95年 - 臺北縣 9 5 學年度國民中學正式教師聯合甄選及代理代課教師聯合筆試試卷科目 : 美 術#1335

［］12. 圖D, E, F 的原繪製者，依序為： A 郭雪湖、林玉山、陳進 B 陳進、傅抱石、林玉山 C 陳進、林玉山、郭雪湖 D 陳進、林風眠、林玉山

D   E   F

［］13. 依據完成的先後順序排列，何者錯誤? A B→A→E B C→A→F C G→A→D D A→B→E

A   B      E

［］14. 圖A, B, C, G 的原繪製者： A 鄭板橋、郭熙、宋徽宗、米芾 B 李鱓、郭熙、宋徽宗、米芾 C 石濤、郭熙、宋徽宗、米芾 D 李鱓、郭熙、張大千、米芾

A   B   C      G

［］16. 拓本A 之字體出自何人 ? A 李陽冰 B 趙之謙 C 鄧石如 D 李斯

A

［］17. 與拓本D 相對應的正確答案是:A 散氏盤 B 毛公鼎 C 漢簡 D 石鼓文

D

［］18. 與圖C 相對應的正確答案是: A 懷素 B 張旭 C 王羲之 D 米芾

C

［］19. 上述兩段文章的內容所強調的是: (A) 彩繪的材料與畫面空間的處理 (B) 專論質感表現的要領 (C) 彩繪的材料與畫面質感的表現 (D) 以上皆是

Any type of paint is suitable for use in paintings portraying texture: it is the way in which it is used that determines whether or
not the painting is successful. We look at watercolor, gouache, acrylic, and oil, occasionally mixing some of them together, as this can
produce surprising and exciting work.
You don`t, initially, need to use all the mediums mentioned. Perhaps start with one, explore its possibilities, and then move on to
another. Every medium has its own natural capabilities for producing texture—and its limitations—and you need to discover these for
yourself.

［］20. 上述兩段文章的內容裡曾提到那些繪畫材料? (A) 水彩顏料、碳精筆、蠟筆、油畫顏料 (B) 水彩顏料、水粉顏料、壓克力顏料、油畫顏料 (C) 水彩顏料、廣告顏料、膠彩顏料、油畫顏料 (D) 以上皆是

Any type of paint is suitable for use in paintings portraying texture: it is the way in which it is used that determines whether or
not the painting is successful. We look at watercolor, gouache, acrylic, and oil, occasionally mixing some of them together, as this can
produce surprising and exciting work.
You don`t, initially, need to use all the mediums mentioned. Perhaps start with one, explore its possibilities, and then move on to
another. Every medium has its own natural capabilities for producing texture—and its limitations—and you need to discover these for
yourself.

［］21. 依據上述兩段文章內容提示，繪畫者若要瞭解繪畫材料本身的特質，其最佳途徑為何? (A) 請教專家 (B) 自己去體驗發現 (C) 參考名家經驗 (D) 廣泛研究技法資料

Any type of paint is suitable for use in paintings portraying texture: it is the way in which it is used that determines whether or
not the painting is successful. We look at watercolor, gouache, acrylic, and oil, occasionally mixing some of them together, as this can
produce surprising and exciting work.
You don`t, initially, need to use all the mediums mentioned. Perhaps start with one, explore its possibilities, and then move on to
another. Every medium has its own natural capabilities for producing texture—and its limitations—and you need to discover these for
yourself.

［］22. 依據上述兩段文章內容提示，繪畫者若要表現出奇特的繪畫作品，其最佳途徑為何? (A) 多種材料的靈活運用 (B) 多種材料的均等運用 (C) 單一材料的靈活運用 (D) 依據繪畫者的習慣

Any type of paint is suitable for use in paintings portraying texture: it is the way in which it is used that determines whether or
not the painting is successful. We look at watercolor, gouache, acrylic, and oil, occasionally mixing some of them together, as this can
produce surprising and exciting work.
You don`t, initially, need to use all the mediums mentioned. Perhaps start with one, explore its possibilities, and then move on to
another. Every medium has its own natural capabilities for producing texture—and its limitations—and you need to discover these for
yourself.

［］23. 文中提到: 色彩學何時開始普受關注? (A) 十八世紀 (B) 十九世紀初 (C) 十九世紀末 (D) 二十世紀

General interest in the influence and rationale of color prevailed early in the nineteenth century. Runge published his color theory using the sphere as coordinate system in 1810. Goethe`s major work on color appeared likewise in 1810, and in 1816 Schopenhauer published his treatise “On Vision and Colors＂. The chemist M. E. Chevreul (1786-1889) published his work of color theory in 1839. This work was to become the scientific foundation of Impressionist and Neo-Impressionist painting. The Neo-Impressionists divided color areas into point elements. They affirmed that mixing pigments breaks the power of the colors. The dots of pure color were to become mingled only in the eye of the viewer.

