During the European Renaissance (1300-1600)， artists in Florence, Italy, made striking use of oil-based paints, but the development of these paints was part of a long and complex process still being refined during that time. Painting with oils involves suspending pigments (coloring substances) in oil. In the sixth to ninth centuries, artists in Asia were already mixing oils and pigments; the practice then moved westward, and by the thirteenth century artists in Norway and England were using oil paints. In Lives of the Most Eminent Painters, Sculptors, and Architects (1550)， the Italian painter and historian Giorgio Vasari erroneously credited Jan van Eyck of the Netherlands with the invention of oil painting. Although Vasari was not always accurate in his historical details, it was in fact the Netherlandish methods of preparing the oils-using a binder of mineral compounds, thereby optimizing the paint’s ability to dry and set-that made the use of oil paints more acceptable.
It was not until the mid-fifteenth century, however, that some Florentine artists began to work with oil paints. They were not inclined to simply adopt the Netherlandish techniques of mixing the paints. From a perusal of the numerous formulas reported by Italian painters for both the mixing of oil with pigments and the preparation of glazes (transparent, shiny top layers of paint), it is clear that major concerns were the amount of particulate matter in the oils, the drying process, and glazing or varnishing. Florentine artists already knew much about the durability of colors and the preparation of pigments from their experience working with other types of paint. Based on trial and error, they used their expertise to improve the integration of pigments with oil. During the first years of their use in Florence, oil paints were applied to wood panels using techniques similar to those for tempera paint (egg yolk-based paint); on occasion, artists mixed oil paints with tempera. Later, artists began using canvas, a type of cloth, as a painting surface, and oil-based paint supplanted tempera as the paint of choice.
The process for applying oil paints is very different from applying tempera. Oil paint is more fluid than tempera and can be applied in layers, allowing the artist to change colors, shading, and the arrangement of the picture itself. By layering and partially covering areas previously painted, the artist could achieve a texture, depth, and intensity not possible with earlier techniques such as tempera. Although artists from northern Europe usually incorporated a glaze or varnish into the oil paints, resulting in a shiny finish, they and Italian painters experimented with methods of applying different colored glazes over one another to produce a diversity of hues. In Italy, Renaissance artists developed a glaze composed of an essential oil and a balsam compound. The glaze was thin and when warm could be evenly spread over the entire composition. Leonardo da Vinci spent time formulating methods for oil paint preparation, in particular with the use of walnut oil. He described an extraction technique that he found best for producing an oil with a degree of clarity that would not alter the color composition. Sparating the oil from unwanted extraneous particles was key to maintaining the integrity of the colors. Pigments that were available for oils were the same as those used in earlier painting methods, but some, for example verdigris, were found to bind less easily with oil than with egg yolk used in tempera. In addition, malachite and ultramarine appeared much darker when mixed with oil and thus became less popular choices for pigments.
With the time constraints of tempera, which dries quickly, no longer a consideration, oil painting provided artists the freedom to be more innovative during the painting process. The transition from tempera and other paints, however, occurred gradually. There were some settings for which painters felt tempera was better suited. With several media from which to choose, artists began experimenting with innovative techniques, achieving varying degrees of success. One method utilized by Florentine artists was to apply an underpainting of quickly drying tempera, then add layers of oil paints and glaze. This technique enhanced the intensity of the colors. Sandro Botticelli’s Adoration of the Magi(1467) is an example of such a transitional work.
1
During the European Renaissance (1300-1600)， artists in Florence, Italy, made striking use of oil-based paints, but the development of these paints was part of a long and complex process still being refined during that time. Painting with oils involves suspending pigments (coloring substances) in oil. In the sixth to ninth centuries, artists in Asia were already mixing oils and pigments; the practice then moved westward, and by the thirteenth century artists in Norway and England were using oil paints. In Lives of the Most Eminent Painters, Sculptors, and Architects (1550)， the Italian painter and historian Giorgio Vasari erroneously credited Jan van Eyck of the Netherlands with the invention of oil painting. Although Vasari was not always accurate in his historical details, it was in fact the Netherlandish methods of preparing the oils-using a binder of mineral compounds, thereby optimizing the paint’s ability to dry and set-that made the use of oil paints more acceptable.
