Reading 2026-09 Test 1 — IELTS Academic Reading Practice Test with Answers

基于考生回忆投稿及材料收集整理 — 非官方 IELTS 资料。

Reading Passage 1: A Brief History Of Canned Food

In 1795, the French government had a problem: they faced the fact that it is not easy to win battles abroad when your soldiers are hungry and malnourished. That year they established a 12,000-franc prize for whoever could find a way to preserve food – from milk and meat to fruits and vegetables. French chef Nicolas Appert took more than a decade to develop a process that involved cooking food in glass jars and then using seals made of cork to make them airtight. In 1810, he published a book whose title translates as “The art of preserving all animal and vegetable substances for several years”, and collected his prize money. Appert’s achievement didn’t escape the notice of British merchant and inventor Peter Durand, who applied for a British patent later that year. Durand used techniques similar to Appert’s, although he adapted the model to include the use of tin vessels as well as glass jars.

Following these discoveries, canned food was initially produced for soldiers and explorers. But even after people became aware of the existence of bacteria in the late 19th century, canning companies couldn’t work out exactly why some of their tins turned bad. And even into the 20th century, newspapers were full of accounts not only of food poisoning but also of cases of the fatal disease botulism resulting from people eating canned food. For that reason, many continued to look upon canned food with suspicion and fear.

The US food manufacturer, The Heinz Company, realized bad cans were bad for business. From the 1890s to 1920s, the company insisted on weekly manicures for its canning-factory workers to ensure that any bacteria beneath employees’ fingernails stayed out of the food. Heinz employees were required to shower and change their clothing regularly. In an era when food-factory hygiene was not universally adopted, what might have been considered a nuisance by workers was at least good for consumers.

Some canning companies killed bacteria with chemical additives such as sodium benzoate, which is still used today in canned food, and formaldehydes, which are now known to cause cancer. Some of the larger canning companies, such as Heinz, Libby, and Campbell’s, installed expensive steam-retort technology developed in the 1870s. Steam retorts worked like steam engines, using pressure to raise canning temperatures high enough to make food safe. Yet some batches of cans, even when made with this advanced technique, would explode after months on the shelf, while the contents of other cans might mysteriously sour. Smaller canning manufacturers relied on the open kettle method and they had even less consistent results.

US canning companies eventually banded together to discover the scientific principles affecting the canning process. In 1913, they launched the Research Laboratory of the National Canners Association in order to look into the elusive bacteriology responsible for all manner of spoiled canned food. The research done by the laboratory in the decades that followed helped resolve the problem of spoiled food and led to improved flavor, color, nutritional value, and texture.

Before this time, canning companies had discovered through trial and error that the best way to avoid bad cans was to cook food at high temperatures for long periods, an approach that sacrificed flavor. “Food safety and palatability were often at cross-purposes,” remarks food historian Gabriella Petrick. For string beans, for instance, long cooking times in hot water leach out the green color, creating an unattractive grayish-toned bean. The addition of salt was one technique employed in the early 20th century to prevent this happening, thereby maintaining the visual appeal of the product and restoring a certain amount of taste.

One of the major canning innovations of the 20th century was the development of aseptic processing. This technique, which involves sterilizing the container separately from the food, was invented in Switzerland in the 1960s for processing milk, but is now used widely for canned tomatoes and many juices. Small volumes of food are heated to a precise temperature and for a precise time in order to avoid overcooking and preserve color and nutrients, explains food scientist Philip Nelson, who won the 2007 World Food Prize in recognition of his research on making aseptic processing workable on a large industrial scale.

Today, despite all the modern alternatives, Appert’s technology still reigns supreme for long-term storage. More than two centuries on, the simple can is still the best solution for the safe and effective preservation of a wide range of foodstuffs worldwide.

open kettle method: food is cooked in a covered container and then poured while hot into sterile jars.

