2018年3月10日托福阅读真题+题目+答案Murals, Frescoes, and Easel Paintings

2018年3月10日托福阅读真题+题目+答案Murals, Frescoes, and Easel Paintings

Murals are pictures on walls or ceilings that become a part of the building's architectural decoration. Archaeologists have excavated and saved mural paintings from Pompeii and Herculaneum, cities that were buried by an eruption of Mount Vesuvius in 79 C.E. Unfortunately, outdoor painting of any kind has little chance of surviving the effects of the environment for very long. Richard Haas's famous mural Homage to Cincinnatus, which was painted in 1983 and is displayed on the Brotherhood Building in Cincinnati in the United States. has faded considerably. Indoors, where walls can be kept dry, murals have traditionally done much better when they were painted in fresco. The Italian word fresco means "fresh." Michelangelo's Sistine Chapel ceiling, painted in the sixteenth century, is a perfect example of fresco painting. In true fresco, water-based paints are applied to fresh, wet plaster so that the pigment (color) soaks into the plaster. The paint actually becomes part of the wall. ▋The lime of the plaster, changing to calcium carbonate when it dries, binds the pigments permanently in the wall. ▋The colors are matte, not glossy.▋ They stay bright for hundreds of years, and as long as the wall lasts, the fresco lasts.▋

1.Paragraph 1 suggests that a mural is more likely to fade over time when it is

A.buried by a volcano

B.exposed to wet weather conditions

C.applied to fresh, wet plaster

D.painted with water-based paints

2.According to paragraph 1, which of the following is true of Richard Haas's mural Homage to Cincinnatus?

A.It was modeled after sixteenth-century Italian murals.

B.It was damaged during its transfer to a new location in 1983.

C.Its colors were once much brighter.

D.It was originally painted in fresco.

Paint applied to the wall when it is dry is not very permanent. Since some pigments will not combine properly in fresco, they have to be applied by the artist. The blue pigment that Giotto used in The Nativity, a fresco portraying the birth of Jesus Christ, would not mix with the lime in plaster, so he had to paint it on the dry plaster. As a consequence, the blue of the sky and the blue of Mary's robe have almost all flaked off. Since true fresco must be painted on wet plaster, an artist can work on only a small portion of the wall where the plaster was freshly applied beforehand. A normal area for a day's work might be about one or two square yards, although the size depends on the complexity of the painting. Some days a fresco painter might complete only a head. In Giotto's fresco The Nativity, the breaks between one day's work and the next are visible on close inspection.

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