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 with gesso 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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http://luyenthianhvan.blogsyot.com
(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 (Anh) 1:

Questions 11-21 Panel painting, common in thirteenth-and fourteenth-century Europe, involved a painstaking, laborious process. The wooden planks were joined, covered with gesso 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 consecutive 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 House-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) the unusual 15. Which of the following processes produced the translucent colors found on panel paintings? (A) Joining the 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 to ot http://luyenthianhvan.blogsyot.com http://luyenthianhvan.blogsyot.com (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) the 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 from another crow. 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 untrappable and most of birds. Teclmical difficulties aside, the 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 (Anh) 2:

Questions 11-21
Panel painting, common in thirteenth-fourteenth-century and Europe, Involved a painstaking, laborious process. Wooden planks joined là, covered with Gesso 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 process of deliberate egg tempera Applying thin layers of paint (egg yolk pigments are chứa Suspended) with small brushes. The successive layering of những Produced meticulously áp the final paints, translucent colors.
Backgrounds là made ​​by gold or sheets of gold leaf Applying carefully, and then embellishing the gold leaf of decorating by punching it with a metal rod on mà a pattern embossed Been Had . Every step in the process was slow and deliberate. The quick-drying tempera artist demanded là là know exactly where each stroke placed the brush is before the panel met, and it required dùng fine brushes. It was, therefore, an ideal linear technique for emphasizing the hard edges and pure, fine which areas of color so much a part có là of the overall aesthetic of the time. The notion of an artist could or would có dash off an idea in a fit of spontaneous inspiration was completely alien to những deliberately Produced works.
Furthermore, making những paintings was so time-Consuming as little as demanded type assistance. All work was done by Collective vd enterprise in the workshops. The painter who is credited with master or having created the painting có các thiết overseen the work and production, but it is highly unlikely là artist's hand áp every stroke of the brush. More Likely, Numerous assistants, who Had Been trained to imitate the artist's style, áp the paint. The carpenter's shop có given below the frame and perhaps' supplied the panel, and yet another shop supplied the gold. Thì, not only many hands, many shops nhưng Were Involved in the final product.
In spite of problems with có condition, restoration, and preservation panel many
paintings have survived, and today many are housed in museum of added collections.
11. What aspect of panel paintings does the passage mainly Discuss?
(A) Famous example
(B) Different styles
(C) Restoration
(D) Production
12. Theo 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 processes sau 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 is characteristic of tempera paint Mentioned in the passage?
(A) It dries Quickly
(B) It is difficult to make
(C) It dissolves Easily
(D) It has to be áp trực wood to
17. The word "demanded" in line 17 is closest in meaning ot
http://luyenthianhvan.blogsyot.com
http://luyenthianhvan.blogsyot.com
(A) ordered
(B) Reported
(C) required
(D) Questioned
18. The "Collective enterprise" Mentioned in line 18 includes all of the sau 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 problems with the survival sau as of panel paintings
EXCEPT
(A) condition
(B) theft
(C) preservation
(D) restoration
21. The word "add" in line 27 Refers To
(A) problem
(B) condition, restoration, preservation
(C) panel paintings
(D) museum collections
Questions 22-32
are rất the most Frequently Grows meters and Easily identifiable members of the native fauna of the United States. The great number of tales, legends, and myths about người có ý này được birds exceptionally interested in for a long time added. On the other hand, to the substantive-khi Comes Particularly behavioral-information, are less well known coal crows comparably many common species and, for that matter, not quite uncommon ones vài: the endangered California condor to cite one example Obvious. There are REASONS for this practical.
Grows subjects are notoriously poor and aggravating for field research. Keen observers and quick Learners, astute about the intentions chúng of other creatures, gồm researchers, and adapt at Avoiding added. Because chúng compared Numerous, active, and monochromatic, it is difficult to Distinguish one from another crow. Bands, Radio Transmitters, or other devices can be attached to Identifying added, but this of course requires catching live crows, who are Among the wariest and most untrappable of birds.
Teclmical Difficulties aside, research is daunting vì crow Ways of the birds are than complex and various. As preeminent generalists, members of this species ingeniously exploits a great range of Habitats and resources, and adjust to changes chúng can Quickly trong Circumstances. Being compared educable, the individual birds have markedly Different Interests and inclinations, strategies and scams. For example, one pet crow Learned how to let a dog out of the kennel by pulling the pin nó on the door. When the dog escaped, the bird Went nó vào kennel and ate food.