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
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.