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.
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.
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.
1.What can be inferred from paragraphs 1 and 2 about the effect of photography on nineteenth-century painting?
O Photography did not significantly change the way people looked at reality.
O Most painters used the images of the camera obscura in preference to those of the daguerreotype.
O Painters who were concerned with realistic or naturalistic representation were particularly influenced by photography.
O Artists used the long-awaited invention of photography in just the ways they had expected to.
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.
2.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.
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.
3.The word "duplicated" in the passage is closest in meaning to
O copied
O replaced
O handled
O clarified
4.The phrase "Its general effect" in the passage refers to
O the camera lens
O the calotype
O the etching
O the engraving
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
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 people could afford.
O Every style of painting was influenced by the invention of photography.
O The daguerreotype was more popular than the calotype.
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
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 true successor of fine arts rather than its poor relation.
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.
O indirect
O not expected
O unquestionable
O beneficial
10.The word "accidental" in the passage is closest in meaning to
O surprising
O unintentional
O realistic
O unusual
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.
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
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.
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.
The invention of photography had a significant impact on the art of painting in the nineteenth century.
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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.
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14. The photographic ...
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Photography eliminated ...
十九世紀(jì)中葉，攝影術(shù)的發(fā)明極大地改變了人們對可視世界的認(rèn)知。尤其是它自然而然地使繪畫藝術(shù)發(fā)生了永久性的改變，雖然并不總是以我們預(yù)期的方式。十九世紀(jì)中期與后期的現(xiàn)實(shí)主義和自然主義畫家都高度關(guān)注攝影術(shù)，將其當(dāng)做一門可以使用、借鑒而且要適應(yīng)的技術(shù)。
與其他重要的發(fā)明不同，攝影術(shù)姍姍來遲。其實(shí)當(dāng)時(shí)針孔照相機(jī)已經(jīng)為大家所熟識(shí)，它是一種使用小孔或透鏡將影像投射到毛玻璃屏或一張白紙上的盒狀設(shè)備，這種設(shè)備已經(jīng)為很多地貌風(fēng)景畫家所用，像意大利畫家卡納萊托就用它詳細(xì)記錄了威尼斯城。真正缺少的是永久保存這些圖像的方法。路易斯•達(dá)蓋爾（1787-1851）最終做到了這點(diǎn)，他完善了將影像固定到鍍銀銅板上的方法。他發(fā)明的“達(dá)蓋爾照相法”在1839年公諸于世。
英國發(fā)明家威廉姆•亨利•塔爾博特（1800-1877）于1841年申請了另一種截然不同的照相法的專利。塔爾博特的“卡羅式攝影法”是第一種用負(fù)片洗印正片的方法，這種方法是現(xiàn)代照片的直接鼻祖。卡羅式攝影法革命性地使用了化學(xué)處理的紙片，紙片上受到光照射的區(qū)域的色調(diào)會(huì)變暗于是產(chǎn)生了負(fù)像。這種被塔爾博特稱之為“負(fù)片”的東西隨后會(huì)被用于在另一張化學(xué)處理的紙片上洗印多張正像。
這兩種方法產(chǎn)生了極為不同的結(jié)果。達(dá)蓋爾照相法是復(fù)制照相機(jī)鏡頭前端微小的、非選擇性的細(xì)節(jié)得到唯一一張影像，不可以加印。而卡羅式攝影法可以洗出多張照片，因此相當(dāng)于蝕刻術(shù)或雕刻術(shù)。其整體的效果是輪廓和色調(diào)模糊。
攝影術(shù)給最初接觸它的觀眾留下的最深刻的印象之一是想法的真實(shí)性�，F(xiàn)在大自然可以受到最小的干擾自己表達(dá)自己了。塔爾博特為他的書所選的書名《自然的畫筆》（該書的第一部分發(fā)表于1844年）就體現(xiàn)了這種感觸。藝術(shù)家沉醉于攝影，因?yàn)閿z影為他們提供了一種可以更加細(xì)致地審視這個(gè)世界的方法。他們也很害怕攝影，因?yàn)閿z影仿佛讓他們的努力變得沒有必要了。
攝影術(shù)的確使某些繪畫種類變得過時(shí)了，達(dá)蓋爾照相法幾乎把迷你肖像畫逼到絕路。它還使得整個(gè)制造業(yè)和擁有圖像的產(chǎn)業(yè)變得平民化。肖像這個(gè)一度只是少數(shù)權(quán)貴的奢侈品，突然就變得觸手可及了。
從長遠(yuǎn)角度看，攝影術(shù)對視覺藝術(shù)的影響遠(yuǎn)遠(yuǎn)不是那么簡單。因?yàn)槊浇楹芏�，從這種意義上來說就有可能很廉價(jià)地生產(chǎn)一堆影像，因此攝影術(shù)很快就被當(dāng)成是藝術(shù)品廉價(jià)的替代物，而不是注定的繼任者。即使是那些對攝影術(shù)最為依賴的藝術(shù)家也不愿意承認(rèn)他們使用過攝影術(shù)，害怕這會(huì)影響到他們的專業(yè)地位。
攝影技術(shù)上的迅速發(fā)展——包括使用更輕便簡單的儀器，在照相底片、膠卷和相紙上涂以新型感光乳劑以及加快成像速度——產(chǎn)生了一些意想不到的結(jié)果。攝影師，例如愛德華德•麥布里奇（1830-1904）及艾蒂安•朱爾•馬雷（1830-1904）進(jìn)行的科學(xué)實(shí)驗(yàn)證明人類和動(dòng)物的運(yùn)動(dòng)與我們通常在藝術(shù)品中表現(xiàn)的有巨大差異。藝術(shù)家往往是勉強(qiáng)地被強(qiáng)迫接受相機(jī)所提供的證據(jù)。新出現(xiàn)的堪的派攝影（即拍攝對象不知情時(shí)抓拍的照片）證實(shí)了這些科學(xué)成果，同時(shí)，由于相機(jī)對影像進(jìn)行的徹底裁剪（修剪），這些圖像暗示了新的創(chuàng)作版式�？暗呐蓴z影師們獲得的這種意外效果很快被一些藝術(shù)家比如法國畫家德加給學(xué)去了。
