新托福阅读模拟题 文艺复兴

　　两全其美网校城小编为大家推荐新托福阅读模拟题之文艺复兴，托福阅读文章涉及到自然科学、人文科学、互联网等很多类别，如果同学们平时能对这些种类的文章都有所涉猎，托福阅读考试中遇到相关的话题就会有非常熟悉的感觉。所以多做各种话题的模拟题或文章阅读对于托福阅读素材的积累都非常有帮助。

　　The medieval artists didn’t know about perspective; they didn’t want to make their people look like real， individual people in a real， individual scene. They wanted to show the truth， the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

　　In the European Renaissance period， artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

　　With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique， a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example， only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

　　For 500 years， artists in Europe made use of perspective drawing in their pictures. Nevertheless， there are a range of priorities that artists in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh， like some of the other painters of the Impressionist period， was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However， he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

　　It is technically easy to give an illusion of depth. However， a strong two dimensional design is just as important as a feeling of depth， and perhaps more important.

　　1 The passage mainly discusses

　　(a) the difference between medieval and Renaissance art

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

　　(c) the discovery of the technique of perspective

　　(d) the contribution of Renaissance artists

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

　　(a) timeless

　　(b) infinite

　　(c) frequent

　　(d) constant

　　3 According to the passage， which is the main concern for medieval artists?

　　(a) the individual person and his/her possessions and surroundings

　　(b) real people， real scenes

　　(c) eternal timeless truth of the earth

　　(d) themes of religious stories

　　4 The discovery of perspective was the result of

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

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

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

　　(d) natural evolution of human senses

　　5 The word “it” in line 12 refers to

　　(a) the picture

　　(b) perspective

　　(c) angle

　　(d) the object

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

　　(a) construction

　　(b) grammatical rules

　　(c) rules and regulations

　　(d) tones and volume

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

　　(a) explain how perspective work in painting

　　(b) support two-pointed perspective

　　(c) illustrate that there are exceptions about perspective

　　(d) point out that the technique of perspective though seems so natural is an invented technique

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

　　(a) Crivelli

　　(b) Cezanne

　　(c) Japanese artists

　　(d) Brunelleschi

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

　　(a) deception

　　(b) photograph

　　(c) decoration

　　(d) illustration

　　10 It can be inferred from the passage that Renaissance artists

　　(a) embraced the medieval style of eternal truth

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

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

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

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

　　希望上面这道新托福阅读模拟题能给大家带来一些帮助。更多托福阅读模拟练习题可登陆两全其美网校城教育托福考试频道下载，两全其美网校城教育祝大家学习愉快，托福考试取得好成绩!

 

新托福阅读模拟题 文艺复兴的延伸阅读——托福阅读一次通过秘诀

 

　　1 ，快速阅读：

　　平时进行大量的快速阅读。

　　可选的阅读材料有：时间，“新闻周刊”，经济学家，中国日报，21世纪等。

　　因为托福考试与时代紧密相连，具有一定的时效性，所以报刊文章为泛读的首选。阅读报刊文章应选择一般性的题材，如科普，社会问题，学术观点性的文章，而政治，军事，尖端科技的文章可以略过。采取的阅读方式为快速阅读。

　　2 ，难句突破：

　　在精读和做托福试题时，将复杂的难句摘抄出来，然后分析句子结构，彻底消化难点。虽然托福阅读中不可能有原句重现，但是难句的结构是基本不变的。

　　3 ，词汇强记：

　　词汇量不够，应进行词汇突击。托福考试的词汇量约为6000~8000词。词汇量小也是导致阅读理解速度慢的重要因素。

　　4 总结技巧：

注意分析阅读理解的套路，总结解题技巧。如果个人复习情况不佳，可以根据自己的实际情况选择合适的辅导班。