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.

Edward Hopper is America’s most well-known realist painter, living by his philosophy, “The man’s the work. Something doesn’t come out of nothing.” He was reclusive and private in his personal life, with themes of introspection in his painting.

Born in 1882,  by the age of 17 he had already decided to become an artist. He attended the New York School of Illustrating, followed by the New York School of Art, where he bacame familiar with many leading figures such as William Merritt Chase and Robert Henri, founders of American Realism.

[1] Hopper was slow to develop compared with other young artists of that time, remaining at the New York School of Art for seven years. [2] Like the majority of young American artists of the period, he longed to study in France and left for Paris in October of 1906. [3] Indeed, this was a great influence upon the history of the modern movement in America, but Hopper later claimed that its effect on him was minimal. [4]

A. the New York School of Illustrating and New York School of Art

C. the chief instructor at New York School of Art

D. William Merritt Chase and Edward Hopper

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 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

It can be inferred from the passage that the Arts and Crafts Movement would have considered all of the following to be artists EXCEPT _________.

A. creators of textile designs

B. people who produce handmade glass objects

C. operators of machines that automatically cut legs, for furniture

D. metalworkers who create unique pieces of jewelry

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 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

It can be inferred from the passage that the Arts and Crafts Movement would have considered all of the following to be artists EXCEPT _________.

A. creators of textile designs

B. people who produce handmade glass objects

C. operators of machines that automatically cut legs, for furniture

D. metalworkers who create unique pieces of jewelry

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 30 to 37.

     The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

     The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

     In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

     The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

It can be inferred from the passage that the Arts and Crafts Movement would have considered all of the following to be artists EXCEPT _________.

A. creators of textile designs

B. people who produce handmade glass objects

C. operators of machines that automatically cut legs, for furniture

D. metalworkers who create unique pieces of jewelry

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 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

        The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

It can be inferred from the passage that the Arts and Crafts Movement would have considered all of the following to be artists EXCEPT _________.

A. creators of textile designs 

B. people who produce handmade glass objects 

C. operators of machines that automatically cut legs, for furniture 

D. metalworkers who create unique pieces of jewelry

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.

Edward Hopper is America’s most well-known realist painter, living by his philosophy, “The man’s the work. Something doesn’t come out of nothing.” He was reclusive and private in his personal life, with themes of introspection in his painting.

Born in 1882,  by the age of 17 he had already decided to become an artist. He attended the New York School of Illustrating, followed by the New York School of Art, where he bacame familiar with many leading figures such as William Merritt Chase and Robert Henri, founders of American Realism.

[1] Hopper was slow to develop compared with other young artists of that time, remaining at the New York School of Art for seven years. [2] Like the majority of young American artists of the period, he longed to study in France and left for Paris in October of 1906. [3] Indeed, this was a great influence upon the history of the modern movement in America, but Hopper later claimed that its effect on him was minimal. [4]

The theme that is most likely to be seen in Hopper’s work is_________

A. happiness

B. thoughts of the past

C. loneliness

D. hatred

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.

Edward Hopper is America’s most well-known realist painter, living by his philosophy, “The man’s the work. Something doesn’t come out of nothing.” He was reclusive and private in his personal life, with themes of introspection in his painting.

Born in 1882,  by the age of 17 he had already decided to become an artist. He attended the New York School of Illustrating, followed by the New York School of Art, where he bacame familiar with many leading figures such as William Merritt Chase and Robert Henri, founders of American Realism.

[1] Hopper was slow to develop compared with other young artists of that time, remaining at the New York School of Art for seven years. [2] Like the majority of young American artists of the period, he longed to study in France and left for Paris in October of 1906. [3] Indeed, this was a great influence upon the history of the modern movement in America, but Hopper later claimed that its effect on him was minimal. [4]

The word longed in the passage is closest in meaning to________

A. hated

B. wanted

C. enjoyed

D. feared

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 30 to 37.

     The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

     The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

     In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

     The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

According to the passage, which of the following changes occured at the same time as the Arts and Crafts Movement?

A. The creation of brighter and more airy spaces inside homes

B. The rejection of art that depicted nature in a realistic manner

C. A decline of interest in art museum collections

D. An increase in the buying of imported art objects

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 30 to 37.

        The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

        The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

        In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

          The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

According to the passage, which of the following changes occured at the same time as the Arts and Crafts Movement?

A. The creation of brighter and more airy spaces inside homes.

B. The rejection of art that depicted nature in a realistic manner.

C. A decline of interest in art museum collections.

D. An increase in the buying of imported art objects.