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

LQ

Lê Quỳnh Anh

4 tháng 6 2019

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.The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and...

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

The word “one” refers to______.

A. century.

B. development.

C. style.

D. coloration.

#Mẫu giáo

1

DH

Dương Hoàn Anh

4 tháng 6 2019

C

Kiến thức: Đọc hiểu

Giải thích:

Từ "one" đề cập đến _____.

A. thế kỷ.

B. phát triển.

C. phong cách.

D. màu sắc.

“one” đề cập đến style ở trước đó: The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms.

Đáp án:C

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Lê Quỳnh Anh

27 tháng 1 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.The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and...

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

What does paragraph 1 mainly discuss?

A. Design elements in the Art Nouveau style

B. The popularity of the Art Nouveau style

C. Production techniques for art glass

D. Color combinations typical of the Art Nouveau style

#Mẫu giáo

1

DH

Dương Hoàn Anh

27 tháng 1 2017

B

Kiến thức: Đọc hiểu

Giải thích:

Đoạn 1 chủ yếu thảo luận về điều gì?

A. Các yếu tố thiết kế theo phong cách Art Nouveau

B. Sự phổ biến của phong cách Art Nouveau

C. Kỹ thuật sản xuất kính nghệ thuật

D. Kết hợp màu sắc điển hình của phong cách Art Nouveau

Thông tin: The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style

Đáp án:B

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LQ

Lê Quỳnh Anh

28 tháng 7 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.The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and...

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

Para.1 mentions that Art Nouveau glass was sometimes similar to which aspect of ancient buried glass______.

A. The distortion of the glass

B. The appearance of the glass surface

C. The shapes of the glass objects

D. The size of the glass objects

#Mẫu giáo

1

DH

Dương Hoàn Anh

28 tháng 7 2017

B

Kiến thức: Đọc hiểu

Giải thích:

Đoạn 1 đề cập rằng kính Art Nouveau đôi khi tương tự như khía cạnh nào của kính được chôn thời cổ xưa?

A. Sự biến dạng của kính

B. Bề ngoài của bề mặt kính

C. Các hình dạng của các vật thủy tinh

D. Kích thước của các vật thủy tinh

Thông tin: The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried.

Đáp án:B

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LQ

Lê Quỳnh Anh

25 tháng 11 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.The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and...

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

According to the passage, an object made in the Art Nouveau style would most likely include ______.

A. a flowered design.

B. bright colors.

C. modern symbols.

D. a textured surface.

#Mẫu giáo

1

DH

Dương Hoàn Anh

25 tháng 11 2017

A

Kiến thức: Đọc hiểu

Giải thích:

Theo đoạn văn, một vật được thực hiện theo phong cách Art Nouveau rất có thể bao gồm ______.

A. một họa tiết hoa văn. B. màu sắc tươi sáng.

C. biểu tượng hiện đại. D. một bề mặt kết cấu.

Thông tin: The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration.

Đáp án:A

Dịch bài đọc:

Cuối của thế kỷ XIX và những năm đầu của thế kỷ XX đã được đánh dấu bằng sự phát triển của một phong cách Art Nouveau quốc tế, đặc trưng bởi những đường uốn khúc, họa tiết hoa văn và thực vật, và màu sắc mềm mại. Phong cách Art Nouveau là một phong cách rộng, kết hợp các yếu tố của nghệ thuật Nhật Bản, các họa tiết văn hóa cổ đại và các hình thức tự nhiên. Các đồ vật bằng kính theo phong cách này rất thanh lịch, mặc dù thường xuyên bị méo mó, với các bề mặt nhợt nhạt hoặc óng ánh. Một mưu kế ưa thích của phong cách là bắt chước bề mặt óng ánh nhìn thấy trên kính cổ xưa đã được chôn cất. Phần lớn kính nghệ thuật được sản xuất trong những năm phổ biến nhất của nó được gọi chung là “Kính nghệ thuật.” Kính nghệ thuật được thiết kế cho mục đích trang trí và dựa vào hiệu ứng của nó trên các kết hợp màu được lựa chọn cẩn thận và kỹ thuật sáng tạo.

Pháp có một số người nổi bật trong phong cách Art Nouveau; trong số những người đó nổi tiếng nhất là Emile Galle (1846-1904). Tại Hoa Kỳ, Louis Comfort Tiffany (1843-1933) là người được ghi nhận nhiều nhất về phong cách này, tạo ra nhiều dạng kính và bề mặt, được sao chép rộng rãi trong thời điểm đó và được đánh giá cao trong ngày nay. Tiffany là một nhà thiết kế tuyệt vời, kết hợp thành công các họa tiết Ai Cập, Nhật Bản và Ba Tư cổ đại.