1
French government needs supply of preserved food to feed the nation’s ____.
2
Appert preserves food in glass jars – using ____.
3
Durand adapts Appert’s process for containers made of ____.
4
Development of steam-retort technology in which ____ helps achieve high temperature.
5
Heinz company introduces regulations to reduce risk of ____ entering the product.
6
Companies from across the US set up an organisation for the purpose of ____.
7
Technology developed for use with ____ is adapted for the sterilisation of cans.
8
____ was used in 20th century to avoid loss of colour during cooking process.
9
Peter Durand based his food preservation methods on a process that had recently won a cash prize from the French government.
- A. TRUE
- B. FALSE
- C. NOT GIVEN
10
The first canned food products were aimed at the general public.
11
Canned food producers often denied responsibility for cases of food poisoning.
12
The Heinz Company’s regulations regarding employees’ personal hygiene led to an increase in sales of their products.
13
The use of chemical additives was abandoned following the adoption of steam techniques.

Reading Passage 2: A Study of Western Celebrity

In our celebrity-obsessed culture, TV shows, internet blogs, and even newspapers are often full of the latest news, gossip and scandals about current celebrities.

(A) It seems that our current society cannot get enough information about the daily lives of celebrities. But how did celebrities become such an important force in our culture? While people have always shared a certain obsession with the fantastic and the famous, the notion of celebrity, as well as the types of people termed 'celebrities', has evolved greatly throughout the ages. The word 'celebrity' has its roots in the language of the ancient Roman civilization. The word we now know to mean 'a condition of being famous' or 'a famous person' is derived from the Latin word 'celeber', meaning 'frequented or populous'.

(B) The celebrities of the ancient world were the powerful and awesome deities of Greece and Rome, and the citizens of these civilizations believed in a vast number of immortals who had a direct impact on their lives. It was, therefore, important to know about these figures' personal lives. This need to know led to the creation of myths, which personalized the gods and involved them in ancient celebrity scandals that thrilled and excited the common people.

(C) During ancient times, amateur and professional athletes also began to make an impact on the celebrity culture. Victors in the ancient Olympic Games were treated as heroes and were often elevated to god-like status. In the ancient Roman civilization, gladiators – the equivalent of today's professional athletes – were also revered by the common people for their heroics and seemingly superhuman strength.

(D) As Europe moved into the Dark Ages (the years spanning approximately 400–1300 AD) and at a time when athletics and the arts were largely forgotten, monarchs and rulers continued to maintain celebrity status, while religious figures took on newfound fame. The miraculous lives and fascinating deaths of spiritual figures lent excitement to the lives of common people when there was often little else to be excited about, as they faced war, disease and food shortages.

(E) During the period 1300–1600 AD, or the Renaissance period as it is known, interest in ruling figures faded. As Europe emerged from its long neglect of the arts, there was greater appreciation for portraits, statues and stone carvings. This period of appreciation for the arts lent a sense of celebrity to artists who were noted for their works and their personal achievements. It was a time when artists began to surpass political and religious individuals for supreme celebrity – a trend that would continue into later centuries.

(F) While the figures of the ancient and early modern civilizations were able to achieve moderate and sometimes lasting celebrity within particular cultures, the global reach of their fame was limited. It was not until the 1700s, when technological advances made publishing commercially viable, that the extent of a person's fame could spread further. The increase in the availability of the written word was accompanied by a huge rise in the number of common people who could read, allowing a mass audience to find out about celebrities for the first time. Suddenly, the lives of authors, politicians, war heroes, and other celebrities could now be read about in newspapers around the world. These gave ordinary people the opportunity to become intimately knowledgeable about the figures they most admired.

(G) In the modern era, particularly as radio and film took off in the 1900s, things really began to change. First, radio began to make its way into the average home in the 1920s and 1930s. Professional athletes also began to be regarded as stars, as their games and exploits could be broadcast over the air for an entirely new audience. Then, the rise of television in the 1950s only cemented the premier level of celebrity that film stars, athletes and television actors were beginning to share. This also meant a huge increase in the individual salaries of these celebrities. Even a few animals gained fame through children's TV shows. The emergence of reality television shows in the late 1990s allowed all kinds of people with little ability to enjoy a short burst of fame on the television screen. All you needed, it seemed, was an attractive appearance. Today, reality television programmers make it possible to be famous not for doing anything in particular, but simply for being, with the audience deciding whether someone deserves to become a celebrity or not. As the meaning of celebrity continues to evolve and redefine itself in a quickly changing world, there is no telling who will become of interest next.

