IELTS Reading Practice: Margaret Preston (With Translation & Answer Key)

In the treasure trove of IELTS Reading practice tests, biography-based passages are always an engaging challenge, often filled with “traps” regarding timelines and specific events. The reading passage “Australian Artist Margaret Preston” is a classic example, chronicling the creative journey of one of Australia’s greatest female painters.

To help you conquer this passage, the following article provides a detailed bilingual translation, an analysis of art-related terminology, and a thorough explanation of the answers. Let’s dive in!

Reading Passage and Questions

Australian artist Margaret Preston

Part 1: Early Life and Influences Margaret Preston’s vibrant paintings and prints of Australian flowers, animals and landscapes have delighted the Australian public since the early 1920s.

Margaret Preston was born Margaret Rose McPherson in Port Adelaide, South Australia in 1875… She decided early in life to become an artist and took private art lessons… In 1898, after her father died, Margaret returned to Adelaide… Her early artwork was influenced by the German aesthetic tradition, in which subjects of the natural world were depicted in a true to life manner.

Part 2: European Influence and Marriage Margaret’s first visit to Europe in 1904… had little impact on this naturalism… However some eight years later, after returning to Paris, she began to recognise the decorative possibilities of art. With the outbreak of the First World War… In England’s West Country, she taught basket weaving at a rehabilitation unit for servicemen. It was on board a boat returning to Australia that she met wealthy businessman William Preston, whom she married in 1919…

Part 3: The 1925 Exhibition & Berowra Years Her first major showing in Australia was with her friend Thea Proctor… Harbour views were again prominent, but in comparison with earlier artworks, they were compact and busy, using striking contrasts… From 1932 to 1939, Preston moved… to Berowra… Preston’s prints became larger, less complex and less reliant on the use of bright colours. Flowers were no longer arranged in vases, and Preston began to concentrate instead on flowers that were growing wild.

Part 4: Aboriginal Influence & Later Life While living at Berowra… Preston also developed what was to be a lifelong interest in Aboriginal art… During the 1940s, symbols used by Aboriginal people… became increasingly prominent in her prints. The artist’s titles from this period frequently acknowledge her sources…

It was in 1953, at the age of 78… The exhibition… included 29 prints made using the ancient technique known as stenciling. Many of the artworks… incorporated her fusion of Aboriginal and Chinese concepts… she acquired the first of her many books on the subject (Chinese art) in 1915… As she got older, her love of painting, printmaking and travel continued. By the time of her death in 1963… she had produced over 400 paintings and prints.

Summary of the “Australian Artist Margaret Preston” Passage

Below is the reading content broken down by section, accompanied by a translation for easy comparison.

Part 1: Early Life

English: “Margaret Preston’s vibrant paintings and prints of Australian flowers, animals and landscapes have delighted the Australian public since the early 1920s. Margaret Preston was born Margaret Rose McPherson in Port Adelaide, South Australia in 1875… She and her sister were sent at first to a private school, but when family circumstances changed, her mother took the girls to Sydney where Margaret attended a public high school. She decided early in life to become an artist and took private art lessons… in 1893 enrolled at the National Gallery of Victoria Art School… In 1898… Her early artwork was influenced by the German aesthetic tradition, in which subjects of the natural world were depicted in a true to life manner.”

Vietnamese: “Những bức tranh và bản in rực rỡ của Margaret Preston về hoa cỏ, động vật và phong cảnh Úc đã làm say lòng công chúng Úc từ đầu những năm 1920. Margaret Preston tên khai sinh là Margaret Rose McPherson, sinh tại Port Adelaide, Nam Úc năm 1875… Ban đầu, bà và chị gái được gửi đến trường tư thục, nhưng khi hoàn cảnh gia đình thay đổi, mẹ bà đưa các con gái đến Sydney, nơi Margaret theo học trường trung học công lập. Bà quyết định trở thành họa sĩ từ rất sớm và tham gia các lớp học vẽ tư nhân… năm 1893 bà đăng ký vào Trường Nghệ thuật Phòng trưng bày Quốc gia Victoria… Năm 1898… Các tác phẩm đầu tay của bà chịu ảnh hưởng bởi truyền thống thẩm mỹ Đức, trong đó các chủ thể của thế giới tự nhiên được miêu tả theo phong cách chân thực (giống như thật).”

Part 2: Studies and Marriage

English: “Margaret’s first visit to Europe in 1904… had little impact on this naturalism that dominated her work from this early period. However some eight years later, after returning to Paris, she began to recognise the decorative possibilities of art. With the outbreak of the First World War, Margaret traveled to England… In England’s West Country, she taught basket weaving at a rehabilitation unit for servicemen. It was on board a boat returning to Australia that she met wealthy businessman William Preston, whom she married in 1919. Together Margaret and William settled in the Sydney harbourside suburb of Mosman.”

