Câu hỏi:
25/04/2022 561
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42
The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word.
On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors.
The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth century.
What is the main idea of the passage?
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 35 to 42
The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others caved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as “sculptors" in today's use of the word.
On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose – either the local craftspeople or the imported talent of European sculptors.
The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which they sculpture made in the United States in the late eighteenth century.
What is the main idea of the passage?
Đáp án chính xác
Câu hỏi trong đề:
Bộ 25 đề thi thử THPT Quốc gia môn Tiếng anh có đáp án năm 2022 !!
Sách mới 2k7: Tổng ôn Toán, Lí, Hóa, Văn, Sử, Địa…. kỳ thi tốt nghiệp THPT Quốc gia 2025, đánh giá năng lực (chỉ từ 110k).
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Trả lời:
Giải bởi Vietjack
Kỹ năng: Đọc
Giải thích:
Nội dung chính của đoạn văn là gì?
A. Có rất nhiều nhu cầu cho các tác phẩm của thợ thủ công thế kỉ 18
B. Các nhà điêu khắc lành nghề không tồn tại ở Mĩ vào những năm 1770
C. Rất nhiều nhà điêu khắc nước ngoài làm việc ở Mĩ sau năm 1776
Thông tin nằm ở: Đoạn 1: "in 1776 sculpture ... was still in the hands of artisans and craftspeople"; đoạn 2: "On the rare occasion ... turned to foreign sculptors"; đoạn 3: "The eighteenth century ... not ... sculptural ... developed" -> Thế kỉ 18 (hay những năm 1770), ở Mĩ vẫn chưa có thợ điêu khắc được đào tạo bài bản
Chọn B
Nhà sách VIETJACK:
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Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 30 to 34
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Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions from 30 to 34
When drawing human figures, children often make the head too large for the rest of the body. A recent study offers some insights into this common disproportion in children's illustrations. As part of the study, researchers asked children between 4 and 7 years old to make several drawings of men. When they drew front views of male figures, the size of the heads was markedly enlarged. However, when the children drew rear views of men, the size of the heads was not so exaggerated. The researchers suggested that children drew bigger heads when they know they must leave room for facial details. Therefore, the odd head size in children's illustrations is a form of planning ahead and not an indication of a poor sense of scale.
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