OLM Class: Học trực tiếp cùng giáo viên OLM (hoàn toàn mới)! 

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Mua vip
DN
Dương Nguyễn Quỳnh Vi
6 tháng 6 - olm
Standing hereI realizeYou are just like meTrying to make historyBut who’s to judgeThe right from wrongWhen our guard is downI think we’ll both agreeThat violence breeds violenceBut in the end it has to be this wayI’ve carved my own pathYou followed your wrathBut maybe we’re both the sameThe world has turnedAnd so many have burnedBut nobody is to blameYet staring across this barren wasted landI feel new life will be bornBeneath the blood stained sandBeneath the blood stained sandDo you...
Đọc tiếp

Standing here
I realize
You are just like me
Trying to make history

But who’s to judge
The right from wrong
When our guard is down
I think we’ll both agree

That violence breeds violence
But in the end it has to be this way

I’ve carved my own path
You followed your wrath
But maybe we’re both the same

The world has turned
And so many have burned
But nobody is to blame

Yet staring across this barren wasted land
I feel new life will be born
Beneath the blood stained sand
Beneath the blood stained sand



Do you like Raiden from Metal Gear Rising?
#Hỏi cộng đồng OLM #Tiếng anh lớp 12
1
E
embexinhgai
6 tháng 6

Raiden from Metal Gear Rising: Revengeance is a fascinating and complex character — and yes, he's definitely one of the most memorable in the Metal Gear universe.

He starts as a rather divisive figure in Metal Gear Solid 2, where players expected to control Snake but instead got Raiden. But his arc over the series — especially culminating in Revengeance — turns him into a deeply compelling anti-hero.

In Revengeance, Raiden fully embraces his cyborg identity, grappling with the consequences of violence, identity, and morality. That game, and especially the song lyrics you quoted from “It Has To Be This Way”, perfectly encapsulate the tragic duality in his journey — the fight between ideals and reality, peace and necessary conflict.

So, in short: Yes — Raiden is cool as hell. Brutal, philosophical, and stylish.
Would you say you like him too — or more the themes around him?

Đúng(0)
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
#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
6 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 39 to 48.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 scence. 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...
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 48.

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 scence. 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 talks 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 painting 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 _________.
#Hỏi cộng đồng OLM #Mẫu giáo
1
DH
Dương Hoàn Anh
6 tháng 3 2017

Đáp án là A

Thời trung cổ thì họa sĩ không cần biết về phối cảnh vì họ muốn cho thấy sự thật, giá trị vĩnh cửu của những câu chuyện tôn giáo của họ (đoạn 1). Đến thời kỳ Phục hưng Châu Âu, họa sĩ muốn thể hiện tầm quan trọng của cái tôi cá nhân và tài sản hay môi trường xunh quanh họ. Một phong cách trung cổ đơn thuần không thể cho thấy mức độ thật và họa sĩ cần một kỹ thuật mới. => Phối cảnh ra đời (đoạn 2) 

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LQ
Lê Quỳnh Anh
13 tháng 10 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 39 to 48.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 scence. 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...
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 48.

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 scence. 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 talks 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 painting 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 following artists' priorities in style shift away from perspective EXCEPT _________.
#Hỏi cộng đồng OLM #Mẫu giáo
1
DH
Dương Hoàn Anh
13 tháng 10 2018

Đáp án là D

Đoạn 4: “…there are a range of priorities that artists use in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single - point perspective. Cezanne always talks about space and volume… And Japanese artists until this century were always very strong designers of "flat" pictures.” = … có nhiều sự ưu tiên mà họa sĩ dành cho phong cách cá nhân. Crivelli muốn cho thấy chiều sâu trong bức tranh và ông sử dụng một phối cảnh một điểm đơn giản. Cezanne luôn luôn nói về không gian và cường độ… Và những họa sĩ Nhật Bản tới tận thế kỷ này luôn là những người thiết kế giỏi trong những bức tranh “phẳng” 

Đúng(0)
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
#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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LQ
Lê Quỳnh Anh
5 tháng 12 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.

 

According to the passage, which is the main concern for medieval artists?
#Hỏi cộng đồng OLM #Mẫu giáo
1
DH
Dương Hoàn Anh
5 tháng 12 2018

D

Thông tin ở câu gần cuối đoạn 1: “They wanted to show the truth, the eternal quality of their religious stories.” (Họ muốn biểu lộ sự thật, phẩm chất vĩnh hằng của những câu chuyện về tôn giáo họ) = themes of religious stories

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LQ
Lê Quỳnh Anh
21 tháng 1 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 39 to 48.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 scence. 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...
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 48.

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 scence. 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 talks 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 painting 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 the last two sentences in paragraph three is to _________.
#Hỏi cộng đồng OLM #Mẫu giáo
1
DH
Dương Hoàn Anh
21 tháng 1 2018

Đáp án là D

Tác giả đưa ra ví dụ để làm rõ hơn về những ngoại lệ về mặt quy tắc và luật lệ của phối cảnh

Đúng(0)
LQ
Lê Quỳnh Anh
19 tháng 10 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 “Grammar ” in line 14 is closest in meaning to
#Hỏi cộng đồng OLM #Mẫu giáo
1
DH
Dương Hoàn Anh
19 tháng 10 2019

C

“Grammar” = “rules and regulations”: cấu trúc, quy tắc

Đúng(0)
LQ
Lê Quỳnh Anh
14 tháng 7 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 ”Illusion” in line 27 is closest in meaning to
#Hỏi cộng đồng OLM #Mẫu giáo
1
DH
Dương Hoàn Anh
14 tháng 7 2017

A

”Illusion” = “deception”: ảo tưởng, lầm tưởng rằng, trò lừa dối khiến lầm tưởng

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LQ
Lê Quỳnh Anh
16 tháng 12 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 passage mainly discusses
#Hỏi cộng đồng OLM #Mẫu giáo
1
DH
Dương Hoàn Anh
16 tháng 12 2018

B

Bài văn chủ yếu đề cập đến how the technique of perspective influenced the modern art

Ở đoạn số 1, đề cập đến các nhà hoạ sĩ thời trung cổ không biết đến phối cảnh, và cũng không cần biết.

Ở đoạn 2, họ phát hiện ra cần một phương cách mới để phản ánh thực tế “Later they realized that they could have two-pointed perspective and still later multi-point perspective.”

Đoạn 3,4,5 là cụ thể hơn về phối cảnh, sử dụng phối cảnh trong hội hoạ, ảnh hưởng của phối cảnh đến hội hoạ

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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...
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.

 

It can be inferred from the passage that Renaissance artists
#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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