It was only………….he told me his surname that I realized we had been to the same school

LQ

Lê Quỳnh Anh

29 tháng 5 2019

Mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the following questions.It was only ___________ he told me his surname that I realized that we had been to the same school. A. then B. until C. as soon as D. when...

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

29 tháng 5 2019

Đáp án D

- Then: sau đó, lúc đó

- Until: cho đến khi

+ Cấu trúc: It was not until ...that (Mãi cho đến khi ...thì)

- As soon as: ngay khi

- When: khi (only when: chỉ khi)

ð Đáp án D (Chỉ khi anh nói với tôi họ của anh tôi mới nhận ra rằng chúng tôi đã học cùng trường.)

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LQ

Lê Quỳnh Anh

29 tháng 1 2019

Mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the following questions.It was only__________ he told me his surname that I realized that we had been to the same school. A. then B. until C. as soon as D. when...

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

29 tháng 1 2019

Đáp án D

Dịch câu: Chỉ khi anh nói với tôi họ của anh tôi mới nhận ra rằng chúng tôi đã học cùng trường.

Then: sau đó

Until: cho đến tận khi (Ở đây sẽ đúng nếu như sử dụng It was not until….)

As soon as: ngay khi

When: khi (only when: chỉ khi)

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LQ

Lê Quỳnh Anh

2 tháng 9 2019

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. It was such strong coffee that he couldn’t drink it. A. The coffee was too strong for him to drink B. He couldn’t drink the coffee although the coffee was so strong. C. He couldn’t drink too strong coffee before. D. The strong coffee made him able to drink it....

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

2 tháng 9 2019

Đáp án A

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LQ

Lê Quỳnh Anh

23 tháng 10 2019

Mark the letter A, B, C or D on your answer sheet to indicate the sentence that best combines each pair of sentence in the following questions.The coffee was very strong. He couldn’t drink it. A. The coffee was so strong that he could drink it. B. He couldn’t drink the strong coffee before C. The coffee was not weak enough for him to drink. D. The coffee was too strong for him to drink....

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

23 tháng 10 2019

Đáp án D

Dịch nghĩa: Loại cà phê này rất mạnh. Anh ta không thể uống nó.
D. Loại cà phê này quá mạnh để anh ta uống.
Cấu trúc too adj for someone to do something: quá cho ai để làm gì
Các đáp án còn lại:
A. Loại cà phê này mạnh đến nỗi mà anh ta có thể uống nó.
B. Anh ấy không thể uống cà phê mạnh trước đây.
C. Cà phê không đủ yếu cho anh uống.
Các đáp án trên đều khác nghĩa so với câu gốc.

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LQ

Lê Quỳnh Anh

14 tháng 4 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...

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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.

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

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

14 tháng 4 2019

B

Thông tin ở câu thứ 2 của đoạn 2: “A flat medieval style couldn’t show this level of reality and the artists needed a new technique.” (phong cách thời Trung cổ không thể biểu đạt hết cấp bậc của thực tế và các nhà hoạ sĩ cần một công thức/công nghệ mới) = needed to develop a new approach towards painting to show a new level of reality (cần phát triển một cách tiếp cận nghệ thuật mới để biểu đạt cấp độ thực tế)

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LQ

Lê Quỳnh Anh

10 tháng 6 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.

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

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

10 tháng 6 2018

C

Thông tin ở câu đầu đoạn số 2: “artists wanted to show the importance of the individual person and his or her possessions and surroundings.” (thể hiện sự quan trọng của cá nhân, sự sở hữu và môi trường xung quanh) tức là the subject being shifted from religious stories to individual person and surroundings. (chủ đề được di chuyển từ câu chuyện tôn giáo đến từng cá nhân và môi trường xung quanh -> từng cá nhân và môi trường đóng vai trò quan trọng)

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LQ

Lê Quỳnh Anh

17 tháng 2 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 “he” in line 25 refers to

A. Crivelli

B. Cezanne

C. Picasso

D. Van Gogh

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

17 tháng 2 2019

C

“he” được thay thế cho Picasso trong câu phía trước: “Picasso certainly made pictures which have volume and depth.”

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LQ

Lê Quỳnh Anh

18 tháng 10 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 “it” in line 13 refers to

A. the picture

B. perspective

C. angle

D. the object

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

18 tháng 10 2017

D

“it” được thay thế cho “object” trong vế trước của câu đầu tiên đoạn 3: “With two-point perspective they could turn an object (like a building)…”

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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...

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 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

#Hỏi cộng đồng OLM #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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