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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 43 to 50.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The word “dictates” in line 8 is closest in meaning to

A. reads aloud

B. determines

C. includes

D. records

1
20 tháng 8 2018

Đáp án B

Giải thích: Dictate (v) = ra lệnh, chỉ đạo

                    Determine (v) = quyết định

Dịch nghĩa: For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter = Ví dụ, đôi khi hình dạng hoặc hoa văn trong một mảnh đá hay gỗ cho thấy, có lẽ thậm chí quyết định, không chỉ hình thức cuối cùng, mà cả chủ đề.

          A. reads aloud (v) = đọc to

          C. includes (v) = bao gồm

          D. records (v) = ghi lại, lưu trữ lại

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the...
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.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

How does direct carving differ from the nineteenth-century tradition of sculpture?

A. Sculptors are personally involved in the carving of a piece

B. Sculptors find their inspiration in neoclassical sources

C. Sculptors have replaced the mallet and chisel with other tools

D. Sculptors receive more formal training

1
8 tháng 6 2017

Đáp án A

Thông tin: Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel … Neoclassical sculptors seldom held a mallet or chisel in their own hands

Dịch nghĩa: Chạm khắc trực tiếp - trong đó các nhà điêu khắc tự khắc bằng đá hoặc gỗ với vồ và đục … Các nhà điêu khắc tân cổ điển hiếm khi tự cầm một vồ hoặc đục trong tay mình

Như vậy sự khác nhau cơ bản giữa chạm khắc trực tiếp và chạm khắc truyền thống là nhà điêu khắc tự mình làm ra sản phẩm.

Phương án A. Sculptors are personally involved in the carving of a piece = Các nhà điêu khắc tham gia một cách cá nhân vào việc chạm khắc một tác phẩm;  là phương án chính xác nhất.

          B. Sculptors find their inspiration in neoclassical sources = Các nhà điêu khắc tìm thấy cảm hứng của họ trong các nguồn tân cổ điển.

          C. Sculptors have replaced the mallet and chisel with other tools = Các nhà điêu khắc đã thay thế vồ và đục bởi các dụng cụ khác.

          D. Sculptors receive more formal training = Các nhà điêu khắc được đào tạo chính quy hơn. 

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the...
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.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

Where did Robert Laurent learn to carve?

A. New York

B. Africa

C. The South Pacific

D. Paris

1
12 tháng 12 2017

Đáp án D

Thông tin: In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Dịch nghĩa: Năm 1905, ông đã được gửi đến Paris như một người học việc cho một kẻ buôn tác phẩm nghệ thuật, và trong những năm sau đó, ông đã chứng kiến ​​sự ra đời của chủ nghĩa Lập thể, phát hiện ra nghệ thuật nguyên thủy, và học được các kỹ thuật khắc gỗ từ một nhà sản xuất khung.

Như vậy Laurent đã học điêu khắc tại Paris khi làm việc cho một nhà sản xuất khung. Phương án D. Paris là phương án chính xác nhất.

          A. New York

Đây là nơi Laurent trở lại vào năm 1910 sau khi đã học điêu khắc.

          B. Africa = châu Phi

Đây là nơi mà nghệ thuật của nó mang đến cảm hứng sáng tác bức tượng “The priestess” cho ông.

          C. The South Pacific =  vùng Nam Thái Bình Dương

Đây là nơi mà nghệ thuật của nó mang đến cảm hứng sáng tác bức tượng “The priestess” cho ông.

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the...
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.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

What is one of the fundamental principles of direct carving?

A. A sculptor must work with talented assistants

B. The subject of a sculpture should be derived from classical stories

C. The material is an important element in a sculpture

D. Designing a sculpture is a more creative activity than carving it

1
11 tháng 3 2017

Đáp án C

Thông tin: Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

Dịch nghĩa: Tiềm ẩn trong nó cũng là một nguyên tắc thẩm mỹ: rằng phương tiện có những phẩm chất nhất định của vẻ đẹp và biểu cảm mà nhà điêu khắc phải mang sự nhạy cảm thẩm mỹ riêng của chúng vào sự hòa hợp. Ví dụ, đôi khi hình dạng hoặc hoa văn trong một mảnh đá hay gỗ cho thấy, có lẽ thậm chí quyết định, không chỉ hình thức cuối cùng, mà cả chủ đề.

