Although portraiture later became the main source of Gainsborough’s fame and income, he was also one of the earliest British painters to produce important landscapes, admired for their freshness and fluency of ............. a) lightning b) handling c) foreshortening d) masterpiece

Read the following to answer Questions 6 to 9In spite of all the honours that were heaped upon him, Pasteur, as has been said, remained simple atheart. Perhaps, the imagery of his boyhood days, when he drew the familiar scenes of his birthplace,and the longing to be a great artist, never wholly left him. In truth, he did become a great artist, thoughafter his sixteenth year, he abandoned the brush forever. Like every artist of worth, he put his wholesoul and energy into his work, and it was this very energy that in the end wore him out. For to him.Each sufferer was something more than just a case that was to be cured. He looked upon the fightagainst hydrophobia as a battle, and he was absorbed in his determination to win. The sight of injuredchildren, particularly, moved him to an indescribable agent. He suffered with his patients. His greatestgrief was when sheer physical exhaustion made him give up his active work.6. Find word which means ‘to give up’.A. AbandonB. WoreC. HydrophobiaD. Exhaustion7. Why did Pasteur give up his active work?A. Because of complete physical exhaustion.B. Because of extreme old age.C. Because of his interest in painting.D. Because of his love for dogs.8. How did Pasteur view those who suffered from diseases?A. He viewed them as hopeless cases.B. He viewed them as ordinary patients.C. He viewed them as extraordinary patients.D. He viewed them as good sources of income.Year 8 – Reading Comprehension © James An College Page39. What is the one great quality of every artist?A. He is simple at heart.B. He is God-fearing.C. He puts all his soul and energy into his work.D. He practises Gospel virtues

The passage given below is followed by a set of questions. Choose the correct answer to each question. Things were very different from today when monarchies ruled Europe. Painted portraits were serious affairs — whether of state, commerce, historical record or private life, and whether for royalty, aristocrats and their hangers-on, or the bourgeoisie, who usually could afford only pastel. The career of the French portraitist Elisabeth Louise Vigée Le Brun (1755-1842), the subject of a ravishing, overdue survey at the Metropolitan Museum of Art, unfolded in those earlier times, almost entirely in the courts of Europe. She is best known as a painter of unusually sympathetic portraits of beautiful women of high rank. Only one-sixth of the sitters in these works are male, but their portraits confirm that she was equally effective with men. Vigée Le Brun painted Marie Antoinette numerous times. Made at the request of Marie Antoinette’s mother, Empress Maria Theresa of Austria, it is less than perfect. The queen’s white satin panniers look so hard and shiny they might almost be enameled metal; the background is crowded with competing architectural elements. But the painting pleased Maria Theresa, who was not as interested in a good likeness as proof of her daughter’s regal bearing in court dress. And the treatment of Marie Antoinette’s face captures her dignity, her sweetness and something of the Hapsburg chin. She excelled in more intimate formats, the three-quarter and especially bust-length portraits, where her renderings of expression, lightly powdered ringlets and fabric are beyond reproach. This is confirmed by her 1782 portrait of the Duchess of Polignac in a white chemise and a black wrap, wearing a straw hat decorated with flowers. The image has a casual, almost snapshot-like freshness, and the ruffles at the neckline are as soft as flower petals. Vigée Le Brun was also known for her sensitive depictions of children, best represented here by a 1786 portrait of her beloved daughter, Julie. It shows the 6-year-old holding a mirror and studying her face, and is a kind of double portrait. We see her full-face and in profile, connected to the viewer (and her mother) and aloof. The artist’s portraits are distinctive for their colours, which are unusual, daringly combined and still startling. As suggested by the softened red, yellow and blues that dominate the portrait of the Countess of Ségur, Vigée Le Brun’s colour choices give her paintings an unexpected abstract force that often emboldens their subjects. She could also go for blunt elegance: Paintings using different combinations of red, white and black recur throughout the show, including in three self-portraits.  Question 8.Vigée Le Brun’s portraits discussed in the passage are representative of: miniature artcourt or public art religious art art which uses symbolic motifs