Vietnamese: “Chuyến đi đầu tiên của Margaret đến Châu Âu năm 1904… ít ảnh hưởng đến chủ nghĩa tự nhiên vốn thống trị các tác phẩm của bà trong giai đoạn đầu này. Tuy nhiên, khoảng tám năm sau, sau khi trở lại Paris, bà bắt đầu nhận ra những khả năng trang trí của nghệ thuật. Khi Thế chiến thứ nhất bùng nổ, Margaret đến Anh… Tại vùng West Country của Anh, bà dạy đan rổ tại một đơn vị phục hồi chức năng cho quân nhân. Chính trên chuyến tàu trở về Úc, bà đã gặp doanh nhân giàu có William Preston, người mà bà kết hôn năm 1919. Margaret và William cùng định cư tại vùng ngoại ô Mosman bên cảng Sydney.”

Part 3: The 1925 Exhibition & Style Shift

English: “Her first major showing in Australia was with her friend Thea Proctor, in exhibitions in Melbourne and Sydney in 1925. Many of Preston’s prints were hand-coloured in rich scarlet reds, blues and greens… Harbour views were again prominent, but in comparison with earlier artworks, they were compact and busy, using striking contrasts of black and white combined with elaborate patterns… From 1932 to 1939, Preston moved away from Sydney and lived… at Berowra… Preston’s prints became larger, less complex and less reliant on the use of bright colours. Flowers were no longer arranged in vases, and Preston began to concentrate instead on flowers that were growing wild.”

Vietnamese: “Buổi triển lãm lớn đầu tiên của bà tại Úc là cùng với người bạn Thea Proctor, tại Melbourne và Sydney năm 1925. Nhiều bản in của Preston được tô tay với các màu đỏ tươi, xanh dương và xanh lục phong phú… Cảnh cảng biển lại một lần nữa nổi bật, nhưng so với các tác phẩm trước đó, chúng nhỏ gọn và nhiều chi tiết (bận rộn) hơn, sử dụng sự tương phản ấn tượng giữa đen và trắng kết hợp với các hoa văn tỉ mỉ… Từ năm 1932 đến 1939, Preston rời Sydney và sống… tại Berowra… Các bản in của Preston trở nên lớn hơn, bớt phức tạp hơn và ít phụ thuộc vào việc sử dụng màu sắc tươi sáng. Hoa không còn được cắm trong lọ nữa, thay vào đó Preston bắt đầu tập trung vào những loài hoa mọc hoang dã.”

Part 4: Aboriginal Influence

English: “While living at Berowra, and undoubtedly prompted by the Aboriginal rock engravings found near her property, Preston also developed what was to be a lifelong interest in Aboriginal art… Preston believed that Aboriginal art provided the key to establishing a national body of art that reflected the vast and ancient continent of Australia. During the 1940s, symbols used by Aboriginal people, together with dried, burnt colours found in traditional Aboriginal paintings, became increasingly prominent in her prints. The artist’s titles from this period frequently acknowledge her sources…”

Vietnamese: “Khi sống tại Berowra, và chắc chắn được thúc đẩy bởi những hình khắc trên đá của người Thổ dân được tìm thấy gần nhà, Preston cũng phát triển niềm đam mê trọn đời với nghệ thuật Thổ dân… Preston tin rằng nghệ thuật Thổ dân là chìa khóa để thiết lập một nền nghệ thuật quốc gia phản ánh lục địa Úc rộng lớn và cổ xưa. Trong những năm 1940, các biểu tượng được người Thổ dân sử dụng, cùng với những gam màu khô, cháy (màu đất nung) tìm thấy trong tranh Thổ dân truyền thống, ngày càng trở nên nổi bật trong các bản in của bà. Tiêu đề các tác phẩm của bà trong giai đoạn này thường xuyên ghi nhận các nguồn tham khảo…”

Part 5: Later Years

English: “It was in 1953, at the age of 78, that Preston produced her most significant prints. The exhibition… included 29 prints made using the ancient technique known as stenciling. Many of the artworks… incorporated her fusion of Aboriginal and Chinese concepts. Preston had admired Chinese art since 1915, when she acquired the first of her many books on the subject… However, in her prints of the 1950s, Preston combined Chinese ideas with her understanding of the ‘Dreamtime’ creation stories of Aboriginal Australians. Preston did not let age alter her habit of working hard. As she got older, her love of painting, printmaking and travel continued. By the time of her death in 1963… she had produced over 400 paintings and prints.”