The word “optimizing” in the passage is closest in meaning to
Acontrolling
Bimproving
Cchanging
Dprotecting
2
During the European Renaissance (1300-1600)， artists in Florence, Italy, made striking use of oil-based paints, but the development of these paints was part of a long and complex process still being refined during that time. Painting with oils involves suspending pigments (coloring substances) in oil. In the sixth to ninth centuries, artists in Asia were already mixing oils and pigments; the practice then moved westward, and by the thirteenth century artists in Norway and England were using oil paints. In Lives of the Most Eminent Painters, Sculptors, and Architects (1550)， the Italian painter and historian Giorgio Vasari erroneously credited Jan van Eyck of the Netherlands with the invention of oil painting. Although Vasari was not always accurate in his historical details, it was in fact the Netherlandish methods of preparing the oils-using a binder of mineral compounds, thereby optimizing the paint’s ability to dry and set-that made the use of oil paints more acceptable.
Which of the following can be inferred from paragraph 1 about the history of oil painting?
AArtists in Florence were the first Europeans to use oil paints.
BArtists in Norway and England developed a new method of preparing oil paints.
COil painting was in use long before Jan van Eyck’s time.
DPainters in the Netherlands were the first to mix oil with pigments.
3
It was not until the mid-fifteenth century, however, that some Florentine artists began to work with oil paints. They were not inclined to simply adopt the Netherlandish techniques of mixing the paints. From a perusal of the numerous formulas reported by Italian painters for both the mixing of oil with pigments and the preparation of glazes (transparent, shiny top layers of paint), it is clear that major concerns were the amount of particulate matter in the oils, the drying process, and glazing or varnishing. Florentine artists already knew much about the durability of colors and the preparation of pigments from their experience working with other types of paint. Based on trial and error, they used their expertise to improve the integration of pigments with oil. During the first years of their use in Florence, oil paints were applied to wood panels using techniques similar to those for tempera paint (egg yolk-based paint); on occasion, artists mixed oil paints with tempera. Later, artists began using canvas, a type of cloth, as a painting surface, and oil-based paint supplanted tempera as the paint of choice.
According to paragraph 2, Florentine artists in the mid-fifteenth century wanted to learn how to
Ause Netherlandish techniques of mixing paints
Blengthen the durability of pigments
Cuse tempera paint for glazing
Dachieve better integration of pigments and oil
4
The process for applying oil paints is very different from applying tempera. Oil paint is more fluid than tempera and can be applied in layers, allowing the artist to change colors, shading, and the arrangement of the picture itself. By layering and partially covering areas previously painted, the artist could achieve a texture, depth, and intensity not possible with earlier techniques such as tempera. Although artists from northern Europe usually incorporated a glaze or varnish into the oil paints, resulting in a shiny finish, they and Italian painters experimented with methods of applying different colored glazes over one another to produce a diversity of hues. In Italy, Renaissance artists developed a glaze composed of an essential oil and a balsam compound. The glaze was thin and when warm could be evenly spread over the entire composition. Leonardo da Vinci spent time formulating methods for oil paint preparation, in particular with the use of walnut oil. He described an extraction technique that he found best for producing an oil with a degree of clarity that would not alter the color composition. Sparating the oil from unwanted extraneous particles was key to maintaining the integrity of the colors. Pigments that were available for oils were the same as those used in earlier painting methods, but some, for example verdigris, were found to bind less easily with oil than with egg yolk used in tempera. In addition, malachite and ultramarine appeared much darker when mixed with oil and thus became less popular choices for pigments.
