Perceptions of thevisibleworld were greatly altered by the invention ofphotographyin the middle of the nineteenthcentury. Inparticular, and quite logically, the art of painting was forever changed, though not always in the ways one might have expected. Therealisticand naturalistic painters of the mid- and late-nineteenthcenturywere all intentlyawareofphotography—as a thing to use, to learn from, and react to.

Unlike mostmajorinventions,photographyhad been long and impatiently awaited. The images produced by the camera obscura, a boxlikedevicethat used a pinhole orlenstothrowanimageonto a ground-glassscreenor a piece of white paper, were alreadyfamiliar—thedevicehad been much employed bytopographicalartists like the Italian painter Canaletto in his detailed views of the city of Venice. What was lacking was a way of giving such imagespermanentform. This was finally achieved by Louis Daguerre (1787-1851), who perfected a way of fixing them on a silveredcopperplate. His discovery, the "daguerreotype," was announced in 1839.

Asecondand very differentprocesswas patented by the British inventor William Henry Talbot (1800-1877) in 1841. Talbot's "calotype" was the first negative-to-positiveprocessand the directancestorof the modernphotograph. The calotype wasrevolutionaryin its use of chemically treated paper in which areas hit by light became dark in tone, producing anegativeimage. This "negative," as Talbot called it, could then be used to printmultiplepositiveimages on another piece of treated paper.

The two processes produced very different results. The daguerreotype was auniqueimagethat reproduced what was in front of the cameralensinminute, unselectivedetailand could not be duplicated. The calotype could be made inseries, and was thus theequivalentof an etching or anengraving. Its general effect wassoftedged andtonal.

One of the things that most impressed theoriginalaudienceforphotographywas the idea ofauthenticity. Nature now seemed able to speak for itself, with aminimumof interference. The title Talbot chose for his book, The Pencil of Nature (the first part of which was published in 1844), reflected this feeling. Artists were fascinated byphotographybecause it offered a way of examining the world in much greaterdetail. They were also afraid of it, because it seemed likely to make their own efforts unnecessary.

Photographydid indeed make certain kinds of paintingobsolete—the daguerreotypevirtuallydid away with theportraitminiature. It also made the whole business of making and owning imagesdemocratic. Portraiture, once aluxuryfor theprivilegedfew, was suddenly wellwithinthereachof many more people.

In the longterm,photography'simpacton thevisualarts was far from simple. Because themediumwas soprolific, in thesensethat it was possible to produce amultitudeof images very cheaply, it was soon treated as the poor relation of fine art, rather than itsdestinedsuccessor. Eventhose artists who were most dependent onphotographybecamereluctanttoadmitthat they made use of it, in case this compromised theirprofessionalstanding.

The rapidtechnicaldevelopmentofphotography—theintroductionof lighter and simpler equipment, and of new emulsions that coatedphotographicplates,film, and paper and enabled images to be made at much faster speeds—had some unanticipated consequences. Scientificexperiments 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 represented in art. Artists, oftenreluctantly, were forced to accept theevidenceprovided by the camera. The newcandidphotography—unposed pictures that were made when the subjects were unaware that their pictures were being taken—confirmed thesescientificresults, and at the same time, thanks to theradicalcropping (trimming) of images that the camera often imposed, suggested new compositional formats. The accidental effects obtained bycandidphotographers were soon being copied by artists such as the French painter Degas.

Questions:
question_stem: What can be inferred from paragraphs 1 and 2 about the effect of photography on nineteenth-century painting?
choices: tag: A
text: Photography did not significantly change the way people looked at reality.

tag: B
text: Most painters used the images of the camera obscura in preference to those of the daguerreotype.

tag: C
text: Painters who were concerned with realistic or naturalistic representation were particularly influenced by photography.

tag: D
text: Artists used the long-awaited invention of photography in just the ways they had expected to.
answer_key: C
explanation: C nineteenth-century 做关键词定位至第一段最后一句，说十九世纪中晚期的 painter 都非常专注于 photography，去使用，去学习，去回应，所以正确答案是 c，受影响。a 选项与第一段首句说反，不选；b 选项的比较原文没说，也没法推断，错；d 完全没提到任何相关信息，不选

question_stem: According to paragraphs 2 and 3 which of the following did the daguerreotype and the calotype have in common?
choices: tag: A
text: They were equally useful for artists.

tag: B
text: They could be reproduced.

tag: C
text: They produced a permanent image

tag: D
text: They were produced on treated paper.
answer_key: C
explanation: C 由于内容较多，此题用排除法较好。A 的 equallyuseful 原文完全没说，错；B 的 reproduce 是错的，根据第二题，Dague 是不能复制的；C 正确，根据原文 paragraph2的倒数第三句，说当时缺乏的是 permanentform，后来这个问题被 LouisD 的发明 dague 解决了，所以 Dague 是 permanentform，至于 Calo，paragraph3第二句都说了是现代摄影的始祖，当然是 permanentform，所以 C 选项正确。D 的那个 paper 是至于 calo 采用的，dague 不用，D 错。

question_stem: The word "duplicated" in the passage is closest in meaning to
choices: tag: A
text: copied

tag: B
text: replaced

tag: C
text: handled

tag: D
text: clarified
answer_key: A
explanation: A,duplicate 复制，所以正确答案是 a 的 copy。原文说 d 是一张图，这张图细微而完整地再现了摄相机镜头前的东西，并且是不能怎么样的。这段说 c 和 d 产生了两种不同的结果，下一句说 c 的产生是一系列的，对应 d 的产生应该是单独的，也就是不能复制，所以答案是 a。其他都不靠谱 .