Phương án C. The material is an important element in a sculpture = nguyên liệu là một yếu tố quan trọng trong một tác phẩm điêu khắc; là phương án chính xác nhất.

          A. A sculptor must work with talented assistants = Một nhà điêu khắc phải làm việc với các trợ lý tài năng.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. = Các nhà điêu khắc tân cổ điển hiếm khi tự cầm một vồ hoặc đục trong tay mình, sẵn sàng thừa nhận rằng các trợ lý họ sử dụng là giỏi hơn nhiều so với họ khi khắc tạc tác phẩm đá cẩm thạch hoàn chỉnh.

Đây là sự thật thường xảy ra, nhưng không có nguyên tắc nào quy định một nhà điêu khắc phải làm việc với các trợ lý tài năng.

          B. The subject of a sculpture should be derived from classical stories = Các chủ đề của một tác phẩm điêu khắc nên được bắt nguồn từ những câu chuyện cổ điển.

Không có thông tin như vậy trong bài.

          D. Designing a sculpture is a more creative activity than carving it = Thiết kế một tác phẩm điêu khắc là một hoạt động sáng tạo hơn khắc nó.

Không có thông tin như vậy trong bài.

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the...
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.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The piece titled The Priestess has all of the following characteristics EXCEPT

A. The design is stylized

B. It is made of marble

C. The carving is not deep

D. It depicts the front of a person

1
23 tháng 12 2019

Đáp án B

Giải thích: Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design … The plank's form dictated the rigidly frontal view and the low relief.

Dịch nghĩa: Trở lại thành phố New York năm 1910, Laurent bắt đầu khắc các tác phẩm như The Priestess, trong đó cho thấy niềm đam mê của ông với nghệ thuật của châu Phi, tiền Columbus, và Nam Thái Bình Dương. Lấy một tấm ván óc chó, nhà điêu khắc chạm khắc các biểu cảm, thiết kế cách điệu … Hình thức của tấm ván quyết định góc nhìn phía trước và độ khắc nông.

Như vậy, các phương án A. The design is stylized, C. The carving is not deep, D. It depicts the front of a person đều được nhắc đến là đặc điểm của bức tượng.

Chỉ có phương án B. It is made of marble = Nó được làm bằng đá cẩm thạch là không có thông tin trong bài.

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the...
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.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The word “medium” in line 5 could be used to refer to

A. stone or wood

B. mallet and chisel

C. technique

D. principle

1
1 tháng 1 2017

Đáp án A

Thông tin: Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony.

Dịch nghĩa: Chạm khắc trực tiếp - trong đó các nhà điêu khắc tự khắc bằng đá hoặc gỗ với vồ và đục - phải được công nhận là một cái gì đó nhiều hơn một kỹ thuật. Tiềm ẩn trong nó cũng là một nguyên tắc thẩm mỹ: rằng phương tiện có những phẩm chất nhất định của vẻ đẹp và biểu cảm mà nhà điêu khắc phải mang sự nhạy cảm thẩm mỹ riêng của chúng vào sự hòa hợp.

Như vậy từ “medium” chính là các phương tiện để nhà điêu khắc thực hiện công việc, mà trong bài được đưa ra cụ thể là đá hoặc gỗ.

Phương án A. stone or wood = đá hoặc gỗ, là phương án chính xác nhất.

          B. mallet and chisel  = vồ và đục

Đây là những dụng cụ để thực hiện việc điêu khắc, chúng không được miêu tả là những vật có vẻ đẹp nhất định mà nhà điêu khắc cần khai thác.

          C. technique (n) = kỹ thuật

“Technique” được nhắc đến để nhấn mạnh vai trò của chạm khắc trực tiếp nhiều hơn một kỹ thuật đơn thuần, chứ không phải một phương tiện mang vẻ đẹp trong nó.

