According to the art dealer, the painting () to go for at least twenty thousand pounds. A、is expectedB、expectsC、expectedD、is expecting
According to the art dealer, the painting () to go for at least twenty thousand pounds.
A、is expected
B、expects
C、expected
D、is expecting
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如何把阿拉伯小写数字(包括小数)1234123.23 转化成英文:one million, two hundred andthirty-four thousand, one hundred and twenty-three point two three
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Questions 64-66 refer to the following article.NEW YORK, November 19-New York's Women in Business Association announced that Anita Huntington, vice president of marketing for Kuiper Hotels, and Mary Foster, general manager of Longwood Hotels & Resorts, were recently selected as this year's Venture Award recipients. The Venture Award was established twenty years ago to recognize the contributions made by female executives to their communities. This year’s cowinner’s are the founders of Art on the Move, a charitable organization that provides art scholarships for students throughout the city.Since joining Kuiper Hotels, Huntington has held key positions in finance and businessdevelopment. Currently, she leads Kuiper’s marketing operations, often traveling to one of the more than 270 hotels in 16 countries. Foster’s position has also taken her all over the world.Both executives stressed that finding time for volunteer work was extremely important even though they often work long hours at their jobs. Huntington and Foster will be honored on November 26 at a special reception at Humphrey Hall.According to the article, how can people become candidates for the Venture Award?A. By becoming leaders in the hotel industry.B. By starting their own business.C. By working to make their communities.D. By working in New York for at least twenty years.
NEW YORK．November19一New York’s Women in Business Association announced that Anita Huntington，vice president of marketing for Kuiper Hotels，and Mary Foster，general managerof Longwood Hotels&Resorts．were recently selected as this year’s Venture Award recipients。TheVenture Award Was established twenty years ago to recognize the contributions made by female executives to their communities．This year’s cowinners are the founders of Art on the Move．a charitable organization that provides art scholarships for students throughout the city． Since joining Kuiper Hotels，Huntington has heldkey positionsinfinanceandbusiness development·Currently，she leads Kuiper’s marketing operations，often traveling to one of the morethan 270 hotels in l6 countries．Foster’s position has also taken her all over the word． Both executives stressed that finding time for volunteer work was extremely important even though theyou tenwork long hoursat their jobs．HuntingtonandFoster willbe honoredon November 26 at a special reception at Humphrey Hall．According to the article，how can people become candidates for the Venture Award?A.By becoming leaders in the hotel industry B.By starting their own businesses C.By working to make their communities D.By working in New York for at least twenty years
Although he is in financial difficulties, he is ()to accept my offer of the loan of twenty thousand dollars.A.reliableB.regularC.reluctantD.religious
Text 4 Shortly after The Economist went to press,about 25,000 people were expected to rurn up at the London Art Fair.Your correspondent visited just before,as 128 white booths were being filled with modern paintings and sculptures.Dealers clutched mobile phones to their ears or gathered in small groups.They seemed nervous-as well they might be."I can eam a year's living in one fair,"said one harried dealer while stringing up a set oflights.Before 1999 London had just one regular contemporary art fair,remembers Will Ramsay,boss of the expanding Affordable Art Fair.This year around 20 will be held in Britain,mostly in the capitaL Roughly 90 will take place worldwide:The success of larger events such as Frieze,which started in London,has stimulated the growth of smaller fairs specialising in craft work,ceramics and other things.Art14,which started last year,specialises in less well-known intemational galleries,showing art from Sub-Saharan Africa,South Korea and Hong Kong.One explanation for the boom is the overall growth of the modern-art market.Four fifihs of all art sold at auction worldwide last year was from the 20th or 21st century,according to Artprice,a database.In November an auction in New York of modern and contemporary art made$691m（￡422m）,easily breaking the previous record.As older art becomes harder to buy-much ofit is locked up in museums-demand for recent works is rising.London's art market in particular has been boosted by an influx of rich immigrants from Russia,China and the Middle East."When I started 23 years ago I had not a single non-Western foreign buyer,"says Kenny Schachter,an art dealer."It's a different world now."And London's new rich buy arl differently.They ofien spend little time in the capital and do not know it well.Traipsing around individual galleries is inconvenient,particularly as galleries have moved out of central London.The mall-like set-up of a fair is much more suitable.Commercial galleries used to rely on regular visits from rich Britons seeking to fumish their stately homes.Many