I. Multiple choice:

1. What food do you often ______ in a restaurant?

A. to order      B. orders     C. order     D. ordering

2. Harry’s favorite ______ is cheesecake.

A. seafood      B. vegetable C. dessert D. meal

3. A ______ is a list of the food and drink you can order.

A. waiter      B. menu        C. customer D. chef

4. A ______works in a restaurant.

A. teacher     B. customer  C. waiter     D. student

5. “Excuse me. Can I have the check, please?” – “______”.

A. Yes, here you are. B. Yes, you can. C. Yes, please. D. Yes, you would.

6. Waiter: “What would you like to ______?” Customer: “I’d like some orange juice, please”.

A. do             B. have           C. eat           D. drink

7. “Would you like some coffee?” – “______”.

A. You’re welcome     B. That’s right   C. I don’t know      D. Yes, please

8. I’d like ______ water.

 A. some            B. a         C. an      D. any

9. Harry would like ______ brownie.

A. a B. an C. some D. any

10. There isn’t ______ milk in the bottle.

A. some B. any C. a D. an

11. Do you have ______ fries left in the kitchen?

A. a B. some C. an D. any

12. Mary likes ______ omelet for her lunch.

A. a B. an C. some D. any

13. Would you like ______ drink?

A. some B. a C. an D. any

14. “What would you like for dessert?” – “I’d like ______ ice-cream.”

A. a B. an C. any D. the

15. Does your father want ______ tea? – Yes, he does.

A. some B. a C. any D. an

II. Rearrange the groups of words in a correct order to make complete sentences.

 1. some cheese sandwich / would like / Tom / to order / . /

2. don’t / We / spaghetti / have any / left / . /

3. you / to drink / would / What / like /? /

4. some ice cream / would like / Jane / and a cupcake / . /

5. brownie / favorite dessert / My mom’s / is / . /

Khó quá ơi! Có ai không, giải cho anh giới giải trước 11h ngày hôm nay!

T or F ( Trả lời đúng , nhận được 19 SP )

The soothing process of paintings is often interestingto young children .the pleasant feeling of painting over and over possibly using two brushes or their fingers is important . We need to encourage the experience where it interests the child , not the adult . As children develop , they become more focused on creating representations and expressing ideas .

Young children need large pieces of paper as well as a variety of brush sizes to experiment with . Colour mixing provides endless discoveries.

Painting are as should support the child 's physical abilities .Easels should be at correct height .Move chairs from tables to allow children to stand and paint if they wish .Very young children can be held in a lap or sit on the floor with an adult . The idea is to make the child feel most comfortable when painting .

1. Children love painting because it is soothing . T F

2. Children can only paint with brushes . T F

3. Adults should be encouraged to love painting as well . T F

4. Children love discovering the colours . T F

5. Very young children should be with adults when learning to paint . T F

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 44 to 55.

         Panel painting, common in thirteenth- and fourteenth-century Europe, involved a painstaking, laborious process. Wooden planks were joined, covered with gesso to prepare the surface for painting, and then polished smooth with special tools. On this perfect surface, the artist would sketch a composition with chalk, refine it with inks, and then begin the deliberate process of applying thin layers of egg tempera paint (egg yolk in which pigments are suspended) with small brushes. The successive layering of these meticulously applied paints produced the final translucent colors.

         Backgrounds of gold were made by carefully applying sheets of gold leaf, and then embellishing of decorating the gold leaf by punching it with a metal rod on which a pattern had been embossed. Every step in the process was slow and deliberate. The quick-drying tempera demanded that the artist know exactly where each stroke be placed before the brush met the panel, and it required the use of fine brushes. It was, therefore, an ideal technique for emphasizing the hard linear edges and pure, fine areas of color that were so much a part of the overall aesthetic of the time. The notion that an artist could or would dash off an idea in a fit of spontaneous inspiration was completely alien to these deliberately produced works.

         Furthermore, making these paintings was so time-consuming that it demanded assistance. All such work was done by collective enterprise in the workshops. The painter or master who is credited with having created the painting may have designed the work and overseen its production, but it is highly unlikely that the artist’s hand applied every stroke of the brush. More likely, numerous assistants, who had been trained to imitate the artist’s style, applied the paint. The carpenter’s shop probably provided the frame and perhaps supplied the panel, and yet another shop supplied the gold. Thus, not only many hands, but also many shops were involved in the final product.

         In spite of problems with their condition, restoration, and preservation, many panel paintings have survived, and today many of them are housed in museum collections. 

What characteristic of tempera paint is mentioned in the passage?

A. It has to be applied directly to wood

B. It is difficult to make

C. It dries quickly

D. It dissolves easily

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.

The Art World

One of the major problems in the art world is how to distinguish and promote an artist. In effect, a market must be created for an artist to be successful. The practice of signing and numbering individual prints was introduced by James Abbott McNeill Whistler, the nineteenth-century artist best known for the painting of his mother, called "Arrangement in Grey and Black", but known to most of US as "Whistler's Mother". Whistler's brother-in-law, Sir Francis Seymour Haden, a less well-known artist, had speculated that collectors might find prints more attractive if they knew that there were only a limited number of copies produced. By signing the work in pencil, an artist could guarantee and personalize each print.

As soon as Whistler and Haden began the practice of signing and numbering their prints, thefr work began to increase in value. When other artists noticed that the signed prints commanded higher prices, they began copying the procedure.

Although most prints are signed on the right-hand side in the margin below the image, the placement of the signature is a matter of personal choice. Indeed, prints have been signed within image, in any of the margins, or even on the reverse side of the 'print. Wherever the artist elects to sign it, a signed print is still valued above an unsigned one, even in the same edition.

What was true about the painting of Whistler's mother?

