2013年4月托福考试辅导：toefl阅读模拟试题第三套（2）
Perceptions of the visible world were greatly altered by the invention of photography in the middle of the nineteenth century. In particular, and quite logically, the art of painting was forever changed, though not always in the ways one might have expected. The realistic and naturalistic painters of the mid- and late-nineteenth century were all intently aware of photography—as a thing to use, to learn from, and react to.
Unlike most major inventions, photography had been long and impatiently awaited. The images produced by the camera obscura, a boxlike device that used a pinhole or lens to throw an image onto a ground-glass screen or a piece of white paper, were already familiar—the device had been much employed by topographical artists like the Italian painter Canaletto in his detailed views of the city of Venice. What was lacking was a way of giving such images permanent form. This was finally achieved by Louis Daguerre (1787-1851), who perfected a way of fixing them on a silvered copper plate. His discovery, the "daguerreotype," was announced in 1839.
A second and very different process was patented by the British inventor William Henry Talbot (1800-1877) in 1841. Talbot's "calotype" was the first negative-to-positive process and the direct ancestor of the modern photograph. The calotype was revolutionary in its use of chemically treated paper in which areas hit by light became dark in tone, producing a negative image. This "negative," as Talbot called it, could then be used to print multiple positive images on another piece of treated paper.
The two processes produced very different results. The daguerreotype was a unique image that reproduced what was in front of the camera lens in minute, unselective detail and could not be duplicated. The calotype could be made in series, and was thus the equivalent of an etching or an engraving. Its general effect was soft edged and tonal.
One of the things that most impressed the original audience for photography was the idea of authenticity. Nature now seemed able to speak for itself, with a minimum of interference. The title Talbot chose for his book, The Pencil of Nature (the first part of which was published in 1844), reflected this feeling. Artists were fascinated by photography because it offered a way of examining the world in much greater detail. They were also afraid of it, because it seemed likely to make their own efforts unnecessary.
Photography did indeed make certain kinds of painting obsolete—the daguerreotype virtually did away with the portrait miniature. It also made the whole business of making and owning images democratic. Portraiture, once a luxury for the privileged few, was suddenly well within the reach of many more people.
In the long term, photography's impact on the visual arts was far from simple. Because the medium was so prolific, in the sense that it was possible to produce a multitude of images very cheaply, it was soon treated as the poor relation of fine art, rather than its destined successor. Even those artists who were most dependent on photography became reluctant to admit that they made use of it, in case this compromised their professional standing.
The rapid technical development of photography—the introduction of lighter and simpler equipment, and of new emulsions that coated photographic plates, film, and paper and enabled images to be made at much faster speeds—had some unanticipated consequences. Scientific experiments made by photographers such as Eadweard Muybridge (1830-1904) and Etienne-Jules Marey (1830-1904) demonstrated that the movements of both humans and animals differed widely from the way they had been traditionally represented in art. Artists, often reluctantly, were forced to accept the evidence provided by the camera. The new candid photography—unposed pictures that were made when the subjects were unaware that their pictures were being taken—confirmed these scientific results, and at the same time, thanks to the radical cropping (trimming) of images that the camera often imposed, suggested new compositional formats. The accidental effects obtained by candid photographers were soon being copied by artists such as the French painter Degas.
Paragraph 1: Perceptions of the visible world were greatly altered by the invention of photography in the middle of the nineteenth century. In particular, and quite logically, the art of painting was forever changed, though not always in the ways one might have expected. The realistic and naturalistic painters of the mid- and late-nineteenth century were all intently aware of photography—as a thing to use, to learn from, and react to.
1. What can be inferred from paragraphs 1 and 2 about the effect of photography on nineteenth-century painting?
A Photography did not significantly change the way people looked at reality.
B Most painters used the images of the camera obscura in preference to those of the
Daguerreotype.
C Painters who were concerned with realistic or naturalistic representation were
particularly influenced by photography.
D Artists used the long-awaited invention of photography in just the ways they had
expected to.
推断题
定位词：effect of photography on nineteenth-century painting
解析：The realistic and naturalistic painters of the mid- and late-nineteenth century were all intently aware of photography—as a thing to use, to learn from, and react to.画家都关注摄影。选3
Paragraph 4: The two processes produced very different results. The daguerreotype was a unique image that reproduced what was in front of the camera lens in minute, unselective detail and could not be duplicated. The calotype could be made in series, and was thus the equivalent of an etching or an engraving. Its general effect was soft edged and tonal.