were family friends.The new art buyers have no such loyalty.People now visit galleries mainly to go to events and to be seen,says Alan Cristea,a gallery owner on Cork street in Mayfair.Fairs,and the parties that spring up around them,are much better places to be spotted.Some galleries are feeling squeezed.Bemard Jacobson runs a gallery opposite Mr Cristea.The changing art market reminds him ofwhen his father,a chemist,was eclipsed by Boots,a pharmaceutical chain,in the 1960s.Seven galleries in Cork Street relocated this month to make way for a redevelopment;five more may follow later this year.Yet the rise ofthe fairs means galleries no longer require prime real estate,thinks Sarah Monk of the London Art Fair.With an intemational clientele,many can work online or from home.Although some art fairs still require their exhibitors to have a gallery space,increasingly these are small places outside central London or beyond the city altogether.One gallery owner says few rich customers ever visit his shop in south London.He makes all his contacts at the booths he sets up at fairs,which might be twice the sizc of his store."It's a little like fishing:'he explains."You move to where the pike is."Which of the following is not true about art market according to Paragraphs 4 and 5?A.London's art market boosted favorite mainly from overseas.B.London's new rich often spend multiple times in the capital and do not know it.C.commercial galleries used to depend on regular from wealthy people.D.people in recent years visit galleries for events and parties.
Text 4 Shortly after The Economist went to press,about 25,000 people were expected to rurn up at the London Art Fair.Your correspondent visited just before,as 128 white booths were being filled with modern paintings and sculptures.Dealers clutched mobile phones to their ears or gathered in small groups.They seemed nervous-as well they might be."I can eam a year's living in one fair,"said one harried dealer while stringing up a set oflights.Before 1999 London had just one regular contemporary art fair,remembers Will Ramsay,boss of the expanding Affordable Art Fair.This year around 20 will be held in Britain,mostly in the capitaL Roughly 90 will take place worldwide:The success of larger events such as Frieze,which started in London,has stimulated the growth of smaller fairs specialising in craft work,ceramics and other things.Art14,which started last year,specialises in less well-known intemational galleries,showing art from Sub-Saharan Africa,South Korea and Hong Kong.One explanation for the boom is the overall growth of the modern-art market.Four fifihs of all art sold at auction worldwide last year was from the 20th or 21st century,according to Artprice,a database.In November an auction in New York of modern and contemporary art made$691m（￡422m）,easily breaking the previous record.As older art becomes harder to buy-much ofit is locked up in museums-demand for recent works is rising.London's art market in particular has been boosted by an influx of rich immigrants from Russia,China and the Middle East."When I started 23 years ago I had not a single non-Western foreign buyer,"says Kenny Schachter,an art dealer."It's a different world now."And London's new rich buy arl differently.They ofien spend little time in the capital and do not know it well.Traipsing around individual galleries is inconvenient,particularly as galleries have moved out of central London.The mall-like set-up of a fair is much more suitable.Commercial galleries used to rely on regular visits from rich Britons seeking to fumish their stately homes.Many were family friends.The new art buyers have no such loyalty.People now visit galleries mainly to go to events and to be seen,says Alan Cristea,a gallery owner on Cork street in Mayfair.Fairs,and the parties that spring up around them,are much better places to be spotted.Some galleries are feeling squeezed.Bemard Jacobson runs a gallery opposite Mr Cristea.The changing art market reminds him ofwhen his father,a chemist,was eclipsed by Boots,a pharmaceutical chain,in the 1960s.Seven galleries in Cork Street relocated this month to make way for a redevelopment;five more may follow later this year.Yet the rise ofthe fairs means galleries no longer require prime real estate,thinks Sarah Monk of the London Art Fair.With an intemational clientele,many can work online or from home.Although some art fairs still require their exhibitors to have a gallery space,increasingly these are small places outside central London or beyond the city altogether.One gallery owner says few rich customers ever visit his shop in south London.He makes all his contacts at the booths he sets up at fairs,which might be twice the sizc of his store."It's a little like fishing:'he explains."You move to where the pike is."According to the art dealers,after______,it will make their incomes increase.A.art movement in some groupsB.setting modem paintings and sculpturesC.holding an expoD.reporting an art fair through The Economist
“The house （） go to the daughter, not the son, according to the will of the father.” declared the judge.A、mayB、shouldC、mustD、shall
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单选题AA list of influential painters.BA history of an art movement.CA comparison of schools of art.DA description of a painting.
