Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

According to the passage, where were many of the first American folk art portraits painted?

A. In western New York

B. In Illinois and Missouri

C. In Connecticut and Massachusetts

D. In Ohio

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

In lines 4-5 the author mentions seventeenth-century Dutch burghers as an example of a group that

A. consisted mainly of self-taught artists

B. appreciated portraits

C. influenced American folk art

D. had little time for the arts

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

Question 48. According to the passage, which of the following contributed to a decline in the What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

According to the passage, which of the following contributed to a decline in the demand for painted portrait?

A. The lack of a strong craft tradition

B. The westward migration of many painters

C. The growing preference for landscape paintings

D. The invention of the camera

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

How much did the population of the United States increase in the first fifty years following independence?

A. It became three times larger

B. It became five times larger

C. It became eleven times larger

D. It became thirteen times larger

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

The relationship between the daguerreotype (line 16) and the painted portrait is similar to the relationship between the automobile and the

A. highway

B. driver 

C. engine 

D. horse-drawn carriage

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

The phrase “ushering in” in line 17 is closest in meaning to

A. beginning

B. demanding

C. publishing

D. increasing

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-class republics — whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio,

Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States' population had increased roughly five times, and eleven new states had been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

The author implies that most limners (line 22)

A. received instruction from traveling teachers

B. were women

C. were from wealthy families

D. had no formal art training

Read the following passage and mark the letter on your answer sheet to indicate the correct answer

Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in his Boston gallery.

A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training in England. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure. as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

What does the passage mainly discussed? 

A. art in 19th century America

B. portraiture in 19th century America 

C. the early years of photography

D. the influence of other countries on

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

What does the passage mainly discussed?

A. art in 19th century America 

B. portraiture in 19th century America 

C. the influence of other countries on American art 

D. the early years of photography