The passage given below is followed by a set of questions. Choose the correct answer to each question. Things were very different from today when monarchies ruled Europe. Painted portraits were serious affairs — whether of state, commerce, historical record or private life, and whether for royalty, aristocrats and their hangers-on, or the bourgeoisie, who usually could afford only pastel. The career of the French portraitist Elisabeth Louise Vigée Le Brun (1755-1842), the subject of a ravishing, overdue survey at the Metropolitan Museum of Art, unfolded in those earlier times, almost entirely in the courts of Europe. She is best known as a painter of unusually sympathetic portraits of beautiful women of high rank. Only one-sixth of the sitters in these works are male, but their portraits confirm that she was equally effective with men. Vigée Le Brun painted Marie Antoinette numerous times. Made at the request of Marie Antoinette’s mother, Empress Maria Theresa of Austria, it is less than perfect. The queen’s white satin panniers look so hard and shiny they might almost be enameled metal; the background is crowded with competing architectural elements. But the painting pleased Maria Theresa, who was not as interested in a good likeness as proof of her daughter’s regal bearing in court dress. And the treatment of Marie Antoinette’s face captures her dignity, her sweetness and something of the Hapsburg chin. She excelled in more intimate formats, the three-quarter and especially bust-length portraits, where her renderings of expression, lightly powdered ringlets and fabric are beyond reproach. This is confirmed by her 1782 portrait of the Duchess of Polignac in a white chemise and a black wrap, wearing a straw hat decorated with flowers. The image has a casual, almost snapshot-like freshness, and the ruffles at the neckline are as soft as flower petals. Vigée Le Brun was also known for her sensitive depictions of children, best represented here by a 1786 portrait of her beloved daughter, Julie. It shows the 6-year-old holding a mirror and studying her face, and is a kind of double portrait. We see her full-face and in profile, connected to the viewer (and her mother) and aloof. The artist’s portraits are distinctive for their colours, which are unusual, daringly combined and still startling. As suggested by the softened red, yellow and blues that dominate the portrait of the Countess of Ségur, Vigée Le Brun’s colour choices give her paintings an unexpected abstract force that often emboldens their subjects. She could also go for blunt elegance: Paintings using different combinations of red, white and black recur throughout the show, including in three self-portraits.  Question 6According to the passage,  Vigée Le Brun’s portrait of Marie Antoinette:depicts fresh open-air settingshows prolific use of dark and light shadingshows brilliant reproduction of court dress captures the characteristic facial expression

The passage given below is followed by a set of questions. Choose the correct answer to each question. Things were very different from today when monarchies ruled Europe. Painted portraits were serious affairs — whether of state, commerce, historical record or private life, and whether for royalty, aristocrats and their hangers-on, or the bourgeoisie, who usually could afford only pastel. The career of the French portraitist Elisabeth Louise Vigée Le Brun (1755-1842), the subject of a ravishing, overdue survey at the Metropolitan Museum of Art, unfolded in those earlier times, almost entirely in the courts of Europe. She is best known as a painter of unusually sympathetic portraits of beautiful women of high rank. Only one-sixth of the sitters in these works are male, but their portraits confirm that she was equally effective with men. Vigée Le Brun painted Marie Antoinette numerous times. Made at the request of Marie Antoinette’s mother, Empress Maria Theresa of Austria, it is less than perfect. The queen’s white satin panniers look so hard and shiny they might almost be enameled metal; the background is crowded with competing architectural elements. But the painting pleased Maria Theresa, who was not as interested in a good likeness as proof of her daughter’s regal bearing in court dress. And the treatment of Marie Antoinette’s face captures her dignity, her sweetness and something of the Hapsburg chin. She excelled in more intimate formats, the three-quarter and especially bust-length portraits, where her renderings of expression, lightly powdered ringlets and fabric are beyond reproach. This is confirmed by her 1782 portrait of the Duchess of Polignac in a white chemise and a black wrap, wearing a straw hat decorated with flowers. The image has a casual, almost snapshot-like freshness, and the ruffles at the neckline are as soft as flower petals. Vigée Le Brun was also known for her sensitive depictions of children, best represented here by a 1786 portrait of her beloved daughter, Julie. It shows the 6-year-old holding a mirror and studying her face, and is a kind of double portrait. We see her full-face and in profile, connected to the viewer (and her mother) and aloof. The artist’s portraits are distinctive for their colours, which are unusual, daringly combined and still startling. As suggested by the softened red, yellow and blues that dominate the portrait of the Countess of Ségur, Vigée Le Brun’s colour choices give her paintings an unexpected abstract force that often emboldens their subjects. She could also go for blunt elegance: Paintings using different combinations of red, white and black recur throughout the show, including in three self-portraits.  Question 5According to the passage, which of the following is not a general characteristic of the portraits by Vigée Le Brun?equal felicity with the portraits of male and  female modelsunique but effective combination of colours opulent background  real-life rendering of facial expression

The introduction of oil paint in northern Europe allowed artists to:A.show a greater level of detail.B.begin painting portraits.C.abandon representation.D.develop synthetic cubism.