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托福阅读模拟题：托福阅读的关键是在于多看多练，在日常备考中，考生需要多做一些托福阅读模拟题。 The medieval artists didnt know about perspective; they didnt want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didnt need to know about perspective. In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldnt show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective. With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the grammar of painting. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops dont meet on eye level. For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of flat pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions. | 
