一个人想要做好一件事情，既要懂得坚持又要找对方法，备战2016考研也是如此，随着近年来报考在职硕士的人数升高，很多考生都想报考 2016艺术在职硕士，有了这样一份决心，那就要找对方法复习，面对初次报考2016艺术硕士的考生，除了资料的复习，还要对历年全国联考的真题有一个全面的认识，对于题型和出题方向有一个把握，于此小编梳理了全国联考历年真题，希望给考生一个参考，具体内容如下：

　　三、英语阅读理解题

　　Directions: There are three passages in this part. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked, B, C and D. Choose the best answer to each question.

　　Questions 58 to 62 are based on the following passage:

　　In the past century Irish painting has changes from a British-influenced lyrical tradition to an art that evokes the ruggedness (朴实) and roots of an Irish Celtic past. At the turn of the twentieth century Irish painters, including notables Walter Frederick Osborne and Sir William Orpen, looked elsewhere for influence. Osborne's exposure to ‘plain air’ painting deeply impacted his stylistic development; and Orpen allied himself with a group of English artists, while at the same time participated in the French avant-garde experiment, both as painter and teacher. However, nationalist energies were beginning to coalesce (接合 ), reviving interest in Irish culture-including Irish visual arts. Beatrice Elvery’s (1907), a landmark achievement, merged the devotional simplicity of fifteenth-century Italian painting with the iconography (图像学) of Ireland's Celtic past, linking the history of Irish Catholicism with the still-nascent (初生的 )Irish republic. And, although also captivated by the French plain air school. Sir John Lavery invoked the mythology of his native land for a 1928 commission to paint the central figure for the bank note of the new Irish Free State. Lavery chose as this figure, with her arm on a Celtic harp (竖琴), the national symbol of independent Ireland.

　　In Irish painting from about 1910, memories of Edwardian romanticism coexisted with a new sense of realism, exemplified by the paintings of Paul Henry and Se Keating, a student of Orpen's. Realism also crept into the work of Edwardians Lavery and Orpen, both of whom made paintings depicting World War I, Lavery with a distanced Victorian nobility, Orpen closer to the front, revealing a more sinister and realistic vision. Meanwhile, counterpoint ( 对照 ) to the Edwardians and realists came Jack B. Yeats， whose travels throughout the rugged and more authentically Irish West led him to depict subjects ranging from street scenes in Dublin to boxing matches and funerals. Fusing close observations of Irish life and icons with an Irish identity in a new way, Yeats changed the face of Irish painting and became the most important Irish artist of his century.

　　58. Which of the following art most probably exerted the greatest influence on Irish painting in the 19th century?

　　A. British lyrical tradition

　　B. French avant-garde experiment

　　C. nationalist energies

　　D. Italian painting

　　59. It is implied was least influenced by the contemporary art of France.

　　A. Sir John Lavery

　　B. Sir William Orpen

　　C. Beatrice Elvery

　　D. Se Keating

　　60. Which of the following best explains the author’s use of the word ‘counterpoint’ in referring to Yeats?

　　A. Yeats' paintings differed significantly in subject matter from those of his contemporaries in Ireland.

　　B. Yeats reacted to the realism of his contemporary artists by invoking nineteenth-century naturalism in his own painting style.

　　C. Yeats avoided religious and mythological themes in favor of mundane portrayals of Irish life.

　　D. Yeats built upon the realism painting tradition, elevating it to unprecedented artistic heights.

　　61. The author points out the coexistence of romanticism and realism most probably in order to show that .

　　A. Irish painters of the early twentieth century tended to romanticize the harsh reality of war

　　B. for a time painters from each school influenced painters from the other school

　　C. Yeats was influenced by both the romantic and realist schools of Irish painting

　　D. the transition in Irish painting from one predominant style to the other was not an abrupt one

　　62. The most likely topic of the paragraph followed is

　　A. The Role of Celtic Mythology in Irish Painting

　　B. Who Deserves Credit for the Pre-eminence of Yeats among Irish Painters?

　　C. Realism vs Romanticism: Ireland's Struggle for National Identity

　　D. Irish Paintings: Reflections of an Emerging Independent State

　　答案：58-62.AAADD

　　以上就是历年 在职艺术术硕士考研部分真题，希望考生能够从中掌握出题规律及方向，小编相信只要考生认真复习，好好做题，一定会顺利通过2016艺术硕士考研，加油吧，亲~~

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