雅思阅读真题（Part 2）

From princes to paupers how goya's portraits tell the story of Spain

Part 2 · 考频：中频 · 最近考试：2025.12.30无锡开放大学

文章内容（节选）

A 

There are, according to current scholarship, 160 existing portraits by Francisco de Goya - about a third of his painted output. The real number, though, is much greater since there are no pure landscapes in Goya's work, in that everything he ever painted deals with people. In the work of no other great portraitist are a nation's people, history, traumas, folk traditions, and superstitions so comprehensively and relentlessly captured. His subject was a good one since Goya lived in interesting times: his lifetime was a period that saw Spain pass through the effects of the French Revolution, the Napoleonic wars, and the restoration of the monarchy; it was ruled by a succession of authoritarian and liberal governments; and was simultaneously marked by the Enlightenment. Put his work together - the public and private paintings, the personal drawings and sketches, and the unsettling and sinister etching series - and what you have is a portrait in the round of Spain itself.

 

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题目与答案

  1. A description of a personal purchase that ended in an accident.
    • A
    • B
    • C
    • D
    • E
    • F

    答案：D

    原文定位：He immediately spent some of his 15,000-reales salary on a two-wheeled gig (one of only three in Madrid) which he promptly crashed on his first outing

    同义替换：「ended in an accident」↔「crashed on his first outing」

  2. The reason why Goya’s body of work provides such a complete representation of his country.
    • A
    • B
    • C
    • D
    • E
    • F

    答案：A

    原文定位：In the work of no other great portraitist are a nation's people, history, traumas, folk traditions, and superstitions so comprehensively and relentlessly captured;Put his work together;and what you have is a portrait in the round of Spain itself

    同义替换：「complete representation」↔「comprehensively and relentlessly captured」，「country」↔「nation」

  3. A contrast between Goya's early work and his later, more mature style.
    • A
    • B
    • C
    • D
    • E
    • F

    答案：F

    原文定位：The light rococo tones of his tapestry cartoons gave way to a richer, somber palette and a dramatic use of chiaroscuro

    同义替换：「contrast」↔「gave way to」

  4. An explanation of why Goya was able to be so successful as a portrait painter.
    • A
    • B
    • C
    • D
    • E
    • F

    答案：E

    原文定位：Part of the reason for his success was that;he did not resent portraiture;He embraced the genre as a means of exploring human character

    同义替换：「why」↔「reason for」，「portrait painter」↔「portraiture」

  5. Reference to a specific artistic technique that Goya developed in his early career.
    • A
    • B
    • C
    • D
    • E
    • F

    答案：B

    原文定位：But in them, Goya practised poses and groupings and a way of handling light on and around figures that was to be invaluable

    同义替换：「specific artistic technique」↔「handling light on and around figures」，「developed in」↔「practised」

  6. The claim that Goya’s final works moved away from depicting specific people.
    • A
    • B
    • C
    • D
    • E
    • F

    答案：G

    原文定位：In this final phase, the portrait of Spain was no longer found in the faces of individuals, but in the tormented soul of its people

    同义替换：「works」↔「phase」，「specific people」↔「individuals」，「moved away from depicting」↔「no longer found in the faces of」

  7. Goya's Tapestry Cartoons
    Before becoming a renowned portraitist, Goya created designs for tapestries after moving to Madrid. These cartoons did not feature true 20_____,

    答案：portraits

    原文定位：Although his designs don't show portraits, they do show types

    同义替换：「did not feature true」↔「don't show」，「cartoons」↔「his designs」

  8. but instead depicted various social 21_____ .

    答案：roles

    原文定位：The tapestry designs also show social roles rather than the people inhabiting them

    同义替换：「depicted」↔「show」

  9. The artistic style of these works was light and rococo, and while the faces were distinctive, they were not of specific, identifiable people. However, these early projects were crucial as they allowed Goya to practise arranging figures and mastering the effect of 22_____ on his subjects.

    答案：light

    原文定位：But in them, Goya practised poses and groupings and a way of handling light on and around figures that was to be invaluable

    同义替换：「mastering」↔「handling」，「subjects」↔「figures」

  10. 23 Goya believed that his teaching role at the Royal Academy was more important than his work for the royal family.
    • TRUE
    • FALSE
    • NOT GIVEN

    答案：FALSE

    原文定位：in 1785 he was made deputy director of painting at the Royal Academy (his main message to his students was subversive - 'there are no rules in painting') and in 1786 became pintor de cámara, required to paint 'works required for royal service

    同义替换：「teaching role」↔「deputy director」，「work for the royal family」↔「royal service」

  11. 24 Robert Hughes believed that Goya balanced respect and truth in his portraits of authority figures.
    • TRUE
    • FALSE
    • NOT GIVEN

    答案：TRUE

    原文定位：In Robert Hughes's phrase, he did not 'pay reflexive homage to authority' but instead walked a fine line between respect and truth

    同义替换：「balanced」↔「fine line between」，「authority figures」↔「monarchy」

  12. 25 Goya's illness directly caused him to change his subject matter from portraits to landscapes.
    • TRUE
    • FALSE
    • NOT GIVEN

    答案：FALSE

    原文定位：This commitment to psychological truth became even more pronounced following his near-fatal illness in 1793, which left him deaf;The light rococo tones;gave way to a richer, somber palette;there are no pure landscapes in Goya's work

  13. 26 The 'Black Paintings' were originally intended for public display.
    • TRUE
    • FALSE
    • NOT GIVEN

    答案：FALSE

    原文定位：These murals, painted directly onto the walls of his country house, are a far cry from the formal portraits of princes and dukes

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