托福TPO22题目解析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

　　��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

　　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