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托福阅读真题1
PASSAGE 4
The term Hudson River school was applied to the foremost representativesofnineteenth-century North American landscape painting. Apparently unknownduring the goldendays of the American landscape movement, which began around1850 and lasted until the late1860's, the Hudson River school seems to haveemerged in the 1870's as a direct result of thestruggle between the old and thenew generations of artists, each to assert its own style as therepresentativeAmerican art. The older painters, most of whom were born before 1835,practicedin a mode often self-taught and monopolized by landscape subject matterand were securelyestablished in and fostered by the reigning American artorganization, the National Academy ofDesign. The younger painters returning homefrom training in Europe worked more with figuralsubject matter and in a bold andimpressionistic technique; their prospects for patronage in theirown countrywere uncertain, and they sought to attract it by attaining academic recognitioninNew York. One of the results of the conflict between the two factions was thatwhat in previousyears had been referred to as the American, native, or,occasionally, New York school — the mostrepresentative school of American art inany genre — had by 1890 become firmly established inthe minds of critics andpublic alike as the Hudson River school.
The sobriquet was first applied around 1879. While it was not intended asflattering, it washardly inappropriate. The Academicians at whom it was aimedhad worked and socialized in NewYork, the Hudson's port city, and had paintedthe river and its shores with varying frequency.Most important, perhaps, wasthat they had all maintained with a certain fidelity a manner oftechnique andcomposition consistent with those of America's first popular landscapeartist,Thomas Cole, who built a career painting the Catskill Mountain scenerybordering the HudsonRiver. A possible implication in the term applied to thegroup of landscapists was that many ofthem had, like Cole, lived on or near thebanks of the Hudson. Further, the river had long servedas the principal route toother sketching grounds favored by the Academicians, particularly theAdirondacksand the mountains of Vermont and New Hampshire.
1. What does the passage mainly discuss?
(A) The National Academy of Design
(B) Paintings that featured the Hudson River
(C) North American landscape paintings
(D) The training of American artists in European academies
(A) Figural painting
(B) Landscape painting
(C) Impressionistic painting
(D) Historical painting
3. The word struggle in line 5 is closest in meaning to
(A) connection
(B) distance
(C) communication
(D) competition
4. The word monopolized in line 7 is closest in meaning to
(A) alarmed
(B) dominated
(C) repelled
(D) pursued
5. According to the passage , what was the function of the National Academyof Design for the
painters born before 1835?
(A) It mediated conflicts between artists.
(B) It supervised the incorporation of new artistic techniques.
(C) It determined which subjects were appropriate.
(D) It supported their growth and development.
6. The word it in line 12 refers to
(A) matter
(B) technique
(C) patronage
(D) country
7. The word factions in line 13 is closest in meaning to
(A) sides
(B) people
(C) cities
(D) images
8. The word flattering in line 18 is closest in meaning to
(A) expressive
(B) serious
(C) complimentary
(D) flashy
9. Where did the younger generation of painters receive its artistictraining?
【TOEFL写作|托福阅读真题汇总】(A) In Europe
(B) In the Adirondacks
(C) In Vermont
(D) In New Hampshire
PASSAGE 4 BBDBD CACA
托福阅读真题2
PASSAGE 5
Perhaps the most obvious way artistic creation reflects how people live isby mirroring theenvironment — the materials and technologies available to aculture. Stone, wood, tree bark, clay,and sand are generally availablematerials. In addition, depending on the locality, other resourcesmay beaccessible: shells, horns, gold, copper, and silver. The different uses to whichsocieties putthese materials are of interest to anthropologists who may ask, forexample, why people chooseto use clay and not copper when both items areavailable. Although there are no conclusiveanswers yet, the way in which asociety views its environment is sometimes apparent in its choiceand use ofartistic materials. The use of certain metals, for example, may be reservedforceremonial objects of special importance. Or the belief in the supernaturalpowers of a stone ortree may cause a sculptor to be sensitive to thatmaterial.
What is particularly meaningful to anthropologist is the realization thatalthough thematerials available to a society may to some extent limit orinfluence what it can do artistically,the materials by no means determine whatis done. Why do the artists in Japanese society rakesand into patterns; and theartists in Roman society melt sand to form glass? Moreover, evenwhen the samematerial is used in the same way by members of different societies, the formorstyle of the work varies enormously from culture to culture. A society maysimply choose torepresent objects or phenomena that are important to itspopulation. An examination of the artof the Middle Ages tells us something aboutthe medieval preoccupation with theologicaldoctrine. In addition to revealingthe primary concerns of a society, the content of that society'sart may alsoreflect the culture's social stratification.

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标题：TOEFL写作|托福阅读真题汇总