The word “extraneous” in the passage is closest in meaning to
Aairborne
Bforeign
Ctiny
Dcolored
5
The process for applying oil paints is very different from applying tempera. Oil paint is more fluid than tempera and can be applied in layers, allowing the artist to change colors, shading, and the arrangement of the picture itself. By layering and partially covering areas previously painted, the artist could achieve a texture, depth, and intensity not possible with earlier techniques such as tempera. Although artists from northern Europe usually incorporated a glaze or varnish into the oil paints, resulting in a shiny finish, they and Italian painters experimented with methods of applying different colored glazes over one another to produce a diversity of hues. In Italy, Renaissance artists developed a glaze composed of an essential oil and a balsam compound. The glaze was thin and when warm could be evenly spread over the entire composition. Leonardo da Vinci spent time formulating methods for oil paint preparation, in particular with the use of walnut oil. He described an extraction technique that he found best for producing an oil with a degree of clarity that would not alter the color composition. Sparating the oil from unwanted extraneous particles was key to maintaining the integrity of the colors. Pigments that were available for oils were the same as those used in earlier painting methods, but some, for example verdigris, were found to bind less easily with oil than with egg yolk used in tempera. In addition, malachite and ultramarine appeared much darker when mixed with oil and thus became less popular choices for pigments.
In paragraph 3, what is the author’s purpose in pointing out that oil paint can be applied in layers?
ATo demonstrate how artists achieve a shiny finish with oil paint
BTo explain how the use of oil paint made the creation of new artistic effects possible
CTo indicate a contribution that Italian artists made that improved on the techniques of artists from northern Europe
DTo point out how different oil paint is from other highly fluid paints
6
The process for applying oil paints is very different from applying tempera. Oil paint is more fluid than tempera and can be applied in layers, allowing the artist to change colors, shading, and the arrangement of the picture itself. By layering and partially covering areas previously painted, the artist could achieve a texture, depth, and intensity not possible with earlier techniques such as tempera. Although artists from northern Europe usually incorporated a glaze or varnish into the oil paints, resulting in a shiny finish, they and Italian painters experimented with methods of applying different colored glazes over one another to produce a diversity of hues. In Italy, Renaissance artists developed a glaze composed of an essential oil and a balsam compound. The glaze was thin and when warm could be evenly spread over the entire composition. Leonardo da Vinci spent time formulating methods for oil paint preparation, in particular with the use of walnut oil. He described an extraction technique that he found best for producing an oil with a degree of clarity that would not alter the color composition. Sparating the oil from unwanted extraneous particles was key to maintaining the integrity of the colors. Pigments that were available for oils were the same as those used in earlier painting methods, but some, for example verdigris, were found to bind less easily with oil than with egg yolk used in tempera. In addition, malachite and ultramarine appeared much darker when mixed with oil and thus became less popular choices for pigments.
According to paragraph 3, all of the following are true of oil paint EXCEPT:
AOil paint came to be used in a very different way from tempera.
BGlazes could be incorporated into or applied over oil paint.
CSome pigments produce less bright colors when mixed with oil than when the same pigments are used in tempera paints.
DMore pigments could be used for oil paint than could be used for tempera paint.
7
The process for applying oil paints is very different from applying tempera. Oil paint is more fluid than tempera and can be applied in layers, allowing the artist to change colors, shading, and the arrangement of the picture itself. By layering and partially covering areas previously painted, the artist could achieve a texture, depth, and intensity not possible with earlier techniques such as tempera. Although artists from northern Europe usually incorporated a glaze or varnish into the oil paints, resulting in a shiny finish, they and Italian painters experimented with methods of applying different colored glazes over one another to produce a diversity of hues. In Italy, Renaissance artists developed a glaze composed of an essential oil and a balsam compound. The glaze was thin and when warm could be evenly spread over the entire composition. Leonardo da Vinci spent time formulating methods for oil paint preparation, in particular with the use of walnut oil. He described an extraction technique that he found best for producing an oil with a degree of clarity that would not alter the color composition. Sparating the oil from unwanted extraneous particles was key to maintaining the integrity of the colors. Pigments that were available for oils were the same as those used in earlier painting methods, but some, for example verdigris, were found to bind less easily with oil than with egg yolk used in tempera. In addition, malachite and ultramarine appeared much darker when mixed with oil and thus became less popular choices for pigments.
