Arts. Part I. Painting: Методическое пособие по практике устной и письменной речи английского языка для студентов III-IV курсов отделения романо-германской филологии факультета филологии и журналистики

Министерство образования и науки РФ Государственное образовательное учреждение высшего профессионального образования РОСТОВСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ

ARTS PART 1.

PAINTING МЕТОДИЧЕСКОЕ ПОСОБИЕ ПО ПРАКТИКЕ УСТНОЙ И ПИСЬМЕННОЙ РЕЧИ АНГЛИЙСКОГО ЯЗЫКА ДЛЯ СТУДЕНТОВ III-IV КУРСОВ ОТДЕЛЕНИЯ РОМАНО-ГЕРМАНСКОЙ ФИЛОЛОГИИ ФАКУЛЬТЕТА ФИЛОЛОГИИ И ЖУРНАЛИСТИКИ

Ростов-на-Дону 2006 г.

Методическое пособие обсуждено и утверждено на заседании кафедры английской филологии факультета филологии и журналистики Ростовского государственного университета Протокол № 1 от 31 августа 2006 г. Составитель кандидат филологических наук М. В. Окс Рецензент кандидат филологических наук И. М. Полякова Ответственный редактор доктор филологических наук С. Г. Николаев

Данное методическое пособие предназначено для изучения на старших курсах студентами отделения английской филологии. Настоящее пособие, посвященное теме «Живопись», является первой частью комплекса по теме «Искусство», наряду с двумя другими частями, посвященными темам «Музыка» и «Литература». Пособие нацелено на совершенствование навыков устной и письменной речи и расширение словарного запаса по предложенной теме. Основной целью настоящего пособия является развитие и совершенствование неподготовленной, спонтанной речи, способности аргументировано излагать свою точку зрения, принимать участие в дискуссии. Также важное место в пособии отводится развитию навыков перевода текстов с русского языка на английский. Настоящее методическое пособие отражает принцип взаимосвязанного, комплексного обучения различным видам деятельности: чтению, говорению, аудированию, письму и переводу. Пособие открывается структурированным лексическим списком по теме «Живопись». Разнообразные лексические упражнения способствуют усвоению и закреплению нового материала. Публицистические тексты составляют основную часть пособия. Следующие за ними задания направлены не только на проверку понимания содержания текста, но и позволяют студентам перейти к дискуссии по проблеме. Важное место в пособии отводится письменным заданиям: письменные переводы, сочинения-рассуждения способствуют развитию навыков связанно и аргументировано излагать свои мысли на письме, а также орфографически и пунктуационно правильно оформлять письменную речь. Приложение, посвященное английской живописи, может оказаться полезным в подготовке сообщений по заданной теме. Данное методическое пособие может представлять интерес для студентов, аспирантов, а также все тех, кто углубленно изучает английский язык.

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CONTENTS Topical vocabulary …………………………………………………………………………………………………….3 Vocabulary exercises…………………………………………………………………………………………………8 Reading. Text 1 …………………………………………………………………………………………………………14 Speaking ……………………………………………………………………………………………………………………..15 Conversation ………………………………………………………………………………………………………………18 Writing ………………………………………………………………………………………………………………………..18 Reading. Text 2 …………………………………………………………………………………………………………18 Conversations …………………………………………………………………………………………………………….19 Speaking ……………………………………………………………………………………………………………………..20 Listening ……………………………………………………………………………………………………………………..20 Conversation ………………………………………………………………………………………………………………21 Writing ……………………………………………………………………………………………………….................21 Reading. Text 3 …………………………………………………………………………………………………………21 Speaking ……………………………………………………………………………………………………………………..23 Writing………………………………………………………………………………………………………………………..24 Conjunctions and Connectors …………………………………………………………………………………24 Translation …………………………………………………………………………………………………………………26 Topics for discussion ………………………………………………………………………………………………29 Appendix……………………………………………………………………………………………………………………..30 Bibliography………………………………………………………………………………………………………………..33

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TOPICAL VOCABULARY PAINTERS AND THEIR CRAFT: avant-garde - авангард be in advance of one's time –

опережать свое время

be taught painter – выучиться на

художника

- стать

become famous overnight

известным за одну ночь

break with the tradition – порвать с

традицией canvas – картина, полотно

мимолетное

выражение

conform to the taste of the period –

соответствовать вкусу эпохи

depict a person, a scene of common life, the mood of... – изображать человека,

бытовую сцену, настроение

develop one's own style of painting –

выработать письма

собственный

стиль

die forgotten and penniless – умереть в

бедности и безызвестности do a painting – написать картину expose

the

dark

sides

людей, эмоции с трогательной искренностью / сдержанностью

render, interpret the personality of... – передавать характер… reveal the person's nature –

