Mark Rothko, one of the greatest painters of the twentieth century, was born in Daugavpils, Latvia in 1903. His family immigrated to the United States in 1913, after a 12-day voyage.

Mark moved to New York in the autumn of 1923 and found employment in the garment trade and settled down on the Upper West Side. It was while he was visiting someone at the Art Students League that he saw students painting a model. According to him, this was the start of his life as an artist. He was twenty years old and had taken some art lessons at school, so his initial experience was far from an immediate calling.

In 1936, Mark Rothko began writing a book, which he never completed, about the similarities in the children’s art and the work of modern painters. The work of modernists, which was influenced by primitive art, could, according to him, be compared to that of children in that “Child art transforms itself into primitivism, which is only the child producing a copy of himself.” In this same work, he said that “The fact that one usually begins with drawing is already academic. We start with colour.”

It was not long before his multiform developed into the style he is remembered for. In 1949 Rothko exhibited these new works at the Betty Parsons Gallery. For reviewer Harold Rosenberg, the paintings were unique and primitive. Rothko had, after painting his first multiform, separated himself from the world in East Hampton on Long Island, only inviting a very few people, including Rosenberg, to view the new paintings. The discovery of his works’ specialty came at a period of great sorrow: his mother Kate died in October 1948. As part of this new uniformity of artistic vision, his paintings no longer had individual titles. From this point on they were simply untitled, numbered or dated. However, to assist in distinguishing one work from another, traders would sometimes add the primary colours to the name. Additionally, for the next few years, Rothko painted in oil only on large vertical tents. This was done to surround the viewer, or, in his words, to make the viewer feel enveloped within the picture.

63. When did Rothko want to be an artist?

A. When he immigrated to the U.S.A.

B. When he watched students drawing.

C. When he moved to the Upper West Side.

D. When he joined the Art Students League.

64. What did Rothko think of modern art?

A. It could be produced by children.

B. It could be compared to child work.

C. It was a certain kind of primitive art.

D. It was academic from the very beginning.

65. Why does the author mention Rothko’s uncompleted book?

A. To prove Rothko’s concentration on painting.

B. To show Rothko’s research on the modern art.

C. To suggest Rothko’s unique personal painting style.

D. To explain the inspiration of Rothko’s painting style.

66. Rothko’s distinctive style ______.

A. took shape in 1948

B. was affected by Rosenberg

C. resulted from his boyhood experience                          

D. was rooted in the separation from the world

It was my first day of high school, and I was late. My next class, German, scared me. I just could not speak that  21  . As the bell rang, I ran to the classroom.

At the door, a hand reached out and   22  mine firmly. I looked up. A man with large glasses smiled. He  23  himself as Tony, which means teacher in German.  24 , his warm smile and   25  words eased my fears. That year, I   26  his classes a great deal because I learned   27  just German.

I admit I only speak a little German.   28  I try to live out the life lessons I learned from Tony.

Every day Tony stood   29  his classroom before and after class to give his “hand hug”. After school his room was always filled with students and he would  30  to and chat with them—_31   those not in his class. He taught me that every person is  32  your time.

One time, I was rejected by my friends. Tony told me, “Linda, life gives you  33. But learning its lessons will turn those ashes to jewels.” Therefore, I learned to look at my troubles   _34   and not to fear any difficulty.

In my senior year, I  35  president of one of the school’s clubs, so I was very  36 . Many times I didn’t even have time to buy lunch. He served me by giving me his food as well as advice. He   37   out what he taught us to do:   38  others.

The author William Arthur Ward  39 : “The mediocre(平庸的) teacher tells. The good teacher explains. The superior teacher demonstrates. The great teacher  40 .” Thank you Tony, for inspiring me.

We were on tour a few summers ago, driving through Chicago, when right outside of the city, we got pulled over. A middle-aged policeman came up to the car and was really being troublesome at first. Lecturing us, he said, “You were speeding. Where are you going in such a hurry?” Our guitarist, Tim, told him that we were on our way to Wisconsin to play a show. His way towards us totally changed. He asked, “Oh, so you boys are in a band（乐队）？” We told him that we were. He then asked all the usual band questions about the type of music we played, and how long we had been at it. Suddenly, he stopped and said, “Tim, you want to get out of this ticket, don’t you?” Tim said, “Yes.” So the officer asked him to step out of the car. The rest of us, inside the car, didn’t know what to think as we watched the policeman talk to Tim. Next thing we knew, the policeman was putting Tim in the back of the police car he had parked in front of us. With that, he threw the car into reverse（倒车），stopping a few feet in back of our car. Now we suddenly felt frightened. We didn’t know if we were all going to prison, or if the policeman was going to sell Tim on the black market or something. All of a sudden, the policeman’s voice came over his loudspeaker. He said, “Ladies and gentlemen, for the first time ever, we have Tim here singing on Route 90.” Turns out, the policeman had told Tim that the only way he was getting out of the ticket was if he sang part of one of our songs over the loudspeaker in the police car. Seconds later, Tim started screaming into the receiver. The policeman enjoyed the performance, and sent us on our way without a ticket.

1.The policeman stopped the boys to      .

2.The policeman became friendly to the boys when he knew they       .

3.The boys probably felt        when they drove off.

Mrs. Green, including her husband and three children, lived in a city,   41_was very near the countryside. She worked  42  a teacher and gave music lessons at a school. Of course she was fond of.  43__. Mrs. Green had a good voice and she  44 her classes exciting. But she had a   45 point. Some of her notes (音调) were so high that they sounded like a door which needed   46 . In order to improve her notes, she took   47  chance that she could find to practise.

As her house was not big, she couldn't practise  48__ in it. So she usually left home, walking and singing  49 the country road. She practised her high notes  50 walking. However, each time she heard a person or a car   51  along the road, she  52 singing. She did not want her high notes to be  53 , for she was shy.

One afternoon a fast open car came up to her so  54   and so fast that she didn't  55 it until the car was only a few meters. She was practising some of her  56 and most difficult notes at that time. As the car passed by, she saw a  57 expression come over the driver's face. He stopped suddenly to  58  all the tires (轮胎) carefully.

Mrs. Green felt it shy to tell the driver what the   59  he had heard really was. The driver found 60  wrong, got back into the car and drove off.