Choose the letter A, B, C or D to complete the sentencesEarl was one of the first American artists _____________landscapes. A. painting B. painted C. for painting D. to paint

LQ

Lê Quỳnh Anh

30 tháng 4 2018

Choose the letter A, B, C or D to complete the sentences

Earl was one of the first American artists _____________landscapes.

A. painting

B. painted

C. for painting

D. to paint

#Tiếng anh thí điểm lớp 8

1

DH

Dương Hoàn Anh

30 tháng 4 2018

Đáp án D

Giải thích: mệnh đề quan hệ rút gọn, sau the first là to V.

Dịch: Earl là một trong những nghệ sĩ người Mỹ đầu tiên vẽ phong cảnh này

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LQ

Lê Quỳnh Anh

29 tháng 3 2017

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.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

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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.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

According to the passage, where were many of the first American folk art portraits painted?

A. In western New York

B. In Illinois and Missouri

C. In Connecticut and Massachusetts

D. In Ohio

#Mẫu giáo

1

DH

Dương Hoàn Anh

29 tháng 3 2017

Đáp án C

Thông tin: The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition.

Dịch nghĩa: Các bức chân dung nghệ thuật dân gian Mỹ đầu tiên đến, một cách không đáng ngạc nhiên, từ New England - đặc biệt là Connecticut và Massachusetts - vì đây là một khu vực giàu có và đông dân và là trung tâm của một truyền thống thủ công mạnh mẽ.

Như vậy rất nhiều những bức chân dung nghệ thuật dân gian Mỹ đầu tiên đến từ Connecticut và Massachusetts. Phương án C là phương án chính xác nhất.

A. In western New York = Ở phía tây New York.

B. In Illinois and Missouri = Ở Illinois và Missouri.

D. In Ohio = Ở Ohio.

Ba phương án trên không chính xác vì đó là những nơi có thể tìm thấy các nghệ sĩ vẽ chân dung sau 1776 chứ không phải nơi các bức chân dung đầu tiên ra đời.

Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. = Trong vòng một vài thập kỷ sau khi ký bản Tuyên ngôn Độc lập năm 1776, dân số đã được đẩy về phía tây, và họa sĩ chân dung có thể được tìm thấy tại nơi làm việc ở phía tây New York, Ohio, Kentucky, Illinois và Missouri.

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LQ

Lê Quỳnh Anh

29 tháng 11 2019

Choose the letter A, B, C or D to complete the sentences

The first experiment was __________, so we need to do another one.

A. unsuccess

B. success

C. unsuccessful

D. successful

#Tiếng anh thí điểm lớp 8

1

DH

Dương Hoàn Anh

29 tháng 11 2019

Đáp án: C

Giải thích: unsuccessful: không thành công

Dịch: Thí nghiệm đầu tiên không thành công nên chúng tôi cần phải làm cái khác.

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LQ

Lê Quỳnh Anh

9 tháng 12 2018

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.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

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.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

The relationship between the daguerreotype (line 16) and the painted portrait is similar to the relationship between the automobile and the

A. highway

B. driver

C. engine

D. horse-drawn carriage

#Mẫu giáo

1

DH

Dương Hoàn Anh

9 tháng 12 2018

Đáp án D

Thông tin: In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits.

Dịch nghĩa: Năm 1839 các bức ảnh được chụp theo phương pháp cổ điển được giới thiệu đến Mỹ, mở ra thời đại của nhiếp ảnh, và trong vòng một thế hệ những phát minh mới đặt dấu chấm hết cho sự phổ biến của những bức chân dung được sơn vẽ.

Khi các bức ảnh đầu tiên ra đời thì nó khiến các bức chân dung vẽ tay bị lụi tàn dần. Mối quan hệ này cũng giống như khi ô tô ra đời khiến các cỗ xe ngựa không được sử dụng nữa.

Phương án D. horse-drawn carriage = Cỗ xe ngựa kéo là phương án chính xác nhất.

A. highway (n) = đường cao tốc

B. driver (n) = tài xế

C. engine (n) = động cơ

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LQ

Lê Quỳnh Anh

9 tháng 12 2018

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.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

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.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

How much did the population of the United States increase in the first fifty years following independence?

A. It became three times larger

B. It became five times larger

C. It became eleven times larger

D. It became thirteen times larger

#Mẫu giáo

1

DH

Dương Hoàn Anh

9 tháng 12 2018

Đáp án B

Thông tin: Midway through its first century as a nation, the United States's population had increased roughly five times

Dịch nghĩa: Nửa chặng đường qua thế kỷ đầu tiên của nó như là một quốc gia, dân số của Hoa Kỳ đã tăng khoảng năm lần

Như vậy phương án B. It became five times larger = Nó trở nên lớn hơn gấp 5 lần; là phương án chính xác nhất.