раскрыть характер self-taught

самоучка

capture the sitter's vitality, transient expression – передать энергию

модели, лица

portray people, emotions with moving sincerity/restraint – изображать

of

life

–

изображать темную сторону жизни fashionable artist – модный художник mature artist – зрелый художник nude model – обнаженная модель paint from nature, memory – писать с натуры / по памяти

paint mythological, historical subjects –

писать на мифологические, исторические сюжеты painting – 1) живопись, 2) картина picture – 1) картина, 2) фотография portrait/landscape painter – портретист / пейзажист

artist

–

художник-

specialize in portraiture, still life –

специализироваться в написании портретов, натюрмортов DRAWING INSTRUMENTS: brush - кисть canvas - холст chalk - мел charcoal – угольный карандаш colour box / palette - палитра crayon – цветной карандаш, мелок drapery - драпировка easel - мольберт enamel – эмаль, финифть encaustic - энкаустика frame - рама fresco – фреска, фресковая

живопись

gouache - гуашь ink - чернила India ink — тушь Indian ink — тушь lacquer – лак, глазурь liquid – 1) жидкость 2) жидкий oil paint – масляная краска paintbox – коробка с красками panel – тонкая доска для живописи,

панно

pigment - пигмент tempera - темпера to charcoal – рисовать углем 3

vehicle - растворитель watercolour - акварель PAINTERS. GENRES: acrylic painting – живопись акриловой

сочетаться с пейзажем

bark painting – ж. на коре battle piece – батальная ж. caricature - карикатура ceremonial portrait –

преднамеренно контуры

краской

портрет

парадный

collage - коллаж drawing - рисунок easel painting - станковая ж. engraving – гравюра, эстамп family group – семейный портрет full-length portrait -портрет в полный

рост

genre bas – «низкий жанр», бытовой

жанр

genre painting - жанровая живопись historical painting - историческая ж. landscape - пейзаж marine /seascape – морской пейзаж miniature - миниатюра mosaics - мозаика mural – фреска, настенная ж. oil painting – картина маслом pastel picture – рисунок пастелью self-portrait – автопортрет sketch – набросок, этюд still life - натюрморт tapestry - гобелен wall / mural painting – настенная ж. water-colour – ж. акварелью COMPOSITION AND DRAWING: accentuate something – подчеркнуть arrange symmetrically, asymmetrically, in a pyramid, in a vertical format –

расположить (а)симметрично, форме пирамиды, вертикально be

scarcely

различимый

discernible

–

в

едва

blend with the landscape – сливаться,

define the nearer figures more sharply – обозначить ближайшие фигуры

более резко emphasize

contours

purposely

–

акцентировать

in the background – на заднем плане at the bottom - внизу in the foreground – на переднем плане in the left (right)-hand corner – в

левом (правом) углу at the top - наверху indicate

the

sitter's

profession

указывать на профессию модели perspective - перспектива

–

place the figures against the landscape background – располагать фигуры на

фоне пейзажа

COLOURING, LIGHT AND SHADE: subtle/ gaudy colouring - нежные /

кричащие цвета to combine harmonious

сочетать

form unity

and –

colour

into

гармонично

brilliant / low keyed colour scheme where....predominates – блестящая,

сдержанная гамма, где преобладают

muted in colour – приглушенные цвета delicacy of tones may be lost in a reproduction – утонченность цветов

может быть утеряна в репродукции

IMPRESSION. JUDGEMENT: chaotic - хаотичный cheap - дешевый colourless daub of paint – бесцветная

мазня

crude - кричащий depressing – унылый, тягостный disappointing - печальный distinguished by a marvellous sense of colour and composition – отличается потрясающим чувством цвета и 4

композиции exquisite piece

of

painting

–

утонченное произведение fake - подделка; подлог, фальшивка forgery подделка, подлог, фальсификация, фальшивка gaudy – яркий, безвкусный lyrical - лиричный masterpiece- шедевр moving - трогательный obscure – мрачный, тусклый original - оригинальный poetic - поэтичный romantic - романтичный unintelligible - неразборчивый unsurpassed masterpiece

непревзойденный шедевр vulgar - вульгарный

complete

command

of

colours

cuboid - кубический decorative - декоративный decorativeness - декоративность delicate colours – утонченные цвета delineation – очертание, эскиз density – плотность, густота design - композиция diffused light – рассеянный свет drama – эффект, нечто броское,

