot was a rectangular area 25 feet wide by 100 feet deep-a shape perfectly suited for a row house. The lot could also accommodate a rectangular tenement, though it could not yield the square, well-lighted, and logically arranged rooms that great apartment buildings require. But even with the awkward interior configurations of the early apartment buildings, the idea caught on. It met the needs of a large and growing population that wanted something better then tenements but could not afford or did not want row houses.

So while the city’s newly emerging social leadership commissioned their mansions, apartment houses and hotels began to sprout in multiple lots, thus breaking the initial space constraints. In the closing decades of the nineteenth century, large apartment houses began dotting the developed portions of New York City, and by the opening decades of the twentieth century, spacious buildings, such as the Dakota and the Ansonia finally transcended the tight confinement of row house building lots. From there it was only a small step to building luxury apartment houses on the newly created Park Avenue, right next to the fashionable Fifth Avenue shopping area.

It can be inferred that the majority of people who lived in New York’s first apartments were

A. highly educated

B. unemployed

C. wealthy

D. young

#Mẫu giáo

1

NH

Nguyen Hoang Hai

22 tháng 6 2017

Đáp án D.

Keywords: inferred, majority, lived, New York’s first apartments.

Clue: “… leaving the Stuyvesant to newly married couples and bachelors”: … bỏ lại Stuyvesant cho những cặp đôi mới cưới và những người độc thân.

Như vậy những người sống trong khu chung cư đầu tiên của New York (Stuyvesant) chủ yếu là những người trẻ. Do đó đáp án đúng phải là D. young.

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Dương Minh

31 tháng 1 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.In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des...

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.

In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des Beaux Arts in Paris. Each man had lived in Paris, and each understood the eonomics and social potential of this Parisian housing form. But the Stuyvesant was at best a limited success. In spite of Hunt’s inviting façade, the living space was awkwardly arranged. Those who could afford them were quite content to remain in the more sumptous, single-family homes, leaving the Stuyvesant to newly married couples and bachelors.

The fundamental problem with the Stuyvesant and the other early apartment buildings that quickly followed, in the 1870’s and early 1880’s was that they were confined to the typical New York building lot. That lot was a rectangular area 25 feet wide by 100 feet deep-a shape perfectly suited for a row house. The lot could also accommodate a rectangular tenement, though it could not yield the square, well-lighted, and logically arranged rooms that great apartment buildings require. But even with the awkward interior configurations of the early apartment buildings, the idea caught on. It met the needs of a large and growing population that wanted something better then tenements but could not afford or did not want row houses.

So while the city’s newly emerging social leadership commissioned their mansions, apartment houses and hotels began to sprout in multiple lots, thus breaking the initial space constraints. In the closing decades of the nineteenth century, large apartment houses began dotting the developed portions of New York City, and by the opening decades of the twentieth century, spacious buildings, such as the Dakota and the Ansonia finally transcended the tight confinement of row house building lots. From there it was only a small step to building luxury apartment houses on the newly created Park Avenue, right next to the fashionable Fifth Avenue shopping area.

Why was the Stuyvesant a limited success?

A. The arrangement of the rooms was not convenient.

B. Most people could not afford to live there.

C. There were no shopping areas nearby.

D. It was in a crowded neighborhood.

#Mẫu giáo

1

NH

Nguyen Hoang Hai

31 tháng 1 2018

Đáp án A.

Keywords: Stuyvesant, a limited success.

Clue: “In spite of Hunt’s inviting façade, the living space was awkwardly arranged”: Mặc dù mặt tiền của Hunt hấp dẫn, không gian sống lại được bố trí rất vụng về.

Như vậy có thể thấy những phòng ở Stuyvesant bố trí không hợp lí, không thuận tiện.

Chọn A. The arrangement of the rooms was not convenient.

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Dương Minh

15 tháng 10 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.In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des...

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.

In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des Beaux Arts in Paris. Each man had lived in Paris, and each understood the eonomics and social potential of this Parisian housing form. But the Stuyvesant was at best a limited success. In spite of Hunt’s inviting façade, the living space was awkwardly arranged. Those who could afford them were quite content to remain in the more sumptous, single-family homes, leaving the Stuyvesant to newly married couples and bachelors.

