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PASSAGE 3

The Native Americans of northern California were highly skilled at basketry, using the

reeds,grasses, barks, and roots they found around them to fashion articles of all sorts and sizes-

not only trays, containers, and cooking pots, but hats, boats, fish traps, baby carriers, and

ceremonialobjects.

Of all these experts, none excelled the Pomo — a group who lived on or near the coast

during the 1800's, and whose descendants continue to live in parts of the same region to this

day. They made baskets three feet in diameter and others no bigger than a thimble. The Pomo

people were masters of decoration. Some of their baskets were completely covered with shell

pendants; others with feathers that made the baskets' surfaces as soft as the breasts of birds.

Moreover, the Pomo people made use of more weaving techniques than did their neighbors.

Most groups made all their basketwork by twining — the twisting of a flexible horizontal material,

called a weft, around stiffer vertical strands of material, the warp. Others depended primarily on

coiling — a process in which a continuous coil of stiff material is held in the desired shape with

tight wrapping of flexible strands. Only the Pomo people used both processes with equal ease

and frequency. In addition, they made use of four distinct variations on the basic twining process,

often employing more than one of them in a single article.

Although a wide variety of materials was available, the Pomo people used only a few. The

warp was always made of willow, and the most commonly used weft was sedge root, a woody

fiber that could easily be separated into strands no thicker than a thread. For color, the Pomo

people used the bark of redbud for their twined work and dyed bullrush root for black in

coiled work. Though other materials were sometimes used, these four were the staples in their

finest basketry.

If the basketry materials used by the Pomo people were limited, the designs were

amazingly varied. Every Pomo basketmaker knew how to produce from fifteen to twenty

distinct patterns that could be combined in a number of different ways.

1. What best distinguished Pomo baskets from baskets of other groups?

(A) The range of sizes, shapes, and designs (B) The unusual geometric (C) The absence of decoration (D) The rare materials used

2. The word \

(A) maintain (B) organize (C) trade (D) create

3. The Pomo people used each of the following materials to decorate baskets EXCEPT

(A) shells (B) feathers (C) leaves (D) bark

4. What is the author's main point in the second paragraph?

(A) The neighbors of the Pomo people tried to improve on the Pomo basket weaving techniques. (B) The Pomo people were the most skilled basket weavers in their region.

(C) The Pomo people learned their basket weaving techniques from other Native Americans. (D) The Pomo baskets have been handed down for generations.

5. The word \

(A) masters (B) baskets (C) pendants (D) surfaces

6. According to the passage , a weft is a

(A) tool for separating sedge root (B) process used for coloring baskets

(C) pliable maternal woven around the warp (D) pattern used to decorate baskets

7. According to the passage , what did the Pomo people use as the warp in their baskets?

(A) bullrush (B) willow (C) sedge (D) redbud

8. The word \

(A) decoration (B) shape (C) design (D) object

9. According to the passage . The relationship between redbud and twining is most similar to the relationship between

(A) bullrush and coiling (B) weft and warp

(C) willow and feathers (D) sedge and weaving

10. The word \

(A) combinations (B) limitations (C) accessories (D) basic elements

11. The word \

(A) systematic (B) beautiful (C) different (D) compatible

12. Which of the following statements about Pomo baskets can be best inferred from the passage ? (A) Baskets produced by other Native Americans were less varied in design than those of the Pomo people.

(B) Baskets produced by Pomo weavers were primarily for ceremonial purposes.

(C) There were a very limited number of basketmaking materials available to the Pomo people. (D) The basketmaking production of the Pomo people has increased over the years.

PASSAGE 4

The term \

nineteenth- century North American landscape painting. Apparently unknown during the golden

days of the American landscape movement, which began around 1850 and lasted until the late

1860's, the Hudson River school seems to have emerged in the 1870's as a direct result of the

struggle between the old and the new generations of artists, each to assert its own style as the

representative American art. Theolder painters, most of whom were born before 1835, practiced

in a mode often self-taught and monopolized by landscape subject matter and were securely

established in and fostered by the reigning American art organization, the National Academy of

Design. The younger painters returning home from training in Europe worked more with figural

subject matter and in a bold and impressionistic technique; their prospects for patronage in their

own country were uncertain, and they sought to attract it by attaining academic recognition in

New York. One of the results of the conflict between the two factions was that what in previous

years had been referred to as the \— the

most representative school of American art in any genre — had by 1890 become firmly

established in the minds of critics and public alike as the Hudson River school.

The sobriquet was first applied around 1879. While it was not intended as flattering, it was

hardly inappropriate. The Academicians at whom it was aimed had worked and socialized in

New York, the Hudson's port city, and had painted the river and its shores with varying

frequency. Most important, perhaps, was that they had all maintained with a certain fidelity a

manner of technique and composition consistent with those of America's first popular

landscape artist, Thomas Cole,who built a career painting the Catskill Mountain scenery

bordering the Hudson River. A possible implication in the term applied to the group of

landscapists was that many of them had, like Cole,lived on or near the banks of the Hudson.

Further, the river had long served as the principal route toother sketching grounds favored by

the Academicians, particularly the Adirondacks and the mountains of Vermont and New

Hampshire.

1. What does the passage mainly discuss?

(A) The National Academy of Design

(B) Paintings that featured the Hudson River (C) North American landscape paintings

(D) The training of American artists in European academies

2. Before 1870, what was considered the most representative kind of American painting?

(A) Figural painting (B) Landscape painting (C) Impressionistic painting (D) Historical painting

3. The word \

(A) connection (B) distance

(C) communication (D) competition

4. The word \

(A) alarmed (B) dominated (C) repelled (D) pursued

5. According to the passage , what was the function of the National Academy of Design for

the painters born before 1835?

(A) It mediated conflicts between artists.

(B) It supervised the incorporation of new artistic techniques. (C) It determined which subjects were appropriate. (D) It supported their growth and development.

6. The word \

(A) matter (B) technique (C) patronage (D) country

7. The word \

(A) sides (B) people (C) cities (D) images

8. The word \

(A) expressive (B) serious

(C) complimentary (D) flashy

9. Where did the younger generation of painters receive its artistic training?

(A) In Europe

(B) In the Adirondacks

(C) In Vermont

(D) In New Hampshire

答案： PASSAGE 3 BDCBB CBDAD CA

PASSAGE 4 BBDBD CACA