2. The word "duplicated" in the passage is closest in meaning to
O copied
O replaced
O handled
O clarified
词汇题
解析：The daguerreotype was a unique image that reproduced what was in front of the camera lens in minute, unselective detail and could not be duplicated. Unique表示特殊的，独一无二的，reproduce表示再创造，所以这种技术是无法复制的，选1
3. The phrase "Its general effect" in the passage refers to
O the camera lens
O the calotype
O the etching
O the engraving
指代题
解析：The calotype could be made in series, and was thus the equivalent of an etching or an engraving. Its general effect was soft edged and tonal.指代一定前指，一般是前一句的主语，选2
原文来源： 2013年4月托福考试辅导：toefl阅读模拟试题第三套（2）
Paragraph 2: Unlike most major inventions, photography had been long and impatiently awaited. The images produced by the camera obscura, a boxlike device that used a pinhole or lens to throw an image onto a ground-glass screen or a piece of white paper, were already familiar—the device had been much employed by topographical artists like the Italian painter Canaletto in his detailed views of the city of Venice. What was lacking was a way of giving such images permanent form. This was finally achieved by Louis Daguerre (1787-1851), who perfected a way of fixing them on a silvered copper plate. His discovery, the "daguerreotype," was announced in 1839.
Paragraph 3: A second and very different process was patented by the British inventor William Henry Talbot (1800-1877) in 1841. Talbot's "calotype" was the first negative-to-positive process and the direct ancestor of the modern photograph. The calotype was revolutionary in its use of chemically treated paper in which areas hit by light became dark in tone, producing a negative image. This "negative," as Talbot called it, could then be used to print multiple positive images on another piece of treated paper.
4. According to paragraphs 2 and 3 which of the following did the daguerreotype and the calotype have in common?
O They were equally useful for artists.
O They could be reproduced.
O They produced a permanent image
O They were produced on treated paper.
细节题
定位词：daguerreotype and the calotype have in common
解 析：Paragraph 2: Unlike most major inventions, photography had been long and impatiently awaited. The images produced by the camera obscura, a boxlike device that used a pinhole or lens to throw an image onto a ground-glass screen or a piece of white paper, were already familiar—the device had been much employed by topographical artists like the Italian painter Canaletto in his detailed views of the city of Venice.What was lacking was a way of giving such images permanent form. This was finally achieved by Louis Daguerre (1787-1851), who perfected a way of fixing them on a silvered copper plate. His discovery, the "daguerreotype," was announced in 1839.
Paragraph 3: A second and very different process was patented by the British inventor William Henry Talbot (1800-1877) in 1841. Talbot's "calotype" was the first negative-to-positive process and the direct ancestor of the modern photograph. The calotype was revolutionary in its use of chemically treated paper in which areas hit by light became dark in tone, producing a negative image. This "negative," as Talbot called it, could then be used to print multiple positive images on another piece of treated paper.
分析选项：
O They were equally useful for artists.没有提到同样有用
O They could be reproduced.没有提到
O They produced a permanent image
O They were produced on treated paper.只有calotype用treated paper
其实通过排除可以得出答案，此题答案比较隐晦，第二段说到技术的缺陷是不能永恒保留图片，所以有了新的发明daguerreotype,之后又出现了calotype，说明这两种方法都是湿的图片永久保存的新的方法，选3
Paragraph 5: One of the things that most impressed the original audience for photography was the idea of authenticity. Nature now seemed able to speak for itself, with a minimum of interference. The title Talbot chose for his book, The Pencil of Nature (the first part of which was published in 1844), reflected this feeling. Artists were fascinated by photography because it offered a way of examining the world in much greater detail. They were also afraid of it, because it seemed likely to make their own efforts unnecessary.
5. The word "authenticity" in the passage is closest in meaning to
O improvement
O practicality
O genuineness
O repetition
词汇题
解析：One of the things that most impressed the original audience for photography was the idea of authenticity.Nature now seemed able to speak for itself, with a minimum of interference.后面具体解释authenticity 的概念，可以自然的表露，使得干扰最小化，也就是保留真实性，选3
Paragraph 6: Photography did indeed make certain kinds of painting obsolete—the daguerreotype virtually did away with the portrait miniature. It also made the whole business of making and owning images democratic. Portraiture, once a luxury for the privileged few, was suddenly well within the reach of many more people.