Vietnamese: “Vào năm 1953, ở tuổi 78, Preston đã tạo ra những bản in quan trọng nhất của mình. Triển lãm… bao gồm 29 bản in được thực hiện bằng kỹ thuật cổ xưa gọi là in khuôn (stenciling). Nhiều tác phẩm… kết hợp sự giao thoa giữa các khái niệm của Thổ dân và Trung Quốc. Preston đã ngưỡng mộ nghệ thuật Trung Quốc từ năm 1915, khi bà mua cuốn sách đầu tiên trong số nhiều cuốn sách về chủ đề này… Tuy nhiên, trong các bản in thập niên 1950, Preston đã kết hợp các ý tưởng Trung Quốc với sự hiểu biết của bà về các câu chuyện sáng thế ‘Dreamtime’ (Thời kỳ Mộng mị) của người Úc bản địa. Preston không để tuổi tác làm thay đổi thói quen làm việc chăm chỉ. Khi về già, tình yêu của bà dành cho hội họa, in ấn và du lịch vẫn tiếp tục. Vào thời điểm qua đời năm 1963… bà đã sáng tác hơn 400 bức tranh và bản in.”

Key Vocabulary Summary

To fully understand the passage, you should master the following art-related and descriptive terms:

• Vibrant (adj): Bright, vivid, full of energy.

• Aesthetic (adj): Relating to beauty or the appreciation of art.

• Depict (v): To represent or portray in art.

• True to life (phrase): Realistic, accurate to reality.

• Naturalism (n): A style of art that aims to depict the natural world realistically.

• Rehabilitation unit (n): A facility for restoring health or function.

• Servicemen (n): Members of the armed forces.

• Prominent (adj): Important, famous, or noticeable.

• Flora (n): Plants of a particular region.

• Stencil (v/n): A technique for reproducing designs by passing ink through a cut-out pattern.

• Fusion (n): The process of joining two or more things together.

• Originality (n): The quality of being new and unique.

Answers & Explanations

15. Artists in the German aesthetic tradition portrayed nature realistically.

• Answer: TRUE

• Explanation: In Part 1, the text states: “Her early artwork was influenced by the German aesthetic tradition, in which subjects of the natural world were depicted in a true to life manner.”

  • True to life manner is synonymous with realistically. Thus, the information matches.

16. Margaret attended a famous art college in Paris.

• Answer: NOT GIVEN

• Explanation: Part 2 mentions her studies in Paris, France, but does not specify whether the institution was “famous.”

17. Margaret met her husband William while teaching a craft at a rehabilitation unit.

• Answer: FALSE

• Explanation: Part 2 states she taught basket weaving at a rehabilitation unit (taught basket weaving at a rehabilitation unit). However, the next sentence clearly states: “It was on board a boat returning to Australia that she met wealthy businessman William Preston”.

  • She met her husband on a boat returning to Australia, not while teaching.

18. Margaret Preston and Thea Proctor explored similar themes in their art.

• Answer: NOT GIVEN

• Explanation: Part 3 only mentions that she had her first major exhibition with her friend Thea Proctor, but it does not compare or mention the themes in Thea Proctor’s work.

19. Margaret’s 1925 artworks of Sydney Harbour were simpler than her previous ones.

• Answer: FALSE

• Explanation: Part 3 describes the 1925 harbour paintings: “Harbour views were again prominent, but in comparison with earlier artworks, they were compact and busy, using striking contrasts… and elaborate patterns”.

  • Busy and elaborate are the opposite of simpler.

20. The colours in Margaret’s Berowra prints were very bright.

• Answer: FALSE

• Explanation: Part 3 writes about her time in Berowra: “Preston’s prints became… less reliant on the use of bright colours”.

  • She relied less on bright colours, meaning the prints were not as very bright as before.

21. When living in Berowra, Margaret painted flowers in their natural location.

• Answer: TRUE

• Explanation: Part 3 states: “Preston began to concentrate instead on flowers that were growing wild”. Previously, she bought flowers from florists, but in Berowra, she painted flowers growing in the wild.

  • Growing wild is equivalent to in their natural location.

22. incorporated _______ and colours from Aboriginal art in her own work

• Answer: symbols

• Explanation: Search for the keywords Aboriginal art and colours. In Part 4: “During the 1940s, symbols used by Aboriginal people, together with dried, burnt colours… became increasingly prominent in her prints.”

23. often referred to Aboriginal sources in the _______ she gave her artworks

• Answer: titles

• Explanation: Search for the keyword referred to sources. Part 4 writes: “The artist’s titles from this period frequently acknowledge her sources…”

  • Acknowledge her sources is synonymous with referred to sources.

24. very old method of _______ was used for some prints

• Answer: stenciling

• Explanation: Search for the keyword very old method. Part 5 writes: “prints made using the ancient technique known as stenciling.”

  • Ancient technique is synonymous with very old method.

25. was inspired by _______ about Chinese art that she had started collecting in 1915

• Answer: books

• Explanation: Search for the keywords Chinese art and the year 1915. Part 5 writes: “Preston had admired Chinese art since 1915, when she acquired the first of her many books on the subject…”

  • Acquired is synonymous with collecting.

26. still interested in _______ and art

• Answer: travel

• Explanation: Search for the keywords Old age and interested in. The final part writes: “As she got older, her love of painting, printmaking and travel continued.”

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