question_stem: The phrase "Its general effect" in the passage refers to
choices: tag: A
text: the camera lens

tag: B
text: the calotype

tag: C
text: the etching

tag: D
text: the engraving
answer_key: B
explanation: B 指代题，指的是前句主语，所以正确答案是 b，选项 c 与选项 d 并列，都不选；a 不靠谱.

question_stem: The word "authenticity" in the passage is closest in meaning to
choices: tag: A
text: improvement

tag: B
text: practicality

tag: C
text: genuineness

tag: D
text: repetition
answer_key: C
explanation: C authenticity: 真实性。A 是改良，进步；B 是实用性；C 是真实；D 是重复。所以正确答案是 C 的 genuineness。

question_stem: What point does the author make in paragraph 6?
choices: tag: A
text: Paintings became less expensive because of competition with photography.

tag: B
text: Photography, unlike painting, was a type of portraiture that even ordinary people could afford.

tag: C
text: Every style of painting was influenced by the invention of photography.

tag: D
text: The daguerreotype was more popular than the calotype.
answer_key: B
explanation: B 此段很短，快速扫完，说了两个点，一是使某些 painting 被遗弃，二是使 making and owning images 大众化，所以正确答案是 B，即使普通大众也用得起。A 的 competition 原文没说；C 的 every style 原文没说，而且也太绝对；D 的比较原文没说。

question_stem: The word "reluctant" in the passage is closest in meaning to
choices: tag: A
text: unable

tag: B
text: embarrassed

tag: C
text: unlikely

tag: D
text: unwilling
answer_key: D
explanation: D reluctant:不情愿的。A 选项是不能够；B 是尴尬的，窘迫的；C 选项是不可能的；D 选项是不愿意的。所以正确答案是 D 的 unwilling。

question_stem: Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.
choices: tag: A
text: Photography did not replace other fine arts because people felt the image looked cheap in relation to the other arts.

tag: B
text: Photography was not considered a true art because people could use it to create many images cheaply.

tag: C
text: Photography was so cheap and readily available that it could be purchased by people who were too poor to purchase fine art.

tag: D
text: Photography not only spread quickly but also was a cheap art form and so became true successor of fine arts rather than its poor relation.
answer_key: B
explanation: B 原句是因果关系，所以 D 的转折错；将两个逗号之间的句子去掉之后，这句的结构变的明朗起来，因是 medium was so prolific，果是 treated as poor relation of fine art，所以正确答案是 B。A 的果中的 replace 原文没说，错；C 的 that 之后的结果原文没说，错。

question_stem: The word "unanticipated" in the passage is closest in meaning to
choices: tag: A
text: indirect

tag: B
text: not expected

tag: C
text: unquestionable

tag: D
text: beneficial
answer_key: B
explanation: B unanticipated: 没料到的，意外的。A 是间接的，B 是没预料到，C 是毫无疑问的，D 是有益的。所以正确答案是 B 的 not expected。

question_stem: The word "accidental" in the passage is closest in meaning to
choices: tag: A
text: surprising

tag: B
text: unintentional

tag: C
text: realistic

tag: D
text: unusual
answer_key: B
explanation: B accidental: 意外的。A 是令人惊讶的；B 是非故意的，无意识的；C 是现实的；D 是非同寻常的。所以正确答案是 B 的 unintentional。

question_stem: Which of the following is mentioned in paragraph 8 as a benefit that artists derived from photography?
choices: tag: A
text: It inspired artists to use technological themes in their painting.

tag: B
text: It lent prestige to those artists who used photographs as models for paintings

tag: C
text: It provided artists with new types of equipment to speed up the painting process.

tag: D
text: It motivated artists to think about new ways to compose images in their paintings.
answer_key: D
explanation: D 以 artist 做关键词定位至后半段，说 artist 不得不接受 camera 提供的事实，新技术 confirm 这些事实，有了 new compositional formats，所以正确答案是 d，新 方 法 compose 他们的 painting。a 的 technological theme，b 的 prestige 和 c 的 speed up 原文均没提到，都不选

question_stem: It can be inferred from paragraph 8 that one effect that photography had on painting was that it
choices: tag: A
text: provided painters with new insights into how humans and animals actually move

tag: B
text: showed that representing movement could be as interesting as portrait art

tag: C
text: increased the appeal of painted portraiture among the wealthy

tag: D
text: influenced artists to improve techniques for painting faster
answer_key: A
explanation: A 问有什么影响，这段首句说有影响，但没说什么影响，所以往下看。第二句说人和动物移动的方式与传统认为的不同，所以正确答案是 a。b 的比较，c 的 wealthy 有钱人和 d 的 painting faster 原文不但没说，而且没有任何相关信息说到，所以都不选