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1 tháng 4 2017

1 Chia động từ
-If two straight lines MEET (meet) at a point they WILL FORM (form) an angle.
-Look at that car ! He's driving too fast. He WILL HIT (hit) that cyclist.
-The car isn't here today because Jane IS USING (use) it. She generally USES (use) the bus, but the drivers are on strike.
2 điền giới từ
-We arrive...IN.. the morning of the sixth.
-...AFTER... checking she found that some of party didn't know the way .
-The ambulance will be there ... about 10 minutes .
-There are tall buildings ..ON... the road to the city .
-They rushed .......INTO ....... the room when the fire began.
-There is a telephone box ..AT... the corner of the street.
-We got stuck in a traffic jam ..DURING.... the way to the airport.

16 tháng 2 2018

KEY: D

Giải thích: câu này nói về một sự thật hiển nhiên nên chia hiện tại đơn.

Dịch: Bạn có biết rằng 2 đường thẳng cắt nhau tại một điểm sẽ tạo thành một góc?

24 tháng 9 2017

Đáp án: D

22 tháng 3 2016

LƯU Ý

Các bạn học sinh KHÔNG ĐƯỢC đăng các câu hỏi không liên quan đến Toán, hoặc các bài toán linh tinh gây nhiễu diễn đàn. Online Math có thể áp dụng các biện pháp như trừ điểm, thậm chí khóa vĩnh viễn tài khoản của bạn nếu vi phạm nội quy nhiều lần.

Chuyên mục Giúp tôi giải toán dành cho những bạn gặp bài toán khó hoặc có bài toán hay muốn chia sẻ. Bởi vậy các bạn học sinh chú ý không nên gửi bài linh tinh, không được có các hành vi nhằm gian lận điểm hỏi đáp như tạo câu hỏi và tự trả lời rồi chọn đúng.

Mỗi thành viên được gửi tối đa 5 câu hỏi trong 1 ngày

Các câu hỏi không liên quan đến toán lớp 1 - 9 các bạn có thể gửi lên trang web h.vn để được giải đáp tốt hơn.

22 tháng 3 2016

đường vuông góc Một góc có số đo 90 ° là một góc.Nếu đúng hai đường giao nhau tại góc bên phải, các đường vuông góc . d1 và d2 vuông góc , biểu d bởi d1_d2 . Một biểu tượng góc phải ở một góc ngã tư chỉ ra rằng các đường vuông góc .

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her...
Đọc tiếp

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

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

 

The word “he” in line 25 refers to

A. Crivelli

B. Cezanne  

C. Picasso 

D. Van Gogh

1
17 tháng 2 2019

C

“he” được thay thế cho Picasso trong câu phía trước: “Picasso certainly made pictures which have volume and depth.”

4 tháng 12 2021

1. is running

2. is sleeping

3. is buying

4. are listening

5.are working

6.is playing

7. doesn't clean

8. is ringing

9. are traveling

10.is learning

4 tháng 12 2021

1. Look! He (run)………is running……

2. Please be quiet! My father (sleep)………is sleeping………

3. He (buy)……is buying……… a new car now.

4. My sisters (listen)……is listening….. to music at the moment.

5. They are working…….now.

6. Sam (play)…………is playing……the piano right now.

7. She (not, clean)………isn't cleaning…….. the window.

8. Listen! They think the bell (ring)…………is ringing……..

9. Nina and Sam (travel)……are travelling………………now.

10. Tom (learn)……………is learning….English right now.

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her...
Đọc tiếp

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

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

 

It can be inferred from the passage that Renaissance artists

A. embraced the medieval style of eternal truth

B. needed to develop a new approach towards painting to show a new level of reality

C. were inspired by vertical and horizontal surfaces in inventing the technique of perspective

D. saw two dimensional design more important than a feeling of depth

1
14 tháng 4 2019

B

Thông tin ở câu thứ 2 của đoạn 2: “A flat medieval style couldn’t show this level of reality and the artists needed a new technique.” (phong cách thời Trung cổ không thể biểu đạt hết cấp bậc của thực tế và các nhà hoạ sĩ cần một công thức/công nghệ mới) = needed to develop a new approach towards painting to show a new level of reality (cần phát triển một cách tiếp cận nghệ thuật mới để biểu đạt cấp độ thực tế)

5 tháng 12 2021

1.

I (live)_________live___________in An Chau?

2.

I (get)_________get____________dressed at 5:35?

3.

He (get)________gets________up at 5:30?

4.

They (wash)_______Do.......wash_____________the car every morning?

5 tháng 12 2021

1. live

2. get

3. gets

4. wash