A. It was painted by Sir Francis Haden

B. Its title was "Arrangement in Grey and Black"

C. It was not one of Whistler's best paintings

D. It was a completely new method of painting

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.

The Art World

          One of the major problems in the art world is how to distinguish and promote an artist. In effect, a market must be created for an artist to be successful. The practice of signing and numbering individual prints was introduced by James Abbott McNeill Whistler, the nineteenth-century artist best known for the painting of his mother, called “Arrangement in Grey and Black”, but known to most of us as “Whistler’s Mother”. Whistler’s brother-in-law, Sir Francis Seymour Haden, a less well-known artist, had speculated that collectors might find prints more attractive if they knew that there were only a limited number of copies produced. By signing the work in pencil, an artist could guarantee and personalize each print.

          As soon as Whistler and Haden began the practice of signing and numbering their prints, their work began to increase in value. When other artists noticed that the signed prints commanded higher prices, they began copying the procedure.

    Although most prints are signed on the right-hand side in the margin below the image, the placement of the signature is a matter of personal choice. Indeed, prints have been signed within image, in any of the margins, or even on the reverse side of the’print. Wherever the artist elects to sign it, a signed print is still valued above an unsigned one, even in the same edition.

What was true about the painting of Whistler’s mother?

A. It was painted by Sir Francis Haden

B. Its title was “Arrangement in Grey and Black”.

C. It was not one of Whistler’s best paintings

D. It was a completely new method of painting

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.

Panel painting, common in thirteenth- and fourteenth-century Europe, involved a painstaking, laborious process. Wooden planks were joined, covered with gesso to prepare the surface for painting, and then polished smooth with special tools. On this perfect surface, the artist would sketch a composition with chalk, refine it with inks, and then begin the deliberate process of applying thin layers of egg tempera paint (egg yolk in which pigments are suspended) with small brushes. The successive layering of these meticulously applied paints produced the final translucent colors.

Backgrounds or gold were made by carefully applying sheets of gold leaf, and then embellishing of decorating the gold leaf by punching it with a metal rod on which a pattern had been embossed . Every step in the process was slow and deliberate. The quick-drying tempera demanded that the artist know exactly where each stroke be placed before the brush met the panel, and it required the use of fine brushes. It was, therefore, an ideal technique for emphasizing the hard linear edges and pure, fine areas of color that were so much a part of the overall aesthetic of the time. The notion that an artist could or would dash off an idea in a fit of spontaneous inspiration was completely alien to these deliberately produced works.

Furthermore, making these paintings was so time-consuming that it demanded assistance. All such work was done by collective enterprise in the workshops. The painter or master who is credited with

having created the painting may have designed the work and overseen its production, but it is highly unlikely that the artist’s hand applied every stroke of the brush. More likely, numerous assistants, who had been trained to imitate the artist’s style, applied the paint. The carpenter’s shop probably provided the frame and perhaps supplied the panel, and yet another shop supplied the gold. Thus, not only many hands, but also many shops were involved in the final product.

      In spite of problems with their condition, restoration, and preservation, many  panel paintings have survived, and today many of them are housed in museum collections.

What characteristic of tempera paint is mentioned in the passage?

A. It has to be applied directly to wood

B. It is difficult to make.

C. It dries quickly. 

D. It dissolves easily.

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.

The Art World

One of the major problems in the art world is how to distinguish and promote an artist. In effect, a market must be created for an artist to be successful. The practice of signing and numbering individual prints was introduced by James Abbott McNeill Whistler, the nineteenth-century artist best known for the painting of his mother, called "Arrangement in Grey and Black", but known to most of US as "Whistler's Mother". Whistler's brother-in-law, Sir Francis Seymour Haden, a less well-known artist, had speculated that collectors might find prints more attractive if they knew that there were only a limited number of copies produced. By signing the work in pencil, an artist could guarantee and personalize each print.

As soon as Whistler and Haden began the practice of signing and numbering their prints, thefr work began to increase in value. When other artists noticed that the signed prints commanded higher prices, they began copying the procedure.

Although most prints are signed on the right-hand side in the margin below the image, the placement of the signature is a matter of personal choice. Indeed, prints have been signed within image, in any of the margins, or even on the reverse side of the 'print. Wherever the artist elects to sign it, a signed print is still valued above an unsigned one, even in the same edition.

It can be inferred from the passage that artists number their prints_____.

A. as an accounting procedure

B. to guarantee a limited edition

C. when the buyer requests it

D. at the same place on each of the prints

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.

The Art World

          One of the major problems in the art world is how to distinguish and promote an artist. In effect, a market must be created for an artist to be successful. The practice of signing and numbering individual prints was introduced by James Abbott McNeill Whistler, the nineteenth-century artist best known for the painting of his mother, called “Arrangement in Grey and Black”, but known to most of us as “Whistler’s Mother”. Whistler’s brother-in-law, Sir Francis Seymour Haden, a less well-known artist, had speculated that collectors might find prints more attractive if they knew that there were only a limited number of copies produced. By signing the work in pencil, an artist could guarantee and personalize each print.

          As soon as Whistler and Haden began the practice of signing and numbering their prints, their work began to increase in value. When other artists noticed that the signed prints commanded higher prices, they began copying the procedure.

    Although most prints are signed on the right-hand side in the margin below the image, the placement of the signature is a matter of personal choice. Indeed, prints have been signed within image, in any of the margins, or even on the reverse side of the’print. Wherever the artist elects to sign it, a signed print is still valued above an unsigned one, even in the same edition.

It can be inferred from the passage that artists number their prints _____.

A. as an accounting procedure

B. to guarantee a limited 

C. when the buyer requests it

D. at the same place on earth of the prints