Draw an array to show and solve: 9x10

HA

huỳnh anh phương

27 tháng 4 2018 - olm

#Toán lớp 2

10

HL

Hỏi Làm Gì

27 tháng 4 2018

bằng 90 nhé

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休宁凯

27 tháng 4 2018

Đáp án là 90 nhé

Học tốt!

^_^

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LQ

Lê Quỳnh Anh

5 tháng 3 2017

Mark the letter A, B, C, D on our answer sheet to show the underlined part that need correctionPsychological experiment indicate that people remember more math problems that they can’t solve than those they are able to solve A. those B. solve C. to solve D....

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#Mẫu giáo

1

DH

Dương Hoàn Anh

5 tháng 3 2017

Đáp án D

Ta thấy động từ “indicate “ - ở dạng số nhiều => Chủ ngữ ở dạng số nhiều

Chúng ta sửa “experiment” thành”experiments”

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HQ

Hoàng Quốc Việt

3 tháng 4 2022

Write a paragraphon how means of transport affect badly on the environment and show how we can solve this problem.

Giúp em với ạ!

#Tiếng anh lớp 7

0

NH

Nguyễn Huy Tú

30 tháng 10 2016

Write an email from 70->100 words about a problem your community is having and propose a volunteer activity to help solve the problem

#Tiếng anh lớp 7

2

NH

Nguyễn Huy Tú

30 tháng 10 2016

@Trịnh Đức Minh, @Nguyễn Lê Mai Thảo, @Nguyễn Anh Duy, @Phương An, @Lê Nguyên Hạo

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NH

Nguyễn Huy Tú

30 tháng 10 2016

Trịnh Đức Minh

Phương An

Nguyễn Anh Duy

Silver bullet

Lê Nguyên Hạo

Hoàng Lê Bảo Ngọc

Giúp với !!!!

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ML

Minh Lệ

21 tháng 8 2023

Complete the film and book words and solve the mystery word.1. film about difficult relationships2. exciting film with new experiences and places3. exciting film that can be scary4. the police try to catch criminals5. there is often fighting, cars and guns6. it’s difficult to know what’s happened7. the actors sing and dance8. love story9. film about unreal worlds and...

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#Tiếng anh lớp 8

1

NG

Người Già

CTVVIP

21 tháng 8 2023

1. film about difficult relationships - DRAMA

2. exciting film with new experiences and places - ADVENTURE

3. exciting film that can be scary - THRILLER

4. the police try to catch criminals - CRIME

5. there is often fighting, cars and guns - ACTION

6. it’s difficult to know what’s happened - MYSTERY

7. the actors sing and dance - MUSICAL

8. love story - ROMANCE

9. film about unreal worlds and characters - FANTASY

Mystery word: ANIMATION

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LQ

Lê Quỳnh Anh

4 tháng 4 2017

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

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

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

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

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

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

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

The author’s purpose to give the example in line15-17 is to

A. explain how perspective work in painting

B. support two-pointed perspective

C. illustrate that there are exceptions about perspective

D. point out that the technique of perspective though seems so natural is an invented technique

#Mẫu giáo

1

DH

Dương Hoàn Anh

4 tháng 4 2017

C

Thông tin ở những câu cuối đoạn 3: “Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.”

Tức là tác giả đã minh chứng về những trường hợp ngoại lệ của phối cảnh (illustrate that there are exceptions about perspective) thông qua các ví dụ

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LQ

Lê Quỳnh Anh

19 tháng 10 2019

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

Đọc tiếp

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

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

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

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

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

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

The word “Grammar ” in line 14 is closest in meaning to

A. construction

B. grammatical rules

C. rules and regulations

D. tones and volume

#Mẫu giáo

1

DH

Dương Hoàn Anh

19 tháng 10 2019

C

“Grammar” = “rules and regulations”: cấu trúc, quy tắc

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LQ

Lê Quỳnh Anh

14 tháng 7 2017

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

Đọc tiếp

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

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

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

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

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

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

The word ”Illusion” in line 27 is closest in meaning to

A. deception

B. photograph

C. decoration

D. illustration

#Mẫu giáo

1

DH

Dương Hoàn Anh

14 tháng 7 2017

A

”Illusion” = “deception”: ảo tưởng, lầm tưởng rằng, trò lừa dối khiến lầm tưởng

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LQ

Lê Quỳnh Anh

5 tháng 12 2018

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

Đọc tiếp

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

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

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

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

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

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

According to the passage, which is the main concern for medieval artists?

A. the individual person and his/her possessions and surroundings

B. real people, real scenes

C. eternal truth of the earth

D. themes of religious stories

#Mẫu giáo

1

DH

Dương Hoàn Anh

5 tháng 12 2018

D

Thông tin ở câu gần cuối đoạn 1: “They wanted to show the truth, the eternal quality of their religious stories.” (Họ muốn biểu lộ sự thật, phẩm chất vĩnh hằng của những câu chuyện về tôn giáo họ) = themes of religious stories

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LQ

Lê Quỳnh Anh

12 tháng 10 2019

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

Đọc tiếp

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

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

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

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

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

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

The word “eternal” in line 3 is closest in meaning to

A. timeless

B. infinite

C. frequent

D. rare

#Mẫu giáo

1

DH

Dương Hoàn Anh

12 tháng 10 2019

A

“eternal” = “timeless”: bất diệt, vĩnh hằng, vô tận

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