6. What point does the author make in paragraph 6?
O Paintings became less expensive because of competition with photography.
O Photography, unlike painting, was a type of portraiture that even ordinary pe pie could afford.
O Every style of painting was influenced by the invention of photography.
O The daguerreotype was more popular than the calotype.
细节题
解析：It also made the whole business of making and owning images democratic. Portraiture, once a luxury for the privileged few, was suddenly well within the reach of many more people.也就是说以前绘画被认为是一种奢侈的东西，只有富人可以享有的东西，现在由于摄影的发展，使得平民化，普通人都可以支付的起，选2
Paragraph 7: In the long term, photography's impact on the visual arts was far from simple. Because the medium was so prolific, in the sense that it was possible to produce a multitude of images very cheaply, it was soon treated as the poor relation of fine art, rather than its destined successor. Even those artists who were most dependent on photography became reluctant to admit that they made use of it, in case this compromised their professional standing.
7. The word "reluctant" in the passage is closest in meaning to
O unable
O embarrassed
O unlikely
O unwilling
词汇题
解析：Even those artists who were most dependent on photography became reluctant to admit that they made use of it, in case this compromised their professional standing.甚至那些依赖摄影的艺术家都____承认他们使用摄影技术，一方动摇他们的专业地位；根据后面的解释我们可以知道，填一个否定词，不愿意，选4
8. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.
O Photography did not replace other fine arts because people felt the image looked cheap in relation to the other arts.
O Photography was not considered a true art because people could use it to create many images cheaply.
O Photography was so cheap and readily available that it could be purchased by people who were too poor to purchase fine art.
O Photography not only spread quickly but also was a cheap art form and so became trie successor of fine arts rather than its poor relation.
句子简化
解析：Because the medium was so prolific, in the sense that it was possible to produce a multitude of images very cheaply, it was soon treated as the poor relation of fine art, rather than its destined successor.因果关系，因为截止丰富，某种意义上说，使得大量廉价生产图片成为可能，这很快被认为是艺术劣质品而不是取而代之。
O Photography did not replace other fine arts because people felt the image looked cheap in relation to the other arts.因果关系不对，不是因为人们感觉廉价，而是大量生产使得廉价
O Photography was not considered a true art because people could use it to create many images cheaply. 关系正确，内容符合
O Photography was so cheap and readily available that it could be purchased by people who were too poor to purchase fine art.没有说到too poor，也不是句子的重点，重点是它被认为是艺术劣质品
O Photography not only spread quickly but also was a cheap art form and so became true successor of fine arts rather than its poor relation.比较反了，不是true successor
Paragraph 8: The rapid technical development of photography—the introduction of lighter and simpler equipment, and of new emulsions that coated photographic plates, film, and paper and enabled images to be made at much faster speeds—had some unanticipated consequences. Scientific experiments made by photographers such as Eadweard Muybridge (1830-1904) and Etienne-Jules Marey (1830-1904) demonstrated that the movements of both humans and animals differed widely from the way they had been traditionally represented in art. Artists, often reluctantly, were forced to accept the evidence provided by the camera. The new candid photography—unposed pictures that were made when the subjects were unaware that their pictures were being taken—confirmed these scientific results, and at the same time, thanks to the radical cropping (trimming) of images that the camera often imposed, suggested new compositional formats. The accidental effects obtained by candid photographers were soon being copied by artists such as the French painter Degas.
9. The word "accidental" in the passage is closest in meaning to
O surprising
O unintentional
O realistic
O unusual
词汇题
解析：The accidental effects obtained by candid photographers were soon being copied by artists such as the French painter Degas.词根词缀法，accident表示意外，-al表示形容词，所以是“意外的，不是有意的”选2
10. The word "unanticipated" in the passage is closest in meaning to
O indirect
O not expected
O unquestionable
O beneficial
词汇题
解 析：he rapid technical development of photography—the introduction of lighter and simpler equipment, and of new emulsions that coated photographic plates, film, and paper and enabled images to be made at much faster speeds—had some unanticipated consequences.词根词缀法，anticipate=expect，-ed表被动形容词，un表示否定，也就是“not expected”选2
原文来源： 2013年4月托福考试辅导：toefl阅读模拟试题第三套（2）
11. Which of the following is mentioned in paragraph 8 as a benefit that artists derived from photography?
O It inspired artists to use technological themes in their painting.