According to paragraph 3, Leonardo da Vinci’s major consideration in preparing oil paint with walnut oil was to
Aformulate methods of oil preparation that took less time
Bdevelop thin glazes that could be spread evenly over the entire composition
Cfind ways to improve the color of verdigris, malachite, and ultramarine
Dprevent the color of pigments from changing as a result of mixing them with oil
8
The process for applying oil paints is very different from applying tempera. Oil paint is more fluid than tempera and can be applied in layers, allowing the artist to change colors, shading, and the arrangement of the picture itself. By layering and partially covering areas previously painted, the artist could achieve a texture, depth, and intensity not possible with earlier techniques such as tempera. Although artists from northern Europe usually incorporated a glaze or varnish into the oil paints, resulting in a shiny finish, they and Italian painters experimented with methods of applying different colored glazes over one another to produce a diversity of hues. In Italy, Renaissance artists developed a glaze composed of an essential oil and a balsam compound. The glaze was thin and when warm could be evenly spread over the entire composition. Leonardo da Vinci spent time formulating methods for oil paint preparation, in particular with the use of walnut oil. He described an extraction technique that he found best for producing an oil with a degree of clarity that would not alter the color composition. Sparating the oil from unwanted extraneous particles was key to maintaining the integrity of the colors. Pigments that were available for oils were the same as those used in earlier painting methods, but some, for example verdigris, were found to bind less easily with oil than with egg yolk used in tempera. In addition, malachite and ultramarine appeared much darker when mixed with oil and thus became less popular choices for pigments.
According to paragraph 4, all of the following are true of Sandro Botticelli’s Adoration of the Magi EXCEPT:
AIts different layers were applied at the same time.
BIt was created using an innovative technique.
CIt was painted using both tempera and oil paints.
DIts colors are intense.
9
With the time constraints of tempera, which dries quickly, no longer a consideration, oil painting provided artists the freedom to be more innovative during the painting process. [■] The transition from tempera and other paints, however, occurred gradually. [■] There were some settings for which painters felt tempera was better suited. [■] With several media from which to choose, artists began experimenting with innovative techniques, achieving varying degrees of success. [■] One method utilized by Florentine artists was to apply an underpainting of quickly drying tempera, then add layers of oil paints and glaze. This technique enhanced the intensity of the colors. Sandro Botticelli’s Adoration of the Magi(1467) is an example of such a transitional work.
Look at the four squaresthat indicate where the following sentence could be added to the passage
For example, tempera paints could be used to give paintings a certain glowing quality.
Where would the sentence best fit？Click on a square sentence to the passage.
10
Artists in Florence began using oil-based paints in the fifteenth century.
AEarly historians believed that the first oil paints used in Europe were imported from Asia, but in fact the first oil paints used in Europe were made with methods invented in the Netherlands.
BIn Florence, artists used different methods for mixing and applying oil paints depending on whether the surface they were painting on was made of canvas or wood.
CItalian Renaissance artists mixed egg yolk into their oil paints because some pigments did not bind as well with oil as with tempera and because some pigments darkened in oil.
DFlorentine artists used their experience with other kinds of paint to improve on methods, originally developed in the Netherlands, of making fairly acceptable oil paints.
EOil paints dried more slowly than tempera, allowing artists greater flexibility in the creation of their paintings.
FAt the same time that European artists experimented with developing new ways of making and applying oil paints, they continued to use tempera for certain effects.