14
Paragraph A
- i. Why it is necessary to explain the meaning of the word celebrity
- ii. The influence of non-human celebrities on societies
- iii. The impact of broadcasting on concepts of celebrity
- iv. Creativity having greater value
- v. Admiration for physical achievement
- vi. The advantages of celebrity status in the ancient world
- vii. A result of hardship
- viii. Literacy and widespread celebrity
- ix. Attitudes of celebrities towards the media
- x. The original definition of celebrity
15
Paragraph B
16
Paragraph C
17
Paragraph D
18
Paragraph E
19
Paragraph F
20
Paragraph G
21
A wide variety of people achieve a brief period of fame.
- A. Ancient times
- B. Dark Ages
- C. Renaissance
- D. Modern era
22
Stories are invented about celebrities' lives.
23
The fame of rulers is starting to diminish.
24
The development of the publishing industry in the 1700s signalled the beginning of international fame. A growing number of people could read, which meant they had the chance to become informed about their favourite figures by reading _____.
25
This exposure to celebrities expanded further when radio and television became popular, and it was mass media attention that resulted in higher status and fame for some celebrities. The recent rise of reality television has also meant that a person's _____ rather than their talent can bring fame.
26
With this type of television programme, fame may be entirely dependent on the response of the _____.

Reading Passage 3: 200 Years of Australian Landscapes at the Royal Academy in London

This exhibition promises to chart the evolution of a nation through its art, but not everyone agrees with the reasons behind the choice of artwork.

For the casual viewer, the exhibition of landscapes, Australia, selected by the Royal Academy of Art, will be a spectacular guide through Australian art history. Included in the exhibition are a range of artists and styles, dating from the earliest days of colonial art and progressing through expressionism and modernism to the greats of the 20th century, culminating with the current generation of Australian artists. It is hardly surprising, then, that this results in a flexible, wide-ranging notion of landscape.

But this landmark exhibition gives rise to some questions, and perhaps problems, regarding Britain's relationship with its former colony. By choosing a style of painting at which British artists excel, the Academy could be seen as inviting criticism that hints at a telling attitude towards Australian art by comparison. But it is the very theme of landscape that provides the strongest connection to Australian art from Britain. To consider it condescending is perhaps too strong, but for Joanna Mendelssohn, an Australian critic and Associate Professor at the University of NSW's College of Fine Arts (COFA), there is a suggestion that British artistic values have directed this exhibition, rather than allowing Australia the freedom to demonstrate its maturity. What Mendelssohn found surprising about this exhibition was that the underlying rules for the selection of works seemed to have been so conservative. Since the landscape is a very strong British artistic theme, it appeared to her that when the British looked to the art of a former colony, there was a tendency for them to think that those colonies would continue to be like the British themselves. In reviewing Australia, the British insisted on looking at the genre of landscape painting.

Because of colonial ties, it was inevitable during Australian art's formative years that it would reflect Britain's devotion to the beloved landscape before its own character and idiosyncrasies took shape. And while Mendelssohn's concern over the exhibition's conventional selection is valid, the Academy is nevertheless embracing the peculiarities of Australian art from the mid-19th century onward, albeit within the boundaries of landscape. Australia is curated by Kathleen Soriano, director of exhibitions at the Royal Academy. “Certainly the influence of English, French, or German art is much more evident in the early periods, in the early 1800s to mid-1800s,” she says. “What I wanted to show was how Australian art develops a real distinctiveness, associated with the landscape and the light.”

