Question

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Part 2: For questions 61-70, read the passage carefully. Then choose the item that best
answers each of the questions below. llrite your onswers in the coruesponding numbered
boxes provided
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,apart of the "@!qg 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
cenfury 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.
61. 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
62.1he word "gt@!" in the first paragraph is closest in meaning to
_.
A. timeless B. infinite C. frequent D. constant
63. 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
64. The discovery of perspective was the result of
_.
A. Renaissance artists' to prove that the medieval artists could show level of reality
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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
65. The word "!!" in the third paragraph refers to
_.
A. the picture B. perspective C. angle D. the object
66. The word
oo@AI"
in the third paragraph is closest in meaning to
_.
A. construction B. grammatical rules
C. rules and regulations D. tones and volume
67.T}nre author's purpose to give the example in the third paragraph 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
68. The following artists' priorities in style shift away from perspective EXCEPT
A. Crivelli B. Cezanne C. Japanese artists D. Brunelleschi
69. The word
oolllusion"
in the last paragraph is closest in meaning to
_.
A. deception B. photograph C. decoration D. illustation
70.Itcan 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