Phong cách Art Nouveau là một lực lượng lớn trong nghệ thuật trang trí từ năm 1895 đến năm 1915, mặc dù ảnh hưởng của nó vẫn tiếp tục trong suốt giữa những năm 1920. Nó cuối cùng đã bị vượt qua bởi một trường phái tư tưởng mới được gọi là Thuyết chức năng đã có mặt kể từ khi chuyển giao thế kỷ. Ban đầu bị giới hạn bởi một nhóm các kiến trúc sư và nhà thiết kế tiên phong nhỏ, Thuyết chức năng nổi lên như là ảnh hưởng thống trị của các nhà thiết kế sau Chiến tranh thế giới thứ nhất. Nguyên lý cơ bản của chuyển động- chức năng nên xác định hình thức - không phải là một khái niệm mới. Chẳng bao lâu một mã thẩm mỹ khác biệt đã tiến hóa: từ đơn giản, bề mặt trơn, và bất kỳ vật trang trí nào cũng nên dựa trên các mối quan hệ hình học. Khái niệm thiết kế mới này, cùng với những phản ứng mạnh mẽ sau chiến tranh đối với phong cách và quy ước của những thập niên trước, tạo ra một thị hiếu công chúng hoàn toàn mới khiến các loại kính nghệ thuật không còn được yêu thích. Thị hiếu mới đòi hỏi những hiệu ứng ấn tượng của độ tương phản, đường viền hoàn toàn và bề mặt kết cấu phức tạp.

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LQ

Lê Quỳnh Anh

2 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.The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and...

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

It can be inferred from the passage that one reason Functionalism became popular was that it______.

A. clearly distinguished between art and design

B. appealed to people who liked complex painted designs

C. reflected a common desire to break from the past

D. was easily interpreted by the general public

#Mẫu giáo

1

DH

Dương Hoàn Anh

2 tháng 12 2018

C

Kiến thức: Đọc hiểu

Giải thích:

Nó có thể được suy ra từ đoạn văn rằng một lý do Thuyết Chức năng trở nên phổ biến là nó ______.

A. phân biệt rõ ràng giữa nghệ thuật và thiết kế

B. kêu gọi những người thích thiết kế phức tạp

C. phản ánh mong muốn chung để thoát khỏi quá khứ

D. dễ dàng được giải thích bởi công chúng

Thông tin: This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor.

Đáp án:C

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LQ

Lê Quỳnh Anh

20 tháng 11 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.The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and...

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

What does the author mean by stating that “function should determine form”?

A. A useful object should not be attractive.

B. The purpose of an object should influence its form.

C. The design of an object is considered more significant than its function.

D. The form of an object should not include decorative elements.

#Mẫu giáo

1

DH

Dương Hoàn Anh

20 tháng 11 2018

B

Kiến thức: Đọc hiểu

Giải thích:

Tác giả có ý gì khi nói rằng “chức năng nên xác định hình thức”?

A. Một vật hữu ích không nên trông hấp dẫn.

B. Mục đích của một vật nên ảnh hưởng đến hình thức của nó.

C. Thiết kế của một vật được coi là quan trọng hơn chức năng của nó.

D. Hình thức của một vật không nên bao gồm các yếu tố trang trí.

Thông tin: Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships.

Đáp án:B

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LQ

Lê Quỳnh Anh

6 tháng 11 2019

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.The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and...

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.

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural forms. The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed “art glass.” Art glass was intended for decorative purposes and relied for its effect on carefully chosen color combinations and innovative techniques.

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846–1904). In the United States, Louis Comfort Tiffany (1843–1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian motifs.

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid–1920’s.It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the century. At first restricted to a small avant–garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World War. The basic tenet of the movement–that function should determine form–was not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships. This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline and complex textural surfaces.

Paragraph 3 supports which of the following statements about Functionalism?

A. Its design concept avoided geometric shapes.

B. It started on a small scale and then spread gradually.

C. It was a major force in the decorative arts before the First World War.

D. It was not attractive to architects all designers.

#Mẫu giáo

1

DH

Dương Hoàn Anh

6 tháng 11 2019

B

Kiến thức: Đọc hiểu

Giải thích:

Đoạn 3 hỗ trợ câu nào sau đây về thuyết chức năng?

A. Khái niệm thiết kế của nó tránh hình dạng hình học.

B. Nó bắt đầu trên một quy mô nhỏ và sau đó lan dần dần.

C. Đó là một lực lượng lớn trong nghệ thuật trang trí trước Chiến tranh thế giới thứ nhất.

D. Nó không hấp dẫn đối với kiến trúc sư và tất cả các nhà thiết kế.

Thông tin: Soon a distinct aesthetic code evolved: from should be simple, surfaces plain, and any ornament should be based on geometric relationships.

Đáp án:B

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LQ

Lê Quỳnh Anh

24 tháng 6 2019

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.The term “art deco” has come to encompass three distinct but related design trends of the 1920’s and 1930’s. The first was what is frequently referred to as “zigzag moderne” – the exotically ornamental style of such skyscrapers as the Chrysler Building in New York City and related structures such as the Paramount Theater in Oakland, California....

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.