The fusion of tradition of the European kind with something more specifically Australian, and often personal, is crucial to the exhibition, and extends particularly to some of the more contemporary artists involved. Sydney-born video artist Shaun Gladwell is a good example of this. Gladwell's most famous piece, which is featured in the exhibition, is Storm Sequence (2000), a video of Gladwell skateboarding on the Bondi seafront as one of Sydney's signature brutal storms lingers offshore. It is his acknowledgment of landscape (or seascape) tradition, colored by Gladwell's own individualism. “To exhibit my work in this show might make some sense because I was interested in Turner and the idea of atmosphere affecting vision, something I was really interested in around the time of Storm Sequence. I was thinking about this tradition of Romantic landscape, but I wanted to make it personal,” says Gladwell. But he didn't want to just embark on borrowing imagery from elsewhere. He wanted to bring it to his experience and his world through skateboarding and beach culture.

So while it may seem narrow for Britain to reduce Australian art to the genre of landscape, there can be little denying that British landscape painting is still relevant to a current generation of Australian practitioners, however indirectly. Visitors to the exhibition encounter Australian Aboriginal art first, the idea being that these works warrant a prominent position because they were 'first'. Over the last couple of decades, London has hosted many successful exhibitions of Aboriginal art in smaller spaces, but for Soriano, Australia represents an opportunity to place such art in a broader context, with new relationships to the art of the settlers and white Australia. 'One of the reasons landscape makes sense as being the right theme was because Aboriginal art started in and on the landscape,' she says. '[The exhibition] is a beautiful meshing of the two different kinds of art, that allowed me to bring them together comfortably and honestly within this theme. It was important for me to present Indigenous art to audiences, and I felt it was most authentic that it was seen as part of Australian art history, rather than a separate area with a world of its own.'

Meanwhile, Australian critic Mendelssohn also points out that London is increasingly less important to today's generation of artists, and this somewhat weakens the ceremony surrounding the exhibition in London. 'China is the most important art market in the world,' she says. 'If you've made it in Shanghai, you've made it. The world has changed. My students in Australia, who come from all over the world, really want to see Venice Biennale and Art Basel, but they're less interested in going to London. When I was growing up, London was the destination, and then when I was at university all the smart young things wanted to go to New York,' she added. 'Now they want to go everywhere. There's no such thing as the centre and the periphery like there used to be. It's much more complicated.'

27
As expected, the artworks chosen for the exhibition reflect a narrow interpretation of landscape.
- A. YES
- B. NO
- C. NOT GIVEN
28
The Academy rejected Australian suggestions for the subject of the exhibition.
29
The colonial relationship meant that early Australian landscape painting followed the traditions of English landscape painting.
30
The exhibition reflects the fact that Australian art developed its own particular qualities.
31
Contemporary Australian artists have generally rejected British landscape traditions.
32
What is the writer's main point in the second paragraph?
- A. Australian landscape painting derives from the British tradition.
- B. Australian landscape painting is more highly regarded than British.
- C. Britain is still imposing its principles on Australian art.
- D. British art cannot be compared to Australian art.
33
What does Joanna Mendelssohn find surprising?
- A. Modern Australian landscape painting has great variety.
- B. The guidelines for the choice of work were very traditional.
- C. Landscape painting remains a popular subject for British artists.
- D. The British find the Australian landscape unsuitable as a subject.
34
Shaun Gladwell's work is included in the exhibition because
- A. it adopts a subjective approach to depicting the landscape.
- B. skateboarding is an inspiration to many Australian artists.
- C. storms are a significant feature in the Australian landscape.
- D. Bondi is an iconic Australian location.
35
What was the reason for Soriano including Aboriginal art in the exhibition?
- A. It is not well known in London art circles.
- B. Aboriginal landscape painting influenced Australian settlers.
- C. It is part of the Australian art tradition and not independent of it.
- D. Modern Aboriginal painting deals with changes to the landscape.
36
By referring to China, Mendelssohn is making the point that
- A. having an exhibition in London is not as important as it used to be.
- B. young artists in Britain are not interested in Australian art.
- C. art from Shanghai is more important than Australian art.
- D. New York is still a preferred destination for young artists.
37
In spite of its conservatism, the Royal Academy exhibition ____
- A. reflects the mood created by the natural environment
- B. demonstrates that the dominant art form in Australia is landscape painting
- C. demonstrates an understanding of the historical importance of the land
- D. showcases a very small number of artists
- E. demonstrates a strong European flavour
- F. shows an acceptance of the unique qualities of Australian art
38
Australian art of the early to mid-1800s ____
39
The modern work by Gladwell chosen for the exhibition ____
40
Including Aboriginal art in the exhibition ____

