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托福阅读TPO22(试题+答案+译文)第2篇:The Birth of Photography
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【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 m
id- and late-nineteenth century were all intently aware of photography—as a thing to u, to learn from, and react to.
【2】Unlike most major inventions, photography had been long and impatiently awaited. The images produced by the camera obscura, a boxlike device that ud 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.
【3】A cond 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 u 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 ud to print multiple positive images on another piece of treated paper.
【4】The two process produced very different results. The daguerreotype was a unique image that reproduced what was in front of the camera lens in minute, unlective detail and could not be duplicated. The calotype could be made in ries, and was thus the equivalent of an etching or an engraving. Its general effect was soft edged and tonal. 【5】One of the things that most impresd the original audience for photography was the idea of authenticity. Nature now emed able to speak for itlf, with a minimum of interference. The title Talbot cho for his book, The Pencil of Nature (the first part of which was published in 1844), reflected this feeling. Artists were fascinated by photography becau it offered a way of examining the world in much greater detail. They were also afraid of it, becau it emed likely to make their own efforts unnecessary.
【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.
【7】In the long term, photography's impact on the visual arts was far from simple. Becau the medium was so prolific, in the n that it was possible to produce a multitude of images very chea
ply, it was soon treated as the poor relation of fine art, rather than its destined successor. Even tho artists who were most dependent on photography became reluctant to admit that they made u of it, in ca this compromid their professional standing.到目前为止英文
摸乳门【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 conquences. 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 reprented in art. Artists, often reluctantly, were forced to accept the evidence provided by the camera. The new candid photography—unpod pictures that were made when the subjects were unaware that their pictures were being taken—confirmed the scientific results, and at the same time, thanks to the radical
cropping (trimming) of images that the camera often impod, suggested new compositional formats. The accidental effects obtained by candid photographers were soon being copied by artists such as the French painter Degas.悲凉的意思
英语祈使句托福阅读试题
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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 ud the images of the camera obscura in preference to tho of the daguerreotype.
C.Painters who were concerned with realistic or naturalistic reprentation were particularly influenced by photography.
地丁的功效与作用
D.Artists ud the long-awaited invention of photography in just the ways they had expected to.
2.According to paragraphs 2 and 3 which of the following did the daguerreotype and the calotype have in common?
A.They were equally uful for artists.
B.They could be reproduced.
没有耐心怎么办
C.They produced a permanent image
