『新东方在线托福阅读』为托福考生准备了ETS托福TPO/Official 22 Passage 2阅读练习：What can be inferred from paragraphs 1 and 2 about the effect of photography on nineteenth century painting?真题题目及答案解析，TPO/Official 22 Passage 2阅读原文范文音频翻译

托福TPO/Official 22 Passage 2阅读原文What can be inferred from paragraphs 1 and 2 about the effect of photography on nineteenth century painting?题目答案及解析-新东方托福官方网校手机版

在19世纪中叶，摄影技术的发明极大地改变了人们对眼前世界的认识。

Perceptions of the visible world were greatly altered by the invention of photography in the middle of the nineteenth century.

尤其是，从逻辑上讲，尽管绘画艺术并不总是以人们可能期望的方式改变，它的确被永远改变了。

In particular, and quite logically, the art of painting was forever changed, though not always in the ways one might have expected.

19世纪中叶和晚期的现实主义和自然主义画家都专心地将摄影视为一种来使用、学习和回应的事物。

The realistic and naturalistic painters of the mid- and late-nineteenth century were all intently aware of photography —as a thing to use, to learn from, and react to.

与大多数主要发明不同，摄影一直被漫长而焦急地等待着。

Unlike most major inventions, photography had been long and impatiently awaited.

摄像机暗箱是一种盒装设备，它使用针孔或透镜将图像投射到毛玻璃屏幕或一张白纸上，这种暗箱产生的图像已经广为人知，该设备已被如意大利画家卡纳莱托(Canaletto)等地貌艺术家在详细刻画威尼斯城的作品中大量使用。

The images produced by the camera obscura, a boxlike device that used a pinhole or lens to throw an image onto a ground-glass screen or a piece of white paper, were already familiar—the device had been much employed by topographical artists like the Italian painter Canaletto in his detailed views of the city of Venice.

当时缺少的是一种赋予此类图像永久性形式的方法。

What was lacking was a way of giving such images permanent form.

这最终由路易斯·达盖尔（Louis Daguerre，1787-1851）实现，他完善了将图像固定在镀银铜板上的方法。

This was finally achieved by Louis Daguerre (1787-1851), who perfected a way of fixing them on a silvered copper plate.

他的发现“达盖尔银版照片(daguerreotype)”于1839年发布。

His discovery, the “daguerreotype,” was announced in 1839.

第二种完全不同的方法是1841年由英国发明家威廉·亨利·塔尔伯特（William Henry Talbot）（1800-1877）申请的。

A second and very different process was patented by the British inventor William Henry Talbot (1800-1877) in 1841.

塔尔伯特的“碘化银纸照相法(calotype)”是第一个从负到正的过程，并且是现代照片的直接祖先。

Talbot’s “calotype” was the first negative-to-positive process and the direct ancestor of the modern photograph.

碘化银纸照相法(calotype)在使用化学处理过的纸张方面具有革命性意义，在这种处理过的纸张中，被光照射的区域的色调变得暗淡，从而产生了负片。

The calotype was revolutionary in its use of chemically treated paper in which areas hit by light became dark in tone, producing a negative image.

塔尔伯特（Talbot）称其为“负片”，然后可以在另一张经过处理的纸张上印刷多个正片图像。

This “negative,” as Talbot called it, could then be used to print multiple positive images on another piece of treated paper.

两个人的照片制作过程产生了截然不同的结果。

The two processes produced very different results.

达盖尔银版照片(daguerreotype)是一种独特的图像，它可在几分钟内，无选择性的细节上再现相机镜头前的图像，并且无法复制。

The daguerreotype was a unique image that reproduced what was in front of the camera lens in minute, unselective detail and could not be duplicated.

碘化银纸照相法(calotype)可以将画面印刷成系列，因此等同于蚀刻或雕刻。

The calotype could be made in series, and was thus the equivalent of an etching or an engraving.

它的一般效果是柔和边缘和色调。

Its general effect was soft edged and tonal.

真正给摄影技术的第一批观众留下深刻印象的事情之一是真实性。

One of the things that most impressed the original audience for photography was the idea of authenticity.

现在，自然可以以原貌呈现，并将干扰降到最低。

Nature now seemed able to speak for itself, with a minimum of interference.

塔尔伯特（Talbot）为他的书选择的书名《自然铅笔》（该书的第一部分于1844年出版）反映了这种感觉。

The title Talbot chose for his book, The Pencil of Nature (the first part of which was published in 1844), reflected this feeling.

摄影令艺术家着迷，因为它提供了一种更详细地研究世界的方式。

Artists were fascinated by photography because it offered a way of examining the world in much greater detail.

他们也对此感到恐惧，因为它似乎可能使自己的努力显得不再必要。

They were also afraid of it, because it seemed likely to make their own efforts unnecessary.

摄影确实确实使某些种类的画作过时了——达盖尔银版照片确实消除了肖像缩影画行业。

Photography did indeed make certain kinds of painting obsolete—the daguerreotype virtually did away with the portrait miniature.

这也使制作和拥有图像的整个业务变得平等。

It also made the whole business of making and owning images democratic.

肖像画曾经作为少数特权人士的奢侈品，如今突然可以被更多的人接触到。

Portraiture, once a luxury for the privileged few, was suddenly well within the reach of many more people.

从长远来看，摄影对视觉艺术的影响绝非简单。

In the long term, photography’s impact on the visual arts was far from simple.

因为其介质种类繁多，从某种意义上讲，它可以很便宜地生成大量图像，所以它很快就被视为与真正艺术无关的技能，而不是艺术注定的后继者。

Because the medium was so prolific, in the sense that it was possible to produce a multitude of images very cheaply, it was soon treated as the poor relation of fine art, rather than its destined successor.

