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 43 to 50.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

How does direct carving differ from the nineteenth-century tradition of sculpture?

A. Sculptors are personally involved in the carving of a piece

B. Sculptors find their inspiration in neoclassical sources

C. Sculptors have replaced the mallet and chisel with other tools

D. Sculptors receive more formal training

Ex 5: Read the passage and fill in each gap with one word below

Pablo Picasso ( 1881- 1973 )

No other artist is more associated with the term Modern Art than Pablo Picasso. He created ........(1)......... of paintings, prints, sculptures and ceremics during a time span .........(2)........... about 75 years. Picasso is considered one .......(3).......... art geniuses of the twentieth century.

Picasso was born .....(4).... October 25, 1881 ......(5)...... Malaga, Spain, as the son of an art and drawing teacher. He was a brilliant student. He .......(6)........ the entrance examination for the Barcelona school of Fine Arts .....(7)...... the age of 14 in just one day and was allowed ......(8)........ the first two classes. According to one of many legends about the .....(9)....... life, his father, recognizing the extraordinary talent of his son, .........(10)........ him his brushes and palette and vowed to paint never again

1. a. thousand

b. a thousand

c. thousands

2. a. in

b. of

c. with

3. a. the greatest

b. great

c. greatest

4. a. on

b. in

c. at

5. a. at

b. in

c. by

6. a. failed

b. passed

c. missed

7. a. in

b. with

c. at

8. a. to skip

b. skip

c. skipping

9. a. artist

b. artists

c. artist's

10. a. giving

b. give

c. gave

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 43 to 50.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The piece titled The Priestess has all of the following characteristics EXCEPT

A. The design is stylized

B. It is made of marble

C. The carving is not deep

D. It depicts the front of a person

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 43 to 50.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The phrase “a break with” in line 30 is closest in meaning to

A. a destruction of

B. a departure from

C. a collapse of

D. a solution to

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 43 to 50.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The word “dictates” in line 8 is closest in meaning to

A. reads aloud

B. determines

C. includes

D. records

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 43 to 50.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The word “witnessed” in line 23 is closest in meaning to

A. influenced

B. studied

C. validated

D. observed

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 43 to 50.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

What is one of the fundamental principles of direct carving?

A. A sculptor must work with talented assistants

B. The subject of a sculpture should be derived from classical stories

C. The material is an important element in a sculpture

D. Designing a sculpture is a more creative activity than carving it

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 46 to 50.

Madonna

Ever since she burnt onto the pop scene in the early eighties, Madonna has remained one of the most well-known celebrities in the world. She has shown herself to be a talented singer, songwriter and actress. To have achieved this she undoubtedly has a strong belief in herself and abilities.

It is possible she gained her strong personality through her touch childhood experiences. She went to a strict catholic school, was one of many children, and her family was split up after her mother died from cancer. Eventually, in search of fame, she left college and went to New York with only her suitcase and a few dollars.

Hugely successful, often through controversy, Madonna has always known what the public and media want. She has gone from shocking clothes and pop songs to setting trends and family life. She caused disagreement by playing feminist roles in films and featuring in pop videos with imagines of Jesus Christ.

Throughout all her years and different styles and phrases, she has always been able to give the general public entertainment. Madonna has become one of the biggest stars on the planet, and has sold over 100 million records worldwide, making her one of the highest-earning entertainers of her generation.

Even now as she approaches fifty and is a mother, Madonna is likely to contribute to entertain us for many more years, but what nobody can be sure of is exactly what she will do next!

What is the writer’s main purpose in writing this text?

A. To discuss Madonna’s acting career, and encourage other pop stars to go into acting.

B. To show how well Madonna has achieved successes throughout the years.

C. To remind people that money is not everything, and it comes and goes

D. To claim that fashion always changes, and no one can stay famous forever

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 43 to 50.

         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The word “medium” in line 5 could be used to refer to

A. stone or wood

B. mallet and chisel

C. technique

D. principle