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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 44 to 55.

         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 of 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. 

 

The word “it” refers to ______.

A. composition

B. Artist

C. Chalk

D. surface

1
12 tháng 8 2017

Đáp án : A

A “composition” vì ta dựa vào câu “refine it with ink” nghĩa là lọc nó với mực, thì chắc chắn nó không thể thay thế cho “the artist” hoặc là “chalk”

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 44 to 55.         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,...
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 44 to 55.

         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 of 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. 

 

Which of the following processes produced the translucent colors found on panel paintings?

A. Applying many layers of paint

B. Joining wooden planks to form large sheets

C. Polishing the gesso

D. Covering the background with gold leaf

1
16 tháng 7 2017

Đáp án : A

A “applying many layers of paint” được đề cập ở câu “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.”

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 44 to 55.         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,...
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 44 to 55.

         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 of 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. 

 

According to the passage, what was the first step in making a panel painting?

A. Mixing the paint

B. Making ink drawings

C. Preparing the panel

D. Buying the gold leaf

1
11 tháng 10 2018

Đáp án : C

C “preparing the panel” ở ngay câu thứ hai nhà văn đã đề cập tới bược chuẩn bị “Wooden planks were joined, covered with gesso to prepare the surface for painting, and then polished smooth with special tools”

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 44 to 55.         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,...
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 44 to 55.

         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 of 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. 

 

What characteristic of tempera paint is mentioned in the passage?

A. It has to be applied directly to wood

B. It is difficult to make

C. It dries quickly

D. It dissolves easily

1
4 tháng 4 2019

Đáp án : C

C “it dries quickly” được đề cập ở câu “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.”

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.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...
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.

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.

Which of the following processes produced the translucent colors found on panel paintings?

A. Applying many layers of paint.     

B. Joining wooden planks to form large sheets.

C. Polishing the gesso.            

D. Covering the background with gold leaf.

1
21 tháng 10 2019

Đáp án C

Trong đoạn văn có đề cập cụm từ “The quick-drying tempera”

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 44 to 55.         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,...
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 44 to 55.

         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 of 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. 

 

The word “deliberate” is closest in meaning to ______.

A. careful 

B. Decisive

C. Unusual

D. natural

1
25 tháng 2 2019

Đáp án : A

A “careful” = “deliberate” nghĩa là cần thận, tỉ mỉ

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 44 to 55.         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,...
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 44 to 55.

         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 of 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. 

 

The author mentions all of the following as problems with the survival of panel paintings EXCEPT ______.

A. condition

B. restoration 

C. preservation

D. theft

1
17 tháng 1 2017

Đáp án : D

D “theft” vì đáp án này không được đề cập

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 44 to 55.         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,...
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 44 to 55.

         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 of 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. 

 

What aspect of panel paintings does the passage mainly discuss?

A. Different styles

B. Famous examples

C. Production

D. Restoration

1
8 tháng 7 2019

Đáp án : C

C “production” nghĩa là phương thức sản xuất, vì cả bài từng đoạn nói về cách làm từng phần của loại tranh này

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.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...
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.

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.

According to the passage, what was the first step in making a panel painting?

A. Mixing the paint. 

B. Making ink drawings.

C. Preparing the panel. 

D. Buying the gold leaf.

1
14 tháng 2 2018

Đáp án A

it = composition : chế phẩm.

Các từ còn lại: artist: họa sỹ; chalk: phấn; surface: bề mặt

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 44 to 55.         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,...
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 44 to 55.

         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 of 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. 

 

The “collective enterprise” mentioned includes all of the following EXCEPT ______.

A. supplying the gold leaf 

B. applying the paint

C. selling the painting

D. building the panels

1
22 tháng 8 2019

Đáp án : C

C “selling the painting” vì ở những đoạn trước, tất cả những đáp án khác đều đã được đề cập trừ C