即使是那些最依赖摄影的艺术家，也不愿承认他们使用摄影，以防这损害了他们的专业地位。

Even those artists who were most dependent on photography became reluctant to admit that they made use of it, in case this compromised their professional standing.

摄影技术的飞速发展（更轻、更简单的设备和新的感光乳剂的引进，这些感光乳剂覆盖了照相底片、胶卷和纸张，并能够以更快的速度制作图像）带来了一些意料之外的后果。

The rapid technical development of photography—the introduction of lighter and simpler equipment, andof new emulsions that coated photographic plates, film, and paper and enabled images to be made at much faster speeds—had some unanticipated consequences.

由摄影师埃德沃德·迈布里奇(Eadweard Muybridge, 1830-1904)和艾蒂安-朱尔·马雷(Etienne-Jules Marey, 1830-1904)等摄影师进行的科学实验表明，人和动物的运动与传统上在艺术中的表现方式大相径庭。

Scientific experiments 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.

艺术家通常很不情愿地被迫接受相机提供的证据。

Artists, often reluctantly, were forced to accept the evidence provided by the camera.

新的快拍摄影（当拍摄对象不知道正在被拍摄照片时所拍摄的无摆拍照片）证实了这些科学结果，同时，由于相机经常对图像进行了大幅裁剪（修剪），这带来了新的创作格式。

The new candid photography—unposed pictures that were made when the subjects were unaware that their pictures were being taken—confirmed these scientific results, and at the same time, thanks to the radical cropping (trimming) of images that the camera often imposed, suggested new compositional formats.

快拍摄影的意外效果很快就被法国画家德加(Degas)等艺术家复制。

The accidental effects obtained by candid photographers were soon being copied by artists such as the French painter Degas.

What can be inferred from paragraphs 1 and 2 about the effect of photography on nineteenth century painting?

The word “duplicated” in the passage is closest in meaning to

The phrase “Its general effect” in the passage refers to

According to paragraphs 2 and 3 which of the following did the daguerreotype and the calotype have in common?

The word “authenticity” in the passage is closest in meaning to

What point does the author make in paragraph 6?

The word “reluctant” in the passage is closest in meaning to

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.

The word “accidental” in the passage is closest in meaning to

The word “unanticipated” in the passage is closest in meaning to

Which of the following is mentioned in paragraph 8 as a benefit that artists derived from photography?

It can be inferred from paragraph 8 that one effect that photography had on painting was that it

Look at the four squares  that indicate where the following sentence could be added to the passage. Although his process produced permanent images, each was unique and no reproduction of the picture was possible.  Where would the sentence best fit? Click on a square  to add the sentence to the passage.

Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.

The Birth of Photography Perceptions of the visible world were greatly altered by the invention of photography in the middle of the nineteenth century. In particular, and quite logically, the art of painting was forever changed, though not always in the ways one might have expected. The realistic and naturalistic painters of the mid- and late-nineteenth century were all intently aware of photography —as a thing to use, to learn from, and react to. Unlike most major inventions, photography had been long and impatiently awaited. The images produced by the camera obscura, a boxlike device that used a pinhole or lens to throw an image onto a ground-glass screen or a piece of white paper, were already familiar—the device had been much employed by topographical artists like the Italian painter Canaletto in his detailed views of the city of Venice. What was lacking was a way of giving such images permanent form. This was finally achieved by Louis Daguerre (1787-1851), who perfected a way of fixing them on a silvered copper plate. His discovery, the “daguerreotype,” was announced in 1839.  A second and very different process was patented by the British inventor William Henry Talbot (1800-1877) in 1841.  Talbot’s “calotype” was the first negative-to-positive process and the direct ancestor of the modern photograph. The calotype was revolutionary in its use of chemically treated paper in which areas hit by light became dark in tone, producing a negative image.  This “negative,” as Talbot called it, could then be used to print multiple positive images on another piece of treated paper.  The two processes produced very different results. The daguerreotype was a unique image that reproduced what was in front of the camera lens in minute, unselective detail and could not be duplicated. The calotype could be made in series, and was thus the equivalent of an etching or an engraving. Its general effect was soft edged and tonal. One of the things that most impressed the original audience for photography was the idea of authenticity. Nature now seemed able to speak for itself, with a minimum of 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 by photography because it offered a way of examining the world in much greater detail. They were also afraid of it, because it seemed likely to make their own efforts unnecessary. Photography did indeed make certain kinds of painting obsolete—the daguerreotype virtually did away with the portrait miniature. It also made the whole business of making and owning images democratic. Portraiture, once a luxury for the privileged few, was suddenly well within the reach of many more people. In the long term, photography’s impact on the visual arts was far from simple. Because the medium was so prolific, in the sense that it was possible to produce a multitude of images very cheaply, it was soon treated as the poor relation of fine art, rather than its destined successor. Even those artists who were most dependent on photography became reluctant to admit that they made use of it, in case this compromised their professional standing. The rapid technical development of photography—the introduction of lighter and simpler equipment, and of new emulsions that coated photographic plates, film, and paper and enabled images to be made at much faster speeds—had some unanticipated consequences. Scientific experiments 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, often reluctantly, were forced to accept the evidence provided by the camera. The new candid photography—unposed pictures that were made when the subjects were unaware that their pictures were being taken—confirmed these scientific results, and at the same time, thanks to the radical cropping (trimming) of images that the camera often imposed, suggested new compositional formats. The accidental effects obtained by candid photographers were soon being copied by artists such as the French painter Degas.