单选题—“Will you go home tomorrow evening?”—“No, I am going to a lecture, or at least, I am planning _____.”AonBtoCsoDit
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单选题According to the talk, for what is the Glasgow School of Art famous?AIts educational faculty.BIts collection of art works.CIts architectural design.DIts museums and art galleries.
问答题Abstract Expressionism Abstract expressionism was the name for an artistic movement that emerged in the USA during the 1950s. It was also known as the New York School since most of the important artists lived there, at least for a time. During World War II many influential artists had fled the fighting and persecution of Europe and ended up in New York. The Abstract Expressionist group were made up of artists who had either come from Europe or who were directly influenced by the styles and techniques of those who had. Abstract Expressionism is a term used for art that uses elements of Expressionism in an abstract way. They were also influenced by Surrealism. Expressionist artists used symbols and particular styles of painting to express feelings or emotions. Surrealists tried to express the subconscious by using through the actual process of painting. The physical property of paint (what it was like) was what was important. The style and the subject (what the painting was of) had lost all significance. The recognition of the Abstract Expressionists by the art world meant that for the first time the USA became known as an important force in avant-garde art. The term avant-garde is often used in art, and is used to describe anything radically new or different. The Abstract Expressionists fitted this description perfectly. For the first time it was the physical act of painting that was important rather than the end product. The New York School was not, in the strictest sense, an artistic movement. The Abstract Expressionists included artists who had each developed their own individual styles. But there were enough similarities in the way they thought about and approached painting that gradually the group became known as the Abstract Expressionists. Jackson Pollock, Willem de Kooning, Helen Frankenthaler, Lee Krasner and Franz Kline all became recognized for a technique called action painting. This was where spontaneous physical movement and gestures were used to produce paintings. The term action painting was originally used by the art critic Harold Rosenberg. He was referring to Jackson Pollock, who became famous for his drip paintings. Pollock used a revolutionary new technique, which involved dripping, pouring or squirting the paint from syringes directly onto the canvases. We now use the term action painting in a wider sense to refer to any technique of making a painting with energetic and spontaneous application of paint. Other artists who also fall under the title of Abstract Expressionists include Mark Rothko, Barnett Newman and Clyfford Still. These artists invented a softer, calmer technique where paint is applied with brushes in large areas, or fields, of color covers the whole picture surface. This technique became known as color field painting. Both the action and color field painters shared methods and ideals. Paint is applied in bold, simple brushstrokes, dribbles or splashes, with blocks of color to make the maximum visual impact. The huge physical size of the paintings matched the artists’ grand philosophical ideas. Abstract Expressionists all shared a philosophy about painting. Paintings were a search for truth, or the hidden meaning of life. The artists tried to find a way of painting that did not have to follow any particular style or school ofart. This way people would not associate the painting with anything else. They would just look at it as a painting and form their own ideas of what it meant.