эффектное effect

–

ELEMENTS OF DESIGN. DESCRIBING A PICTURE: аbstract - абстрактный abundance - обилие, изобилие accuracy - точность affirmation - утверждение air - воздух animation - живость apotheosis - апофеоз arrangement - расположение at one stroke - мгновенно austere – суровый, строгий brilliance - яркость brushstroke - мазок candid glimpses - бледные отблески colourful - яркий colouring - колорит combination of colours – сочетание

цветов

ясный

-

великолепное владение цветом conception - замысел cone - конус craftsmanship - мастерство crystal-clear – чистый, прозрачный,

–

эффект,

нечто

броское,

эффектное emphasis – подчеркивание, акцент expressiveness - выразительность exquisite - утонченный facial expression – выражение лица finished technique – отточенная техника fluid, fluent - плавный gamut - гамма geometrical abstraction

–

геометрическая абстракция

harmony of colours – гармония цветов highlights – яркие участки

изображения homogeneous

форма

form

–однородная

hyperbole –гипербола, преувеличение immediacy - непосредственность individual traits – индивидуальные

черты

infinite - безграничный intensity – глубина красок intricate – запутанный, замысловатый life-asserting art -

жизнеутверждающее искусство light and shade - светотень line - линия luminous – прозрачный, светлый message – идейное содержание original– 1) оригинал 2) оригинальный out of value - слишком темное или 5

слишком светлое personification - олицетворение

primary colours (red, blue, yellow) –

основные цвета projection – проекция, отображение pure, vivid, brilliant, intense - чистые, яркие, насыщенные краски soft, delicate colours – мягкие, приглушенные тона range of colours – гамма цветов reproduction - репродукция riot of colours – богатство красок saturation - насыщенность secondary colour – сложный цвет semi-tones - полутона silhouette - силуэт simplicity - простота skill – искусство, умение sphere - сфера spirituality - одухотворенность splashes of colour – яркие краски subdued colours – приглушенные краски subject – сюжет в живописи subject matter - тема texture – текстура to acquire - овладеть to affect - волновать to anticipate - предвосхищать to appeal – привлекать, влечь, взывать to attain - достигать to

be

silhouetted

вырисовываться на фоне

against

–

to catch, capture, seize – схватить,

передавать

to command attention – завладеть

вниманием

to convey - передавать to depict - изображать to evoke - вызывать to execute - исполнять to fade - блекнуть to frame - обрамлять

to glorify - прославлять to grip – захватывать внимание to penetrate – проникать,

пронизывать to portray - изображать

to produce impression - производить

впечатление to radiate - излучать

to render, represent - изображать to restore - восстанавливать to treat - трактовать tone - тон treatment - трактовка EXHIBITION: art gallery – художественная галерея exhibit - экспонат exhibition - выставка art exhibition – художественная в. one-man exhibition - персональная в. permanent exhibition – постоянная в. special exhibition – специальная в. travelling exhibition – передвижная в. exhibition about – в., посвященная… exhibition hall – выставочный зал exposition - экспозиция to display - выставлять to go to an exhibition – пойти на в. to put on exhibition / stage an exhibition – устроить в. 1) The synonyms for ‘painting’ are ‘picture’, ‘canvas’. 2) The name of the artist can be used like a common noun to denote a work by him. A Picasso means a work by him. 3) A ‘scene’ is used in various expressions specifying the subject of the picture: street scene; city scene; country scene: hunting scene; historical scene; battle scene. Scene is often followed by from ... life. 4) In the context of art landscape generally denotes a picture and not a 6

view depicted there. 5) A piece is used as a general term meaning "work," "picture." ART THROUGH THE AGES Stone Age art – искусство Каменного

Века

Classical Greek - древнегреческий Byzantine - византийский Flemish - фламандский Gothic - готический the Renaissance period – эпоха

Возрождения

the Baroque age – эпоха барокко the Romantic era – эра Романтизма the Neo-Classicists – неоклассицисты the Itinerants - Передвижники Impressionism - импрессионисты The Symbolists - символисты Expressionism - экспрессионизм Cubism - кубизм Pop art – поп-арт