［］24. 影響印象派畫家最深的色彩學家是: (A) Goethe (B) Runge (C) Chevreul (D) Schopenhauer

General interest in the influence and rationale of color prevailed early in the nineteenth century. Runge published his color theory using the sphere as coordinate system in 1810. Goethe`s major work on color appeared likewise in 1810, and in 1816 Schopenhauer published his treatise “On Vision and Colors＂. The chemist M. E. Chevreul (1786-1889) published his work of color theory in 1839. This work was to become the scientific foundation of Impressionist and Neo-Impressionist painting. The Neo-Impressionists divided color areas into point elements. They affirmed that mixing pigments breaks the power of the colors. The dots of pure color were to become mingled only in the eye of the viewer.

［］25. 文中最後一句所提到的色彩現象是: (A) 對比色彩的混色 (B) 視覺上的混色 (C) 色料的混合 (D) 色光的混合

General interest in the influence and rationale of color prevailed early in the nineteenth century. Runge published his color theory
using the sphere as coordinate system in 1810. Goethe`s major work on color appeared likewise in 1810, and in 1816 Schopenhauer
published his treatise “On Vision and Colors＂. The chemist M. E. Chevreul (1786-1889) published his work of color theory in 1839.
This work was to become the scientific foundation of Impressionist and Neo-Impressionist painting. The Neo-Impressionists divided
color areas into point elements. They affirmed that mixing pigments breaks the power of the colors. The dots of pure color were to
become mingled only in the eye of the viewer.

［］26. 下列四個答案中，那一個是文中未提及的? (A) 新印象派的點畫法 (B) 1810 年有兩位學者發表色彩理論 (C) Chevreul 發表色彩理論於1839 (D) 印象派畫家全都精通色彩理論。

General interest in the influence and rationale of color prevailed early in the nineteenth century. Runge published his color theory
using the sphere as coordinate system in 1810. Goethe`s major work on color appeared likewise in 1810, and in 1816 Schopenhauer
published his treatise “On Vision and Colors＂. The chemist M. E. Chevreul (1786-1889) published his work of color theory in 1839.
This work was to become the scientific foundation of Impressionist and Neo-Impressionist painting. The Neo-Impressionists divided
color areas into point elements. They affirmed that mixing pigments breaks the power of the colors. The dots of pure color were to
become mingled only in the eye of the viewer.

［］28. 上述五件雕刻作品中，那幾件作品屬於義大利巴洛克時期的作品? A A B B C C D E

A   B   C     D

［］29. 上述五件雕刻作品中， 圖C 是那一位藝術家的作品? A 杜那鐵羅 B 貝尼尼 C 米開朗基羅 D 喬托

C

［］32. 上列A, B, C, D 所呈現的四大建築中, 何者屬於哥德式的建築? A A B B C C D D

A    B   C     D

［］33. 有關圖A 的描述，何者有誤? A 馬德諾 C.Maderno(1556～1629)在1607～15 年完成米開蘭基羅未完成的 B 此一建築名為《聖彼得教堂》 C 它建築於羅馬梵諦岡 D 以上皆非

A

［］34. 圖C 屬於那一類建築? A 羅馬式建築 B 希臘式建築 C 拜占廷建築 D 哥德式建築

C

［B］46. 圖A , B 的創作者是: A 盧梭與委拉斯貴玆 B 盧梭與普桑 C盧梭與德拉克洛瓦 D卡羅與普桑

A      B

［］47. 圖F 與圖G 出自那兩位藝術家? A 劉奇偉與達利 B康丁斯基與達利 C米羅與蒙德里安 D克利與達利

F     G

［A］48. 圖B 的主要內容: A 畫家普桑(Nicolas Poussin 1594 - l665)描寫遭劫掠的薩比奴女人場景 B 新古典主義畫家大衛描寫巴黎街巷戰爭場景 C 法國畫家安格爾描寫遭劫掠的薩比奴女人場景 D 德拉克洛瓦描寫遭羅馬城邦戰爭場景

B

［］49. 以作品風格判斷，圖E 蒙德里安(P. Mondrian, 1872～1944)的作品「百老匯爵士樂 」屬於下列那一類型? A抽象主義 B新造形主義 C表現主義 D新即物主義(Neue-Sachlichkeit)

［］50. 圖D 是那一位畫家的作品? (A) 委拉斯貴玆(Velazquez,1599～1660) (B) 普桑 (Nicolas Poussin 1594 - l665) (C) 克利(P.Klee，1879～1940) (D) 德拉克洛瓦( Ferdinand Victor Engine Delacroix1798 -1863)