O It lent prestige to those artists who used photographs as models for paintings
O It provided artists with new types of equipment to speed up the painting process.
O It motivated artists to think about new ways to compose images in their paintings.
细节题
定位词：a benefit that artists derived from photography
解析：The new candid photography—unposed pictures that were made when the subjects were unaware that their pictures were being taken—confirmed these scientific results, and at the same time, thanks to the radical cropping (trimming) of images that the camera often imposed, suggested new compositional formats.这种技术让人们相处新的方式来绘画，选4
12. It can be inferred from paragraph 8 that one effect that photography had on painting was that it
O provided painters with new insights into how humans and animals actually move
O showed that representing movement could be as interesting as portrait art
O increased the appeal of painted portraiture among the wealthy
O influenced artists to improve techniques for painting faster
推断题
定位词：one effect that photography had on painting
解 析：Scientific experiments made by photographers such as Eadweard Muybridge (1830-1904) and Etienne-Jules Marey (1830-1904) demonstrated that the movements of both humans and animals differed widely from the way they had been traditionally represented in art.让人们发现人和动物的运动和之前描述的不一样，选4
Unlike most major inventions, photography had been long and impatiently awaited. The images produced by the camera obscura, a boxlike device that used a pinhole or lens to throw an image onto a ground-glass screen or a piece of white paper, were already familiar—the device had been much employed by topographical artists like the Italian painter Canaletto in his detailed views of the city of Venice. What was lacking was a way of giving such images permanent form. This was finally achieved by Louis Daguerre (1787-1851), who perfected a way of fixing them on a silvered copper plate. His discovery, the "daguerreotype," was announced in 1839.■
A second and very different process was patented by the British inventor William Henry Talbot (1800-1877) in 1841.■ Talbot's "calotype" was the first negative-to-positive process and the direct ancestor of the modern photograph. The calotype was revolutionary in its use of chemically treated paper in which areas hit by light became dark in tone, producing a negative image.■ This "negative," as Talbot called it, could then be used to print multiple positive images on another piece of treated paper.■
13. Look at the four squares HI that indicate where the following sentence could be added to the passage
Although his process produced permanent images, each was unique and no reproduction of the picture was possible.
Where would the sentence best fit?
Click on a square [■] to add the sentence to the passage.
插入题
解析：Although his process produced permanent images, each was unique and no reproduction of the picture was possible.
找到permanent image 和his 的所指
Unlike most major inventions, photography had been long and impatiently awaited. The images produced by the camera obscura, a boxlike device that used a pinhole or lens to throw an image onto a ground-glass screen or a piece of white paper, were already familiar—the device had been much employed by topographical artists like the Italian painter Canaletto in his detailed views of the city of Venice. What was lacking was a way of giving such images permanent form. This was finally achieved by Louis Daguerre (1787-1851), who perfected a way of fixing them on a silvered copper plate. His discovery, the "daguerreotype," was announced in 1839.■
第一个选项之前出现permanent image，以及L发明的方法来永久保存图片，后面应该放插入句，让步，选1
14. Directions: An introductory sentence for a brief summary of the passage is provided below Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.
Drag your answer choices to tne spaces where they belong. To remove an answer choice, click on it To review the passage, click VIEW TEXT.
The invention of photography had a significant impact on the art of painting in the nineteenth century.
O
O
O
Answer Choices
O For a brief time, artists preferred not to paint natural or realistic images that would have to compete with photographs.
O Before photography, Canaletto had used the camera obscura to project scenes onto a paper or glass plate.
O The photographic processes of Louis Daguerre and William Henry Talbot both made permanent images, but only Talbot's process allowed making multiple copies.
O The work of Eadweard Muybridge and Etienne-Jules Marey established photography both as a science and as an art.
O Photography made accurate images widely and inexpensively available, but this popular success also had the effect of lowering its perceived value in relation to the fine arts.
O Photography eliminated the painted portrait miniature, led artists to accurately represent movement, and affected pictorial composition, but did not replace traditional visual arts.