          D. principle (n) = nguyên tắc

Bản thân từ “medium” chính là nằm trong nguyên tắc được nhắc đến, chứ không phải thay thế cho từ “principle”.

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the...
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.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The phrase “a break with” in line 30 is closest in meaning to

A. a destruction of

B. a departure from

C. a collapse of

D. a solution to

1
19 tháng 12 2019

Đáp án B

Giải thích: A break with = một sự phá vỡ cái gì

                    A departure from = một sự rời đi khỏi cái gì

Dịch nghĩa: The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble. = Kỹ thuật khắc trực tiếp là một sự phá vỡ truyền thống thế kỷ XIX, trong đó việc tạo ra một mô hình đất sét đã được coi là hành động sáng tạo và tác phẩm sau đó đã được chuyển cho trợ lý studio để được đúc thạch cao hoặc bằng đồng hay chạm khắc bằng đá cẩm thạch.

          A. a destruction of = một sự phá hủy cái gì

          C. a collapse of = một sự sụp đổ của cái gì

          D. a solution to = một giải pháp cho cái gì

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the...
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.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The word “witnessed” in line 23 is closest in meaning to

A. influenced

B. studied

C. validated

D. observed

1
12 tháng 3 2018

Đáp án D

Giải thích: Witness (v) = chứng kiến

                    Observe (v) = quan sát

Dịch nghĩa: In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker = Năm 1905, ông đã được gửi đến Paris như một người học việc cho một kẻ buôn tác phẩm nghệ thuật, và trong những năm sau đó, ông đã chứng kiến ​​sự ra đời của chủ nghĩa Lập thể, phát hiện ra nghệ thuật nguyên thủy, và học được các kỹ thuật khắc gỗ từ một nhà sản xuất khung.

          A. influenced (v) = ảnh hưởng, tác động

          B. studied (v) = học tập

          C. validated (v) = xác nhận, làm cho có hiệu lực

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. Architecture is the practice of building design and its resulting products; customary usage refers only to those designs and structures that are culturally significant. Architecture is to building as literature is to the printed word. Vitruvius, a 1st-century BC Roman, wrote encyclopedically about architecture, and the English poet Sir Henry...
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.

Architecture is the practice of building design and its resulting products; customary usage refers only to those designs and structures that are culturally significant. Architecture is to building as literature is to the printed word. Vitruvius, a 1st-century BC Roman, wrote encyclopedically about architecture, and the English poet Sir Henry Wotton was quoting him in his charmingly phrased dictum: “Well building hath three conditions: Commoditie, Firmenes, and Delight.” More prosaically, one would say today that architecture must satisfy its intended uses, must be technically sound, and must convey aesthetic meaning. But the best buildings are often so well constructed that they outlast their original use. They then survive not only as beautiful objects, but as documents of the history of cultures, achievements in architecture that testify to the nature of the society that produced them. These achievements are never wholly the work of individuals. Architecture is a social art.

Architectural form is inevitably influenced by the technologies applied, but building technology is conservative and knowledge about it is cumulative. Precast concrete, for instance, has not rendered brick obsolete. Although design and construction have become highly sophisticated and are often computer directed, this complex apparatus rests on preindustrial traditions inherited from millennia during which most structures were lived in by the people who erected them. The technical demands on building remain the elemental ones – to exclude enemies, to circumvent gravity, and to avoid discomforts caused by an excess of heat or cold or by the intrusion of rain, wind, or vermin. This is no trivial assignment even with the best modern technology.

The availability of suitable materials fostered the crafts to exploit them and influenced the shapes of buildings. Large areas of the world were once forested, and their inhabitants developed carpentry. Although it has become relatively scarce, timber remains an important building material.

Many kinds of stone lend themselves to building. Stone and marble were chosen for important monuments because they are incombustible and can be expected to endure. Stone is also a sculptural material; stone architecture was often integral with stone sculpture. The use of stone has declined, however, because a number of other materials are more amenable to industrial use and assembly.

Some regions lack both timber and stone; their peoples used the earth itself, tamping certain mixtures into walls or forming them into bricks to be dried in the sun. Later they baked these substances in kilns, producing a range of bricks and tiles with greater durability.

