MODELO DE EXAMEN DE ACREDITACIN LINGSTICA SERVICIO

CENTRAL DE IDIOMAS. INGLS B2 (MODELO ACLES)

Ejemplo de tarea de comprensin lectora (Reading)
Read the following text and answer the questions.
Shared vision: masterpieces on show alongside photographs they inspired
Positioning a group for a family photo on a day trip, or snapping the passing landscape from the car
window, you may not feel the hand of Gainsborough or Constable on your shoulder, but it is there
all the same. The National Gallery's first major photography exhibition, which will open in the
autumn, is to make a clear case for the strong influence of the great painters in the way we still
picture the world.
The impetus for the show, Seduced by Art, came from an article in the Observer in 2007 by gallery
curator Colin Wiggins. Wiggins pointed out the unlikely correspondences between the searing
images taken by modern photojournalists and the work of their painterly forebears.
"Photography as a narrative tool is a comparative newcomer," he wrote in 2007. "For centuries it
was the painters who illustrated stories. From the Renaissance onwards, it was they who laid down
the ground rules for pictorial storytelling." To prove his theory, Wiggins compared the composition
of a news shot of Lady Thatcher sharing the frame with a gorilla during a visit to London Zoo to
old masters that show the Virgin Mary adored by surrounding saints.
It was unconscious mimicry but showed just how long the rules about images have been laid
down. Sometimes the photographer is unaware of the influence, while in the case of photographic
artists there is often a deliberate nod to the traditions of painting.
"New examples are happening all the time, because the language of visual communication was
invented by painters," said Wiggins. "My original piece in the Observer was about
photojournalism and this new show is more about fine art photography, but it all goes back to the
beginnings of the technology in the 1840s when photographers were evoking the old masters. And
then it became subliminal."
In addition to juxtaposing a challenging photograph by Martin Parr with Thomas Gainsborough's
18th-century portrait, Mr and Mrs Andrews, and a spectacular 1821 battlefield tableau by Emile
Jean-Horace Vernet with Luc Delahaye's modern image, the gallery is to spring some bigger
surprises. In a series of "exceptional interventions", contemporary photographs by Richard
Billingham, Craigie Horsfield and Richard Learoyd will be displayed in the gallery's permanent
collection, alongside great 19th-century paintings by Constable, Degas and Ingres.
"We had been thinking about doing this kind of photographic exhibition, which puts forward an
argument, for some time," said Christopher Riopelle, the gallery's expert in post-1800 paintings
and co-curator of the show with Hope Kingsley from the Wilson Centre of Photography.
He added: "We can see that the earliest photographers were looking closely at paintings and
modifying these compositional ideas while they worked. But it is also true that there are innately
pleasing ways of organising things visually and they had simply been identified first by painters.
"In the first few decades of the new technology of photography there was real interest from
painters too, so there was a whole nexus between the two art forms. This exhibition is not a survey
of photography. It is more of a polemic. We also wanted to look at the use contemporary
photographic artists have made of this notion."
For Wiggins, it was Raphael, more than any other artist, who drew up the template for captured
images, shaping the gestures and patterns for later narrative painters, including Caravaggio, Goya
and Manet.
"It is a pictorial language that audiences have learnt to read over the centuries," Wiggins wrote in
2007. "And so when a modern photograph accidentally replicates the format of a celebrated
painting we are already attuned to understand the way it tells its story. We are simply drawing
upon a centuries-old skill of reading pictures that our predecessors initially learnt from the great
painters."
The exhibition, which will travel to Spain in early 2013, will include just under 90 photographs
displayed alongside chosen paintings from the gallery's collection. Newly commissioned
photography and video will also be on display.
A centrepiece of the exhibition will contrast provocative religious imagery from the 19th-century
photographer Julia Margaret Cameron with the work of the late 20th-century artist Helen
Chadwick, while Tina Barney's social portraits will introduce the theme of portraiture. A room of
landscapes will feature works by the early French photographer Gustave Le Gray and
contemporary artists such as Jem Southam and Tacita Dean, who will contribute a huge, six-part
photogravure. Sam Taylor-Wood's time-based Still Life (2001) will represent more experimental
photographic work, while Ori Gersht's digital still life, Time after Time: Blow Up No. 05 (2007)
will be shown next to its inspiration, Rosy Wealth of June (1886) by Ignace-Henri-Thodore
Fantin-Latour.

1. Find words in the text that match the following definitions.
EXAMPLE. Taking a quick photograph (v): SNAPPING
1.1. Close to the side of; next to (prep):
1.2. Relating to putting together the ingredients or constituents of a whole or mixture, in this case a
work of art (adj):
1.3. An artistic representation of a person, especially one depicting only the face or head and
shoulders (n):
1.4. A painting or drawing of a static arrangement of objects, typically flowers and/or fruit (n):

2. Answer True or False according to the text and justify your answer in one sentence.
EXAMPLE. The photography exhibition aims to reveal the pictorial tradition held in common
with classic images.
TRUE/FALSE.
It aims to make a clear case for the strong influence of the great painters in the way
photographers picture the world.


2.1. People who are not artists are not influenced by artistic tradition.
TRUE/FALSE.
_____________________________________________________________________
2.2. All photographers consciously acknowledge an influence from the pictorial tradition.
TRUE/FALSE.
_____________________________________________________________________
2.3. In the dawn of photography, the links between the two art forms were more obvious.
TRUE/FALSE.
_____________________________________________________________________
2.4. There will be no pieces created specifically for the exhibition.
TRUE/FALSE.
_____________________________________________________________________

Ejemplo de tarea de comprensin auditiva (Listening)
Listen to the report 15000 websites that spread terror and hate and answer the following
questions.

1. Fill in the gaps with what you hear (5 words max.). The answers will appear in order.
These websites provide information on not only how to do it, but also on 1.1WHERE YOU
SHOULD DO IT and 1.2____________________.
The websites considered problematic included 1.3__________________, 1.4 ___________________,
1.5 ___________________, and 1.6 ____________________.
Abraham Cooper says we all have our own 1.7 _________________, and we have to stand up for our
own 1.8. _____________________, and our own 1.9__________________.
This report is the first one to be offered to officials through an 1.10 ____________________ that
provides up-to-date listings.

2. Answer the following questions with TRUE or FALSE and justify your answer in one
sentence.
EXAMPLE. When the project commenced there were at least as many dangerous websites as there are
nowadays.
FALSE. THERE WAS ONLY ONE.
2.1. Cooper is particularly worried about websites with connections to terrorist organizations.

2.2. Websites without affiliation are easier to track.



Ejemplo de tarea de expresin escrita (Writing)
The business opposite your house has a guard dog that barks all night. Write a
formal letter to the manager to complain, explaining how it has affected you and
your family and what you will do if the situation does not improve. (Min. 250
words)




Ejemplo de tarea de expresin oral (Speaking)
Short monologue

If you were President of Spain, what would you do?