The fundamental problem with the Stuyvesant and the other early apartment buildings that quickly followed, in the 1870’s and early 1880’s was that they were confined to the typical New York building lot. That lot was a rectangular area 25 feet wide by 100 feet deep-a shape perfectly suited for a row house. The lot could also accommodate a rectangular tenement, though it could not yield the square, well-lighted, and logically arranged rooms that great apartment buildings require. But even with the awkward interior configurations of the early apartment buildings, the idea caught on. It met the needs of a large and growing population that wanted something better then tenements but could not afford or did not want row houses.

So while the city’s newly emerging social leadership commissioned their mansions, apartment houses and hotels began to sprout in multiple lots, thus breaking the initial space constraints. In the closing decades of the nineteenth century, large apartment houses began dotting the developed portions of New York City, and by the opening decades of the twentieth century, spacious buildings, such as the Dakota and the Ansonia finally transcended the tight confinement of row house building lots. From there it was only a small step to building luxury apartment houses on the newly created Park Avenue, right next to the fashionable Fifth Avenue shopping area.

It can be inferred that a New York apartment building in the 1870’s and 1880’s had all of the following characteristics EXCEPT _______.

A. Its room arrangement was not logical.

B. It was rectangular.

C. It was spacious inside.

D. It had limited light.

#Mẫu giáo

1

NH

Nguyen Hoang Hai

15 tháng 10 2017

Đáp án C.

Keywords: inferred, New York apartment building, 1870’s, 1880’s, charactersitics EXCEPT.

Clue: “…though it could not yield the square, well-lighted, and logically arranged rooms that great apartment buildings require”: … mặc dù nó không thể mang lại những căn phòng vuông vức, ánh sáng đầy đủ và sự bố trí hợp lí mà một căn hộ cao cấp yêu cầu.

Như vậy chỉ có đáp án C. It was spacious inside là không được đề cập. Các đáp án còn lại đúng theo clue:

A. Its room arrangement was not logical: Sắp xếp phòng của nó không hợp lý.

B. It was rectangular: Nó là hình chữ nhật.

D. It had limited light: Nó có ánh sáng giới hạn.

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Dương Minh

4 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.In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des...

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.

In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des Beaux Arts in Paris. Each man had lived in Paris, and each understood the eonomics and social potential of this Parisian housing form. But the Stuyvesant was at best a limited success. In spite of Hunt’s inviting façade, the living space was awkwardly arranged. Those who could afford them were quite content to remain in the more sumptous, single-family homes, leaving the Stuyvesant to newly married couples and bachelors.

The fundamental problem with the Stuyvesant and the other early apartment buildings that quickly followed, in the 1870’s and early 1880’s was that they were confined to the typical New York building lot. That lot was a rectangular area 25 feet wide by 100 feet deep-a shape perfectly suited for a row house. The lot could also accommodate a rectangular tenement, though it could not yield the square, well-lighted, and logically arranged rooms that great apartment buildings require. But even with the awkward interior configurations of the early apartment buildings, the idea caught on. It met the needs of a large and growing population that wanted something better then tenements but could not afford or did not want row houses.

So while the city’s newly emerging social leadership commissioned their mansions, apartment houses and hotels began to sprout in multiple lots, thus breaking the initial space constraints. In the closing decades of the nineteenth century, large apartment houses began dotting the developed portions of New York City, and by the opening decades of the twentieth century, spacious buildings, such as the Dakota and the Ansonia finally transcended the tight confinement of row house building lots. From there it was only a small step to building luxury apartment houses on the newly created Park Avenue, right next to the fashionable Fifth Avenue shopping area.

Why did the idea of living in an apartment become popular in the late 1800’s?

A. Large families needed housing with sufficient space.

B. Apartments were preferable to tenements and cheaper than row houses

C. The city officials of New York wanted housing that was centrally located.

D. The shape of early apartments could accommodate a variety of interior designs.

#Mẫu giáo

1

NH

Nguyen Hoang Hai

4 tháng 4 2017

Đáp án B.

Keywords: living in an apartment, popular, late 1800’s.