(Extracted from Microsoft® Encarta® 2009 Encyclopedia – DVD Version)

Which of the following is NOT considered an essential characteristic of architecture according to the passage?

A. Strength

B. Utility

C. Economy

D. Beauty

1
10 tháng 12 2019

Đáp án C

Yếu tố nào sau đây không được xem như là một đặc trưng quan trọng của kiến trúc theo bài đọc?

A. kiên cố

C. kinh tế

B. có ích

D. vẻ đẹp

Dẫn chứng: More prosaically, one would say today that architecture must satisfy its intended uses, must be technically sound, and must convey aesthetic meaning. But the best buildings are often so well constructed that they outlast their original use. They then survive not only as beautiful objects, but as documents of the history of cultures, achievements in architecture that testify to the nature of the society that produced them

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. Architecture is the practice of building design and its resulting products; customary usage refers only to those designs and structures that are culturally significant. Architecture is to building as literature is to the printed word. Vitruvius, a 1st-century BC Roman, wrote encyclopedically about architecture, and the English poet Sir Henry...
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.

Architecture is the practice of building design and its resulting products; customary usage refers only to those designs and structures that are culturally significant. Architecture is to building as literature is to the printed word. Vitruvius, a 1st-century BC Roman, wrote encyclopedically about architecture, and the English poet Sir Henry Wotton was quoting him in his charmingly phrased dictum: “Well building hath three conditions: Commoditie, Firmenes, and Delight.” More prosaically, one would say today that architecture must satisfy its intended uses, must be technically sound, and must convey aesthetic meaning. But the best buildings are often so well constructed that they outlast their original use. They then survive not only as beautiful objects, but as documents of the history of cultures, achievements in architecture that testify to the nature of the society that produced them. These achievements are never wholly the work of individuals. Architecture is a social art.

Architectural form is inevitably influenced by the technologies applied, but building technology is conservative and knowledge about it is cumulative. Precast concrete, for instance, has not rendered brick obsolete. Although design and construction have become highly sophisticated and are often computer directed, this complex apparatus rests on preindustrial traditions inherited from millennia during which most structures were lived in by the people who erected them. The technical demands on building remain the elemental ones – to exclude enemies, to circumvent gravity, and to avoid discomforts caused by an excess of heat or cold or by the intrusion of rain, wind, or vermin. This is no trivial assignment even with the best modern technology.

The availability of suitable materials fostered the crafts to exploit them and influenced the shapes of buildings. Large areas of the world were once forested, and their inhabitants developed carpentry. Although it has become relatively scarce, timber remains an important building material.

Many kinds of stone lend themselves to building. Stone and marble were chosen for important monuments because they are incombustible and can be expected to endure. Stone is also a sculptural material; stone architecture was often integral with stone sculpture. The use of stone has declined, however, because a number of other materials are more amenable to industrial use and assembly.

Some regions lack both timber and stone; their peoples used the earth itself, tamping certain mixtures into walls or forming them into bricks to be dried in the sun. Later they baked these substances in kilns, producing a range of bricks and tiles with greater durability.

(Extracted from Microsoft® Encarta® 2009 Encyclopedia – DVD Version)

According to the passage, today stone has been used less as a building material because ______.

A. there have been other more suitable materials for industrial use

B. stone architecture is essential to the number of stone sculptures 

C. it has less influence on the shapes of buildings and sculptures

D. it has become relatively scarce and more difficult to exploit

1
30 tháng 11 2019

Đáp án A

Theo bài đọc, ngày nay đã ít được sử dụng làm vật liệu xây dựng bởi vì

A. có nhiều vật liệu khác thích hợp hơn cho mục đích công nghiệp.

 B. kiến trúc đá quan trọng đối với một số tượng đá.

C. nó có ít ảnh hưởng đến hình dáng của các công trình và tượng

D. nó trở nên gần như khan hiếm và khó khai thác.

Dẫn chứng: Stone is also a sculptural material; stone architecture was often integral with stone sculpture. The use of stone has declined, however, because a number of other materials are more amenable to industrial use and assembly