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    Questions: Section 3 - Guide To Reading Comprehension 349

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    Charienawaty Rihadah
    The passage discusses the results of a study on how children draw human figures. Researchers found that when children drew front views of men, the heads were noticeably enlarged, but when drawing rear views the heads were not exaggerated. The researchers suggest that children make the heads bigger in front views to leave room for facial details. Therefore, the disproportionate head sizes in children's drawings indicate planning rather than a poor sense of scale.

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    Questions: Section 3 - Guide To Reading Comprehension 349

    Uploaded by

    Charienawaty Rihadah
    661 views2 pages
    The passage discusses the results of a study on how children draw human figures. Researchers found that when children drew front views of men, the heads were noticeably enlarged, but when drawing rear views the heads were not exaggerated. The researchers suggest that children make the heads bigger in front views to leave room for facial details. Therefore, the disproportionate head sizes in children's drawings indicate planning rather than a poor sense of scale.

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    The passage discusses the results of a study on how children draw human figures. Researchers found that when children drew front views of men, the heads were noticeably enlarged, but when drawing rear views the heads were not exaggerated. The researchers suggest that children make the heads bigger in front views to leave room for facial details. Therefore, the disproportionate head sizes in children's drawings indicate planning rather than a poor sense of scale.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    661 views2 pages

    Questions: Section 3 - Guide To Reading Comprehension 349

    Uploaded by

    Charienawaty Rihadah
    The passage discusses the results of a study on how children draw human figures. Researchers found that when children drew front views of men, the heads were noticeably enlarged, but when drawing rear views the heads were not exaggerated. The researchers suggest that children make the heads bigger in front views to leave room for facial details. Therefore, the disproportionate head sizes in children's drawings indicate planning rather than a poor sense of scale.

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    © All Rights Reserved
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    Section 3 • Guide to Reading Comprehension 349

    Questions 34-41

    When drawing human figures, children often make the head too
    large for the rest of the body. A recent study offers some
    insights into this common disproportion in children's
    (line) illustrations. As part of the study, researchers asked children
    (5) between four and seven years old to make several drawings of men.
    When they drew front views of male figures, the size of the heads
    was markedly enlarged. However, when the children drew rear views
    of men, the size of the heads was not so exaggerated. The
    researchers suggest that children draw bigger heads when they
    (10) know they must leave room for facial details. Therefore, the odd
    head size in children's illustrations is a form of planning,
    and not an indication of a poor sense of scale.
    34. The main subject of the passage is
    _ _ _ (A) what the results of an experiment revealed
    _ _ _ (B) how children learn to draw
    ___ (C) how researchers can gather data from works of art
    _ _ _ (D) what can be done to correct a poor sense of scale

    35. It can be inferred that, during the research project, the children drew
    _ _ _ (A) pictures of men from different angles
    _ _ _ (B) figures without facial expression
    ___ (C) sketches of both men and women
    ___ (D) only the front view of men
    36. The word "they" in line 6 refers to
    ___ (A) researchers
    _ _ (B) men
    _ _ (C) illustrations
    _ _ (D) children
    37. The word "markedly" in line 7 is closest in meaning to
    _ _ (A) modestly
    _ _ _ (B) noticeably
    _ _ (C) merely
    _ _ (D) newly
    38. The fmdings of the experiment described in the passage would probably be of LEAST interest to
    which of the following groups?
    _ _ _ (A) Teachers of art to children
    _ _ _ (B) Commercial artists
    _ _ (C) Experts in child development
    _ _ (D) Parents of young children

    39. The word "odd" in line 10 is closest in meaning to


    ___ (A) unusual
    _ _ (B) huge
    ___ (C) average
    _ _ (D) expected
    40. The word "scale" in line 12 is closest in meaning to
    ___ (A) measurement
    _ _ _ (B) proportion
    _ _ (C) balance
    _ _ (D) property
    350 Section 3 • Guide to Reading Comprehension

    41. The passage provides information to support which of the following conclusions?
    ___ (A) Children under the age of seven do not generally have a good sense of scale.
    ___ (B) With training, young children can be taught to avoid disproportion in their art.
    ___ (C) Children enlarge the size of the head because they sense that it is the most important
    part of the body.
    ___ (D) Children plan ahead when they are drawing pictures.

    Questions 42-50

    Georgia O'Keeffe was born in Sun Prairie, Wisconsin, in 1887. She


    studied art in Chicago and New York from 1904 to 1908. Beginning as
    an advertising illustrator, she supported herself until 1918 by
    (line) teaching in various schools and colleges in Texas. After that date,
    (5) she devoted herself entirely to painting. Her paintings were first
    exhibited in 1916 at "291 ," an experimental art gallery in New York
    City owned by Alfred Steiglitz which was frequented by some of the
    most influential artists of the time. O'Keeffe married Steiglitz in
    1924.
    (10) O'Keeffe's early paintings were mostly abstract designs. In the
    1920's she produced depictions of flowers and precise cityscapes of
    New York City. Whether painting flowers or buildings, she captured
    their beauty by intuitively magnifying their shapes and simplifying
    their details.
    (15) O'Keeffe's style changed dramatically in 1929 during a visit to
    New Mexico. She was enchanted by the stark but beautiful landscapes
    under the bright Southwestern sun, and she then adopted her
    characteristic style. Thereafter, she most often painted desert
    landscapes, often with the blanched skull of a longhorn in the
    (20) foreground.
    O'Keeffe's paintings were exhibited annually at several New York
    galleries until 1946, and she is represented in the permanent
    collections of most major American museums. In her later years,
    she settled in Taos, New Mexico, becoming the dean of Southwestern
    (25) painters and one of the best known of American artists.
    42. The author's main purpose in writing this passage was to
    ___ (A) criticize Georgia O'Keeffe's style of painting
    _ _ _ (B) discuss the early successes of an inlportant American artist
    ___ (C) compare abstract art and landscape art
    ___ (D) give the highlights of Georgia O'Keeffe's artistic career
    43. According to the article, where did Georgia O'Keeffe receive her formal art training?
    ___ (A) Sun Prairie, Wisconsin
    _ _ _ (B) Chicago and New York
    _ _ (C) Texas
    ___ (D) Taos, New Mexico
    44. The expression "that date" in line 4 refers to
    _ _ (A) 1887
    _ _ (B) 1908
    _ _ (C) 1916
    _ _ (D) 1918

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