Clue: “But even with the awkward interior configurations of the early apartment buildings, the idea caught on. It met the needs of a large and growing population that wanted something better than tenements but could not afford or did not want row houses”: Nhưng ngay cả với cách bày trí nội thất vụng về của những căn hộ cao cấp ban đầu, ý tưởng sống ở đó vẫn phổ biến. Nó đáp ứng nhu cầu của một số lượng lớn và ngày càng gia tăng số người dân muốn ở nơi tốt hơn nhà tập thể nhưng lại không có điều kiện trả hoặc không muốn nhà lô.

Như vậy lí do sống ở căn hộ trở nên phổ biến ở cuối những năm 1800 là B. Apartments were preferable to tenements and cheaper than row houses: Căn hộ thì thích hợp hơn là nhà tập thể và rẻ hơn nhà lô.

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Dương Minh

12 tháng 8 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.In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des...

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.

In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des Beaux Arts in Paris. Each man had lived in Paris, and each understood the eonomics and social potential of this Parisian housing form. But the Stuyvesant was at best a limited success. In spite of Hunt’s inviting façade, the living space was awkwardly arranged. Those who could afford them were quite content to remain in the more sumptous, single-family homes, leaving the Stuyvesant to newly married couples and bachelors.

The fundamental problem with the Stuyvesant and the other early apartment buildings that quickly followed, in the 1870’s and early 1880’s was that they were confined to the typical New York building lot. That lot was a rectangular area 25 feet wide by 100 feet deep-a shape perfectly suited for a row house. The lot could also accommodate a rectangular tenement, though it could not yield the square, well-lighted, and logically arranged rooms that great apartment buildings require. But even with the awkward interior configurations of the early apartment buildings, the idea caught on. It met the needs of a large and growing population that wanted something better then tenements but could not afford or did not want row houses.

So while the city’s newly emerging social leadership commissioned their mansions, apartment houses and hotels began to sprout in multiple lots, thus breaking the initial space constraints. In the closing decades of the nineteenth century, large apartment houses began dotting the developed portions of New York City, and by the opening decades of the twentieth century, spacious buildings, such as the Dakota and the Ansonia finally transcended the tight confinement of row house building lots. From there it was only a small step to building luxury apartment houses on the newly created Park Avenue, right next to the fashionable Fifth Avenue shopping area.

The word “inviting” in bold is closest in meaning to _______.

A. open

B. encouraging

C. attracting

D. asking

#Mẫu giáo

1

NH

Nguyen Hoang Hai

12 tháng 8 2018

Đáp án C.

Ta có: inviting (adj): thu hút, mời gọi, hấp dẫn = attractive (adj)

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Dương Minh

17 tháng 5 2019

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.In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des...

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.

In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des Beaux Arts in Paris. Each man had lived in Paris, and each understood the eonomics and social potential of this Parisian housing form. But the Stuyvesant was at best a limited success. In spite of Hunt’s inviting façade, the living space was awkwardly arranged. Those who could afford them were quite content to remain in the more sumptous, single-family homes, leaving the Stuyvesant to newly married couples and bachelors.

The fundamental problem with the Stuyvesant and the other early apartment buildings that quickly followed, in the 1870’s and early 1880’s was that they were confined to the typical New York building lot. That lot was a rectangular area 25 feet wide by 100 feet deep-a shape perfectly suited for a row house. The lot could also accommodate a rectangular tenement, though it could not yield the square, well-lighted, and logically arranged rooms that great apartment buildings require. But even with the awkward interior configurations of the early apartment buildings, the idea caught on. It met the needs of a large and growing population that wanted something better then tenements but could not afford or did not want row houses.

So while the city’s newly emerging social leadership commissioned their mansions, apartment houses and hotels began to sprout in multiple lots, thus breaking the initial space constraints. In the closing decades of the nineteenth century, large apartment houses began dotting the developed portions of New York City, and by the opening decades of the twentieth century, spacious buildings, such as the Dakota and the Ansonia finally transcended the tight confinement of row house building lots. From there it was only a small step to building luxury apartment houses on the newly created Park Avenue, right next to the fashionable Fifth Avenue shopping area.

The word “yield” in bold is closest in meaning to _______.

A. harvest

B. surrender

C. amount

D. provide

#Mẫu giáo

1

NH

Nguyen Hoang Hai

17 tháng 5 2019

Đáp án D.

Ta có: yield (v): mang lại = provide (v)

- surrender: từ bỏ điều gì khi bạn bị ép buộc, đầu hàng.