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1. soldiers
The passage says the French government needed preserved food to feed its soldiers, showing that soldiers were the main group needing food supplies.
2. cork
It is stated that Appert used glass jars sealed with cork to preserve food, so 'cork' is the correct answer.
3. tin
Durand changed Appert’s process by using containers made of tin, as mentioned in the passage.
4. pressure
The passage explains that pressure in steam-retort technology helps achieve high temperatures needed for sterilisation.
5. bacteria
Heinz introduced rules to reduce the risk of bacteria entering the product, as bacteria can cause food poisoning.
6. research
Companies set up an organisation for research, as the passage says their purpose was to study and improve canning methods.
7. milk
The technology first used for milk was later adapted for sterilising cans, showing the link between the two.
8. salt
Salt was used in the 20th century to keep the colour of food during cooking, as stated in the passage.
9. A
It is true because Durand based his methods on a process that had won a cash prize from the French government.
10. B
This is false because the first canned food was made for the army, not for the general public.
11. C
Not given, as the passage does not mention if canned food producers denied responsibility for food poisoning.
12. C
Not given, because there is no information about whether Heinz’s hygiene rules led to more sales.
13. B
False, because the passage says chemical additives continued to be used even after steam techniques were adopted.
14. x
Paragraph A explains the original definition of celebrity, matching option x.
15. ii
Paragraph B talks about non-human celebrities and their influence, matching option ii.
16. v
Paragraph C is about admiration for physical achievement, which is option v.
17. vii
Paragraph D discusses how hardship can lead to fame, matching option vii.
18. iv
Paragraph E says creativity is valued more, which matches option iv.
19. viii
Paragraph F discusses how literacy led to more widespread celebrity, matching option viii.
20. iii
Paragraph G is about how broadcasting changed the idea of celebrity, matching option iii.
21. D
In the modern era, many different people can become famous for a short time, as the passage explains.
22. A
In ancient times, stories were invented about celebrities’ lives, as stated in the passage.
23. C
During the Renaissance, the fame of rulers started to decline, as mentioned in the passage.
24. newspapers
The passage says people could read about their favourite figures in newspapers, so 'newspapers' is correct.
25. appearance
It says that appearance, not just talent, can bring fame due to reality TV, so 'appearance' is the answer.
26. audience
The passage states that fame from this type of TV depends on the audience’s response.
27. B
No, because the exhibition does not only show a narrow view of landscape; it includes a range of interpretations.
28. C
Not given, as there is no information about whether the Academy rejected Australian suggestions.
29. A
Yes, because the passage says early Australian landscape painting followed English traditions due to the colonial relationship.
30. A
Yes, the exhibition shows that Australian art developed its own unique qualities.
31. B
No, because contemporary Australian artists have not generally rejected British traditions.
32. C
The main point is that Britain is still imposing its principles on Australian art, as the passage suggests.
33. B
Joanna Mendelssohn is surprised that the guidelines for choosing works were very traditional.
34. A
Gladwell's work is included because it uses a subjective approach to showing the landscape, not just the location or activity.
35. C
Soriano included Aboriginal art because it is part of the Australian art tradition, not separate from it.
36. A
By mentioning China, Mendelssohn means that having an exhibition in London is not as important as before.
37. F
Despite being conservative, the exhibition accepts the unique qualities of Australian art.
38. E
Australian art from the early to mid-1800s shows a strong European influence.
39. A
Gladwell’s modern work reflects the mood created by the natural environment.
40. C
Including Aboriginal art shows an understanding of the land’s historical importance.

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