A. It became three times larger = Nó trở nên lớn hơn gấp 5 lần.

C. It became eleven times larger = Nó trở nên lớn hơn gấp 11 lần.

D. It became thirteen times larger = Nó trở nên lớn hơn gấp 13 lần.

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DM

Dương Minh

24 tháng 3 2017

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions.No one but the experts was able to realize that the painting was an imitation. It greatly resembled the original. A. It was hard for ordinary people to judge between the fake painting and the real one, but not for the experts. B. It was almost impossible for amateurs to realize that the painting was not authentic, though the experts could judge it quite...

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#Tiếng anh lớp 12

1

NH

Nguyen Hoang Hai

24 tháng 3 2017

Đáp án C.

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LQ

Lê Quỳnh Anh

10 tháng 3 2017

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions. No one but the experts was able to realize that the painting was an imitation. It greatly resembled the original. A. It was obvious that only a person with great talent could fake a painting so successfully. B. It was hard for ordinary people to judge between the fake painting and the real one, but not for the experts. C. The painting looked so much like...

Đọc tiếp

#Mẫu giáo

1

DH

Dương Hoàn Anh

10 tháng 3 2017

Đáp án C.

Dịch câu hỏi: Không ai ngoài các chuyên gia có thể nhận ra rằng bức tranh là một sự bắt chước. Nó rất giống với bản gốc.

A. Rõ ràng là chỉ có một người có tài năng lớn mới có thể giả một bức tranh thành công như vậy.=> sai nghĩa

B. Thật khó để người bình thường đánh giá giữa bức tranh giả và bức tranh thật, nhưng không dành cho các chuyên gia.=> sai nghĩa

C. Bức tranh trông rất giống với bức tranh thật cái mà chỉ các chuyên gia mới có thể nói nó không phải là thật. => đúng

D. Hầu như không thể để những người nghiệp dư nhận ra rằng bức tranh là không phải thật, mặc dù các chuyên gia có thể đánh giá nó khá dễ dàng.=> sai nghĩa

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LQ

Lê Quỳnh Anh

30 tháng 12 2017

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions.No one but the experts was able to realize that the painting was an imitation. It greatly resembled the original. A. It was hard for ordinary people to judge between the fake painting and the real one, but not for the experts. B. It was almost impossible for amateurs to realize that the painting was not authentic, though the experts could judge it quite...

Đọc tiếp

#Tiếng anh thí điểm lớp 12

1

DH

Dương Hoàn Anh

30 tháng 12 2017

Đáp án C

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LQ

Lê Quỳnh Anh

19 tháng 8 2017

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.What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or...

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.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

Question 48. According to the passage, which of the following contributed to a decline in the What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

According to the passage, which of the following contributed to a decline in the demand for painted portrait?

A. The lack of a strong craft tradition

B. The westward migration of many painters

C. The growing preference for landscape paintings

D. The invention of the camera

#Mẫu giáo

1

DH

Dương Hoàn Anh

19 tháng 8 2017

Đáp án D

Thông tin: During these years the demand for portraits grew and grew eventually to be satisfied by the camera.

Dịch nghĩa: Trong những năm này nhu cầu cho bức chân dung tăng lên và tăng lên cuối cùng được thỏa mãn bởi máy ảnh.

Như vậy nghĩa là sự ra đời của máy ảnh đã đáp ứng được nhu cầu ngày càng tăng đối với tranh chân dung. Đó cũng là yếu tố khiến nhu cầu tranh chân dung bị giảm sút.

Phương án D. The invention of the camera = Sự phát minh của máy ảnh; là phương án chính xác nhất.

A. The lack of a strong craft tradition = Việc thiếu một truyền thống thủ công mạnh mẽ.

Không có thông tin như vậy trong bài.

B. The westward migration of many painters = Sự di chuyển về phía tây của nhiều họa sĩ.

Không có thông tin như vậy trong bài.

C. The growing preference for landscape paintings = Sự ưu tiên phát triển cho các bức tranh phong cảnh.

Không có thông tin như vậy trong bài.

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LQ

Lê Quỳnh Anh

3 tháng 12 2017

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions. Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was...

Đọc tiếp

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

Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

Which of the following statements best represents the meaning of the first sentence (lines1 and 2) before photography was invented in 1839?

A. painted portraits and engravings were very lifelike

B. engravings were based on portraits and not as lifelike

C. there were not many ways other than painted portraits and engravings if you wanted to record what somebody looked like

D. there was no accurate way to record a likeness before photography was invented

#Mẫu giáo

1

DH

Dương Hoàn Anh

3 tháng 12 2017

Đáp án : C

“Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses.”, tức là ngoài “portraits and engravings” không có nhiều cách để “record likenesses” : “there were not many ways other than painted portraits and engravings if you wanted to record what somebody looked like.”

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