总结题
解析：分析黑体字：The invention of photography had a significant impact on the art of painting in the nineteenth century.强调摄影术对绘画的影响
O For a brief time, artists preferred not to paint natural or realistic images that would have to compete with photographs.跟主题无关
O Before photography, Canaletto had used the camera obscura to project scenes onto a paper or glass plate. 第二段观点
O The photographic processes of Louis Daguerre and William Henry Talbot both made permanent images, but only Talbot's process allowed making multiple copies. 细节排除
O The work of Eadweard Muybridge and Etienne-Jules Marey established photography both as a science and as an art.细节排除
O Photography made accurate images widely and inexpensively available, but this popular success also had the effect of lowering its perceived value in relation to the fine arts.主题句
O Photography eliminated the painted portrait miniature, led artists to accurately represent movement, and affected pictorial composition, but did not replace traditional visual arts.主题句
参考答案：
1-5.：CABCC 6-10：BDBBB 11-13：DAA
14. Before photography ...
The photographic ...
Photography eliminated ...
参考译文：
摄影术的诞生
十 九世纪中叶，摄影术的发明极大的改变了人们对可视世界的认知。尤其是它自然而然地使绘画艺术发生了永久性的改变，虽然并不总是以我们预期的方式。十九世纪 中后期的现实主义和自然主义画家都高度关注摄影术，他们认为摄影术是一门可以为他们所用，从中有所借鉴，而且不能被忽视的技术。
与其它重要 的发明有所不同的是，人们长期以来一直迫切地期待着摄影术的发明。其实当时针孔照相机已经为大家所熟识，它是一种使用小孔或透镜将影像投射到毛玻璃屏或一 张白纸上的盒状设备，这种设备已经为很多地貌风景画家所用，正如意大利画家卡纳莱托创作的威尼斯城的精致风景画一样。真正缺少的是将这些景象永久保存下来 的方式。路易斯•达盖尔（1787-1851）最终做到了这点，他完善了将影像固定到镀银铜板上的方法。是他发明了“达盖尔照相法”，并于1839年将这 项发明公诸于世。
英国发明家威廉姆•亨利•塔尔波特（1800-1877）于1841年取得了另一种截然不同的照相法的专利。塔尔波特的 “卡罗式摄影法”是第一种用负片洗印正片的方法，这种方法是现代照片的直接鼻祖。卡罗式摄影法革命性地使用了化学处理的纸片，纸片上受到光照射的区域的色 调会变暗于是产生了负像。这种被塔尔波特称之为“负片”的东西随后会被用于在另一张化学处理的纸片上洗印多张正像。
这两种方法产生了极为不同的结果。达盖尔照相法是复制照相机镜头前端微小的、非选择性的细节得到唯一一张影像，不可以加印。而卡罗式摄影法可以洗出多张照片，因此相当于蚀刻术或雕刻术，其整体的效果是边缘和色调模糊。
摄 影术给最初接触它的观众留下的最深刻的印象之一是真实性。自从有了摄影术，大自然就可以向人们传达自己，至少可以表达所受的干扰。塔尔波特为他的书所选的 书名《自然的画笔》（该书的第一部分发表于1844年）就表达了这种感触。艺术家沉醉于摄影，因为摄影为他们提供了一种可能更加地细致审视这个世界的方 法。他们也很害怕摄影，因为摄影仿佛让他们的努力变得毫无意义。
摄影术的确使某些形式的绘画被淘汰，达盖尔照相法几乎取代了袖珍肖像。它还使拍照和拥有属于自己的相片变得平民化。肖像这个一度只是少数的贵族的奢侈品，突然就变成了很多人触手可及的事物。
从 长远角度看来，摄影术对视觉艺术的影响要复杂得多。因为介质很丰富，从这种意义上来说就有可能很廉价地获得一堆影像，因此摄影术很快就被当成是艺术品廉价 的替代物，而不是取而代之。即使是那些对摄影术最为依赖的艺术家也不愿意承认他们使用过摄影术，害怕这会影响到他们的专业地位。
摄影术技术 上的迅速发展，包括使用更轻便简单的仪器，在照相底片、胶卷和相纸上涂以新型感光乳剂，加快成像速度，产生了一些意外之外的结果。摄影师，例如爱德华德• 麦布里奇（1830-1904）及艾蒂安-朱尔•马雷（1830-1904）进行的科学实验证明人类和动物的运动与我们通常在艺术品中表现的有巨大差异。 艺术家往往是勉强地被强迫接受相机所提供的证据。新出现的堪的派摄影是在拍摄对象不知情时抓拍出的照片，而不是摆拍，这种摄影验证了科学家们得出的结果， 与此同时，还要感谢相机对影像进行的彻底裁剪（修剪）提供了新的创作版式。 艺术家们比如法国画家德加迅速采纳了堪的派摄影师们获得的意外效果。