The artist will not paint people or animals but he will paint anything__（）

A . Number of persons allowed B . Name of the vessel C . Weight of the boat D . Home port

A . the International Convention for the Safety of the Life at Sea B . the International Convention for the Prevention from ships C . the International Convention on control of harmful anti-fouling system on ships D . the International Convention for the Control and Management of Ship’s Ballast Water and Sediment

A . check the liferaft's way B . keep the liferaft end on to the sea C . reduce the possibility of capsizing or broaching D . right the raft if it inflates inverted

A . Dry chemical B . Foam C . Water D . Carbon dioxide

A . 正确 B . 错误

A . high relative humidity B . frequent showers and thunderstorms C . steep pressure gradients D . frequent calm

A . high relative humidity B . frequent showers and thunderstorms C . steep pressure gradients D . frequent calm

A . have B . let C . agree D . allow

A．run-off B．run-down C．run-about D．run-away

A．territory B．landscape C．groundwork D．region

What visual artists like painters want to teach is easy to make out but difficult to explain, because painters translate their experience into shapes and colors, not words.They seem to feel that a certain selection of shapes and colors, out of the countless billions possible, is exceptionally interesting for them and worth showing to us.Without their work we should never have noticed these particular shapes and colors, or have felt the delight which they brought to the artist. Most artists take their shapes and colors from the world of nature and from human bodies in motion and at rest; their choices indicate that these aspects of the world are worth looking at, that they contain beautiful sights.Contemporary artists might say that they merely choose subjects that provide an interesting pattern, that there is nothing more in it.Yet even they do not choose entirely without reference to the character of their subjects. If one painter chooses to paint a decaying leg and another a lake in moonlight, each of them is directing our attention to a certain aspect of the world.Each painter is telling us something, showing us something, emphasizing something—all of which means that, consciously or unconsciously, he is trying to teach us. 1.An artist hopes that the public will ____. A.understand him and learn from him B.notice only shapes and colors in his work C.teach him something D.believe what he says in his work 2.It is hard to explain what a painter is saying, because he/ she ___. A.uses shapes and colors instead of words B.uses unusual words and phrases C.does not express himself /herself well D.does not say anything clearly 3.The writer points out that contemporary artists might say their choices of subject _____. A.only provide interesting patterns B.teach the public important truths C.have no pattern or form D.carry a message to the public 4.The writer also points out that contemporary art contains ____. A.nothing but meaningless patterns B.uninteresting aspects of the world C.completely meaningless subjects D.subjects chosen partly for their meanings 5.What is implied in this passage？() A.A painting is more easily understood than a symphony. B.Art is merely the arranging of shape and color. C.Every artist tries to say something to the public. D.One must look beyond shape and color to find what the artist is saying.

The major【C8】______ examples of early painting anywhere in the world are found in Western Europe and the Soviet Union. But some 5,000 years ago, the areas in which important paintings were executed 【C9】______ to the eastern Mediterranean Sea and neighboring regions.【C10】______ , Western shared a European cultural tradition--the Middle East and Mediterranean Basin and, later, the countries of the New World. Western painting is in general distinguished by its concentration【C11】______ the representation of the human【C12】______ , whether in the heroic context of antiquity or the religious context of the early Christian and medieval world. The Renaissance【C13】______ this tradition through a【C14】______ examination of the natural world and an investigation of balance, harmony, and perspective in the visible world, linking painting【C15】______ the developing sciences of anatomy and optics. The first real【C16】______ from figurative painting came with the growth of landscape painting in the 17th and 18th centuries. The landscape and figurative traditions developed together in the 19th century in an atmosphere that was increasingly【C17】______ "painterly" qualities of the【C18】______ of light and color and the expressive qualities of paint handling. In the 20th century these interests【C19】______ to the development of a third major tradition in Western painting, abstract painting, which sought to【C20】______ and express the true nature of paint and painting through action and form. 【C1】 A．may have been B．that may have C．may have D．that may have been

A．have B．let C．agree D．allow

A．A.simple sentence B．B.compound sentence C．C.complex sentence D．D.compound-complex sentence