Ex: The rebel soldiers were forced to surrender.

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Dương Minh

16 tháng 12 2019

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.In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des...

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.

In the last third of the nineteenth century a new housing form was quitely being developed. In 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des Beaux Arts in Paris. Each man had lived in Paris, and each understood the eonomics and social potential of this Parisian housing form. But the Stuyvesant was at best a limited success. In spite of Hunt’s inviting façade, the living space was awkwardly arranged. Those who could afford them were quite content to remain in the more sumptous, single-family homes, leaving the Stuyvesant to newly married couples and bachelors.

The fundamental problem with the Stuyvesant and the other early apartment buildings that quickly followed, in the 1870’s and early 1880’s was that they were confined to the typical New York building lot. That lot was a rectangular area 25 feet wide by 100 feet deep-a shape perfectly suited for a row house. The lot could also accommodate a rectangular tenement, though it could not yield the square, well-lighted, and logically arranged rooms that great apartment buildings require. But even with the awkward interior configurations of the early apartment buildings, the idea caught on. It met the needs of a large and growing population that wanted something better then tenements but could not afford or did not want row houses.

So while the city’s newly emerging social leadership commissioned their mansions, apartment houses and hotels began to sprout in multiple lots, thus breaking the initial space constraints. In the closing decades of the nineteenth century, large apartment houses began dotting the developed portions of New York City, and by the opening decades of the twentieth century, spacious buildings, such as the Dakota and the Ansonia finally transcended the tight confinement of row house building lots. From there it was only a small step to building luxury apartment houses on the newly created Park Avenue, right next to the fashionable Fifth Avenue shopping area.

The author mentions the Dakota and the Ansonia in bold because _______.

A. they are examples of large, well-designed apartment buildings

B. their design is similar to that of row houses

C. they were built on a single building lot

D. they are famous hotels

#Mẫu giáo

1

NH

Nguyen Hoang Hai

16 tháng 12 2019

Đáp án A.

Keywords: Dakota and the Ansonia.

Clue: “… spacious buildings, such as the Dakota and the Ansonia finally … only a small step to building luxury apartment houses.”: … những tòa nhà rộng rãi, như là “Dakota and the Ansonia” cuối cùng cũng vượt ra khỏi sự kìm hãm của những tòa nhà liên kết. Từ đây thì chỉ một bước nhỏ nữa thôi là có thể xây dựng những căn hộ lộng lẫy.

Như vậy “Dakota and the Ansonia” là ví dụ của những căn hộ cao cấp rộng lớn, thiết kế đẹp nên đáp án là A. they are examples of large, well-designed apartment buildings.

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Dương Minh

18 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 30 to 37. The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in...

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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 30 to 37.

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The passage primarily focuses on nineteenth century arts and crafts in terms of which of the following?

A. Their naturalistic themes.

B. Their importance in museum collections.

C. Their British origin.

D. Their role in an industrialized society.

#Mẫu giáo

1

NH

Nguyen Hoang Hai

18 tháng 8 2017

C

Đoạn văn chủ yếu tập trung vào nghệ thuật và thủ công ở thế kỉ 19 nhưng ở phương diện nào dưới đây?

A. Những chủ đề thiên nhiên.

B. Sự quan trọng của chúng trong các bộ sưu tập ở bảo tàng.

C. Nguồn gốc Anh quốc của chúng.

D. Vai trò của chúng trong một xã hội công nghiệp hoá.

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Dương Minh

10 tháng 2 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 30 to 37. The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in...

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 30 to 37.

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The passage primarily focuses on nineteenth century arts and crafts in terms of which of the following?

A. Their naturalistic themes.

B. Their importance in museum collections.

C. Their British origin.

D. Their role in an industrialized society.

#Mẫu giáo

1

NH

Nguyen Hoang Hai

10 tháng 2 2017

ĐÁP ÁN C

Đoạn văn chủ yếu tập trung vào nghệ thuật và thủ công ở thế kỉ 19 nhưng ở phương diện nào dưới đây?

A. Những chủ đề thiên nhiên.

B. Sự quan trọng của chúng trong các bộ sưu tập ở bảo tàng.

C. Nguồn gốc Anh quốc của chúng.

D. Vai trò của chúng trong một xã hội công nghiệp hoá

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