托福閱讀之文藝復興例題練習

托福閱讀的關(guān)鍵是在于多看多練，為了幫助廣大考生更好的復習，老師為大家整理提供托福閱讀模擬練習，以供各位考生復習參考，生活中有很多事情需要大家細心觀察和發(fā)現(xiàn)，閱讀文章不僅可以鍛煉能力還能了解各方面的知識。在托福閱讀練習中大家要多找些托福文章練習，老師也會經(jīng)常找些文章讓大家參考的，下面開始今天的托福閱讀吧。

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 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.

1. The passage mainly discusses

(a) the difference between medieval and Renaissance art

(b) how the technique of perspective influenced the modern art

(c) the discovery of the technique of perspective

(d) the contribution of Renaissance artists

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

(a) timeless

(b) infinite

(c) frequent

(d) constant

3. 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 timeless truth of the earth

(d) themes of religious stories

4. The discovery of perspective was the result of

(a) Renaissance artists’ to prove that the medieval artists could show level of reality

(b) the need to turn an object at an angle and draw more than one side of it

(c) the subject being shifted from religious stories to individual person and surroundings.

(d) natural evolution of human senses

5. The word “it” in line 12 refers to

(a) the picture

(b) perspective

(c) angle

(d) the object

6. The word “Grammar ” in line 13 is closest in meaning to

(a) construction

(b) grammatical rules

(c) rules and regulations

(d) tones and volume

7. The author’s purpose to give the example in line14-15 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

8. The following artists’ priorities in style shift away from perspective except

(a) Crivelli

(b) Cezanne

(c) Japanese artists

(d) Brunelleschi

9. The word ”Illusion” in line 25 is closest in meaning to

(a) deception

(b) photograph

(c) decoration

(d) illustration

10. It can be inferred from the passage that Renaissance artists

(a) embraced the medieval style of eternal truth

(b) needed to develop a new approach towards painting to show a new level of reality

(c) were inspired by vertical and horizontal surfaces in inventing the technique of perspective

(d) saw two dimensional design more important than a feeling of depth

參考答案：1.b 2.a 3.d 4.c 5.d 6.c 7.c 8.d 9.a 10.b

以上就是今天的托福閱讀模擬練習，每天做幾篇閱讀，堅持下來，一定會有不小的進步，閱讀的同時不要忘記，積累陌生詞匯與優(yōu)秀的句子，以便考試的時候能派上用場，英語不是一朝一夕的事，所以大家一定要勤加練習。

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