The term “art deco” has come to encompass three distinct but related design trends of the 1920’s and 1930’s. The first was what is frequently referred to as “zigzag moderne” – the exotically ornamental style of such skyscrapers as the Chrysler Building in New York City and related structures such as the Paramount Theater in Oakland, California. The word “zigzag” alludes to the geometric and stylized ornamentation of zigzags, angular patterns, abstracted plant and animal motifs, sunbursts, astrological imagery, formalized fountains, and related themes that were applied in mosaic relief and mural form to the exterior and interior of the buildings. Many of these buildings were shaped in the ziggurat form, a design resembling an ancient Mesopotamian temple tower that recedes in progressively smaller stages to the summit, creating a staircase-like effect.

The second manifestation of art deco was the 1930’s “streamlined moderne” style—a Futuristic-looking aerodynamic style of rounded corners and horizontal bands known as “speed stripes.” In architecture, these elements were frequently accompanied by round windows, extensive use of glass block, and flat rooftops.

The third style, referred to as “international stripped classicism” also came to the forefront during the Depression, a period of severe economic difficult in the 1930’s. This was a more conservative style, blending a simplified modernistic style with a more austere form of geometric and stylized relief sculpture and other ornament, including interior murals. May buildings in this style were erected nationwide through government programs during the Depression .

Although art deco in its many forms was largely perceived as thoroughly modern, it was strongly influenced by the decorative arts movements that immediately preceded it. For example, like “art nouveau” (1890-1910), art deco also used plant motifs, but regularized the forms into abstracted repetitive patterns rather than presenting them as flowing, asymmetrical foliage, Like the Viennese craftspeople of the Wiener Werkstatte, art deco designers worked with exotic materials, geometricized shapes, and colorfully ornate patterns. Furthermore, like the artisans of the Arts and Crafts Movement inEnglandand theUnited States, art deep practitioners considered it their mission to transform the domestic environment through well-designed furniture and household accessories.

According to the passage, which of the following statements most accurately describes the relationship between art deco and art nouveau?

A. Art deco became important in theUnited Stateswhile art nouveau became popular inEngland.

B. Art nouveau preceded art deco and influenced it.

C. They were art forms that competed with each other for government support during the depression era.

D. They were essentially the same art form.

#Mẫu giáo

1

DH

Dương Hoàn Anh

24 tháng 6 2019

Đáp án : B

Đầu đoạn cuối: Although art deco in its many forms was largely perceived as thoroughly modern, it was strongly influenced by the decorative arts movements that immediately preceded it. For example, like “art nouveau” (1890-1910), art deco also used plant motifs -> “art deco” bị ảnh hưởng mạnh mẽ bởi xu hướng nghệ thuật đi trước nó, ví dụ như là “art nouveau”

Đúng(0)

LQ

Lê Quỳnh Anh

3 tháng 1 2020

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 39 to 46. The term “art deco” has come to encompass three distinct but related design trends of the 1920‘s and 1930‘s. The first was what is frequently referred to as “zigzag moderne” –the exotically ornamental style of such skyscrapers as the Chrysler Building in New York City and related structures such as the...

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 39 to 46.

The term “art deco” has come to encompass three distinct but related design trends of the 1920‘s and 1930‘s. The first was what is frequently referred to as “zigzag moderne” –the exotically ornamental style of such skyscrapers as the Chrysler Building in New York City and related structures such as the Paramount Theater in Oakland, California. The word “zigzag” alludes to the geometric and stylized ornamentation of zigzags, angular patterns, abstracted plant and animal motifs, sunbursts, astrological imagery, formalized fountains, and related themes that were applied in mosaic relief and mural form to the exterior and interior of the buildings. Many of these buildings were shaped in the ziggurat form, a design resembling an ancient Mesopotamian temple tower that recedes in progressively smaller stages to the summit, creating a staircase-like effect.

The second manifestation of art deco was the 1930‘s “streamlined moderne” style—a Futuristic-looking aerodynamic style of rounded corners and horizontal bands known as “speed stripes” In architecture, these elements were frequently accompanied by round windows, extensive use of glass block, and flat rooftops.

The third style, referred to as “international stripped classicism” also came to the forefront during the Depression, a period of severe economic difficult in the 1930‘s. This was a more conservative style, blending a simplified modernistic style with a more austere form of geometric and stylized relief sculpture and other ornament, including interior murals. May buildings in this style were erected nationwide through government programs during the Depression .

Although art deco in its many forms was largely perceived as thoroughly modern, it was strongly influenced by the decorative arts movements that immediately preceded it. For example, like “art nouveau” (1890-1910), art deco also used plant motifs, but regularized the forms into abstracted repetitive patterns rather than presenting them as flowing, asymmetrical foliage, Like the Viennese craftspeople of the Wiener Werkstatte, art deco designers worked with exotic materials, geometricized shapes, and colorfully ornate patterns. Furthermore, like the artisans of the Arts and Crafts Movement in England and the United States, art deep practitioners considered it their mission to transform the domestic environment through well-designed furniture and household accessories.

The streamlined moderne style is characterized by all of the following EXCEPT ………..

A. animal motifs

B. flat roofs

C. round windows

D. “speed stripes”

#Mẫu giáo

1

DH

Dương Hoàn Anh

3 tháng 1 2020

Đáp án A

Đoạn số 2: … as “speed stripes” In architecture, these elements were frequently accompanied by round windows, extensive use of glass block, and flat rooftops

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