11。 What aspect of panel paintings does the passage mainly discuss?! C* z3 P. @, {6 \2 P A9 `
(A) Famous examples& n1 [( C* p- j* i3 V+ x
(B) Different styles4 N7 S" y% {/ |4 ]; Z( t
(C) Restoration2 K6 R: B8 Q- P
(D) Production
- _- R' P; k7 u 12。 According to the passage, what does the first step in making a panel painting ?
* b5 t3 Q* T$ a$ {- n' O: \/ i" ` (A) Mixing the paint7 G" ^& L, m* ?1 e% t" [$ E/ S k
(B) Preparing the panel
( Q7 T0 G. \8 Q% ^! j" ` (C) Buying the gold leaf8 o+ E$ C/ R( k# W0 D
(D) Making ink drawings
Z6 D j8 U/ {+ e9 E1 f" H2 Y 13。 The word “it“ in line 4 refers to 。
* ^4 _% X7 ]2 i (A) chalk! j4 J8 f; @* v5 i h- U6 Z5 h
(B) composition6 Y- m6 p. E3 f8 |9 n' X
(C) artist+ D3 c( U/ X/ V- p: q$ [
(D) surface) y' F4 @, a) R( E: e3 Q. X
14。 The word “deliberate“ in line 5 is closest in meaning to
3 C6 _" W, T, r7 t8 ?" S, i1 y% D (A) decisive4 [7 L3 u; n0 L# w9 B @2 b
(B) careful8 ~8 c$ a7 r0 c+ x
(C) natural
$ @7 G& a- X: n- O+ \ _& F (D) unusual
3 }6 ~, j; u; g& g& Z3 Q 15。 Which of the following processes produced the translucent colors found on panel paintings? (A) Joining wooden planks to form large sheets" [4 `2 b8 G% W
(B) Polishing the gesso* q: u1 o9 ^3 H& G2 n3 P, u
(C) Applying many layers of paint ~% ?6 z/ ?% K
(D) Covering the background with gold leaf# n( Y& I& B6 [$ e% u" o
16。 What characteristic of tempera paint is mentioned in the passage ?
) Z2 J- j+ Q" U$ q; J* B (A) It dries quickly
9 H, `! U0 j# U& O (B) It is difficut to make- z6 ~4 F @' G$ G! a2 c
(C) It dissolves easily
4 o" @$ c- E% d. A0 `6 z (D) It has to be applied directly to wood1 z9 P0 {7 g& M) F+ ]! f0 p
17。 The word “demanded“ in line 17 is closest in meaning to* f/ ?! i/ g- o+ ?9 T6 h9 K
(A) ordered
1 _9 `2 T8 A" J- L0 B (B) reported9 z) g8 R% f8 x3 b) d
(C) required
+ n4 m1 N6 C& `% i$ j+ C' g" s (D) questioned. d( p2 c# T) d% ]% l! I
18。 The “collective enterprise“ mentioned in line 18 includes all of the following EXCEPT2 k) i/ C% g7 N/ c h% i4 s4 W
(A) supplying the gold leaf
" r9 ?- ~$ \ P (B) building the panels
; v7 r) W& V. U- e5 x/ S6 O3 @$ ` (C) applying the paint
, F# e( D, j h9 u1 W* s: ? (D) selling the painting
8 e# }1 N: Y+ l; Q, s' r9 n 19。 The word “imitate“ in line 22 is closest in meaning to
* O; ~, p* \! h' Y (A) copy" q3 i8 F. v. G% N; g1 C
(B) illustrate8 e! p. m, w4 D; ^, B
(C) promote- G3 l. `/ F0 C# t7 ~
(D) believe in
0 J; l& r/ S0 R6 O4 p, t 20。 The author mentions all of the following as problems with the survival of panel painting EXCEPT
4 L/ x: m% ]+ p3 h$ a# \9 _- b (A) condition' e* v+ j# s; R K6 K3 D5 @
(B) theft
7 q# E7 a1 R( Z3 d (C) preservation
' I$ ^. [: h5 K4 i c (D) restoration' X+ o" j1 q& Y( Y2 C, r9 A T
21。 The word “them“ in line 27 refers to
; \9 i% k1 _5 T/ i }. n (A) problems
' G$ r3 e( b6 i: J7 Y (B) condition, restoration, preservation- u, {% m/ N" `: R; Z( k
(C) panel paintings4 n0 Y5 j) D9 _1 R b; k
(D) museum collections |