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The first person to observe cells as microscopic structures was the British scientist Robert Hooke. In fact,
he was the person who gave cells their name. In his book Micrographia, he used the term cell to refer to
the box-like structures he saw when he looked at dead cork tissue through a simple microscope. He chose
cell as the name because these boxes reminded him of the cells of a monastery, the simple rooms in which
monks slept.
The cells that Hooke observed, however, were in dead tissue, and were in fact cell walls left behind after
the death of the real cells. The first person to observe living, moving cells was Anton van Leeuwenhoek, a
Dutch shopkeeper and crafter of lenses. In the 1670s, inspired by Hookes book, he began to build his
own, more powerful microscopes. With these, he was able to observe living single-celled organisms
such as bacteriaand sperm cells, which he collectively called animalcules.
Despite the discovery that cells existed, it took quite some time for scientists to realize that they werent
just an odd fringe case, but rather, the essential building blocks of all plants, animals, and other living
things. In fact, it wasnt until the 1830s that botanist Matthias Schleiden and zoologist Theodor Schwann
put forth a revolutionary idea: all the different parts of plants and animals are made up of cells, and that
cells can be produced from other cells.
German scientist Rudolf Virchow later added to this theory by stating that all cells must come from other
cellsnot just that some cells could, under the right circumstances, be formed this way. However, he
appears to have actually stolen this idea from Polish scientist Robert Remak.
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2.The word essential in line 12 is closest in meaning to
A. necessary
B. leading
C. successful
D. interesting
Impressionism
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Impressionist art violates all traditional academic rules of artistic painting when it first appeared
in the 19th century. The objective was to portray the artists perceptual impression and recreate this
impression to the eyes of the beholder, rather than recreate details of a reality as seen by the artist.
Impressionist paintings generally use relatively thinner and smaller but visible brush strokes that
impart a more gritty texture, often considered unrefined and less contrived which accounted for their
initial unflattering reviews in the 19th century. Most of its technical character can be summed up as
follows:
Thick and short brush strokes aim top capture the essence of the subject and create an impression,
rather than delving on its details. The painting style is often referred to as impasto.Colours are juxtaposed
side-by-side with as few mixing as possible to create a vibrant color temperature where the colors mix in
the eye of the beholder. On the other hand, grays and dark colors are produced by mixing complementary
colors. Pure impressionism avoids the use of black Sharp edges are rare. Instead, impressionist works
have soft subject edges where wet paint is applied into wet paint of another color in successive strokes to
produce soft edges between color transitions.Impressionist paintings do not use transparent or thin paint
films (glazes) that realist artists employee to produce effects. Impressionist surfaces are often
opaque.Natural light highlighted with close attention to the reflection of colours from one object to
another. In morning scenes, shadows are boldly painted with the blue of the sky or whatever the color of
the objected where they are cast, providing a sense of freshness not represented in earlier realist styles.
Blue shadows on snow influenced this technique called diffused reflection that has become a hallmark of
impressionist paintings.
http://www.impressionism.org/pleine.htm
1.The word hallmark in line 18 is closest in meaning to
A. Characteristic
B. Mark
C. Facility
D. Foundation
2.The word beholder in line 3 is closest in meaning to
A. Viewer
B. Owner
C. Holder
D. Drawer
3.The word it in line 6 refers to
A. Impressionism
B. Artist
C. Brush stroke
D. Effect