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VOCABULARY EXERCISES

Ex 1. Choose the right answer. 1. Mr Cheater made a living works by famous painters. a) devising b) faking c) pretending d) shamming 2. A sculpture by Rodin fetched more than two million dollars at the ……….. last month. a) auction b) gallery c) museum d) sale 3. The ..... of Rembrandt's paintings finishes next week. a) demonstration b) exhibition c) show d) spectacle 4. They thought the painting was genuine but it turned out to be……………… . a) a facsimile b) an imitation c) a replica d) a reproduction 5. There was no .difference between the original and the copy. a) discernible b) discoverable c) knowable d) understandable 6. Mr Adventurous has taken painting since he retired. a) down b) in c) over d) up 7. A young art student acted as our ………. when we visited the museum. a) coach b) conductor c) guide d) lead 8. This self-portrait did not come to ………….until after the artist's death. a) light b) range c) sight d) view 9. Mr Vernix is the greatest……………….expert on techniques of painting. a) alive b) live c) living d) nowadays 10. Children and pensioners are admitted to the museum at ……………… prices. a) decreased b) less c) reduced d) undercharged 11. On examination by experts, the picture turned out to be a …………………. . a) fabrication b) fake c) fraud d) sham 12. In the...……………….. right-hand corner of the portrait there is a flower. a) front b) high c) top d) up 13. He is sometimes considered to be an outstanding artist, but I consider his work to be quite……….. a) common

b) intermediate

c) mediocre

d) moderate

14. All visitors are requested to …………………. with the regulations. a) agree b) assent c) comply d) consent 15. He made some ………………sketches which would serve as guides when he painted the actual landscape. a) elementary b) introductory c) preliminary d) primary 16. Admission to the gallery is ……………………except on Saturdays and Sundays when a charge of one dollar is made. 8

a) allowed b) free c) nothing d) paid 17. The paintings are hung in heavy gold ……….. . a) easels b) frames c) fringes d) rims 18. This beautiful portrait is a) assigned b) attached

……………..to Rubens. c) attributed d) prescribed

19. He earns his living by works of art. a) recovering b) renewing c) restoring

d) reviving

20. That landscape is somewhat…………….. of Rembrandt's early work. a) memorable b) mindful c) reminiscent d) similar 21. The portrait you see here is a very good………………… of my mother. a) appearance b) likeness c) reproduction d) resemblance 22. I would love to go to the exhibition with you, but I'm afraid I can't ……………… . a) leave b) lose c) save d) spare 23. He said he had never………….. across a painting which pleased him more. a) come b) happened c) seen d) viewed 24. I made it quite clear that I had no ……………………of selling the portrait. a) aim b) intention c) meaning d) purpose

Ex. 2. Match the terms on the left with their definitions on the right. 1. caricature

a) a picture made with a pencil

2. cartoon

b) a drawing showing the parts of something to explain how it works

3. collage

c) a drawing showing by a line the connection between two quantities

4. diagram

d) a rough drawing without many details

5. drawing

e) a picture to go with the words of a book

6. fresco

f) a picture in solid black

7. graph

g) a picture painted in water colour on a surface of fresh wet plaster

8. illustration h) woven cloth hanging on a wall, with pictures woven from coloured wool or silk 9. mural

i) a humorous drawing, often dealing with something of interest in the new and amusing way 9

10. silhouette

11. sketch

12. tapestry

j) a representation of a person made so that aspects of his or her appearance appear more noticeable than they really are k) a picture made by an unusual combination of bits of paper, cloth, metal, etc. 1) a picture painted directly onto the wall

Ex. 3. What is the shape of the following paintings

Ex. 4. Answer the clues. 1 __________ ____________R 2 ______________________ E 3 ______________________ M 4_______________________ B 5 ______________________ R 6______________ A 7 ______________________ N 8 ______________________ D 9________________________ ___ T 1. work of art made by carving in stone or wood (9) 2. method of carving in which a design stands out from a flat surface (6) 3. style in art represented by Manet or Renoir (13) 4. an instrument for painting (5) 5. to cut eg. words on wood, stone or metal (7) 6. material used for sculpting (6) 7. a piece of strong rough cloth used for an oil painting (6) 8. picture with a view (9) 9. precious; is used in making jewellery (5) 10

Ex. 5. Explain the meaning of the following words connected with painting and art in general. 1) Easel, crayon, brush, paintbox; palette, charcoal, water-colour, oil, stretcher, canvas, drapery. 2) Art exhibitions, special exhibitions, permanent exhibitions, one-man exhibitions, travelling exhibitions. 3) Graphic art, sculpture, applied art. 4) Warm colours, cool colours, harsh colours, subdued colours, primary colours.

Ex. 6. Match the words and their definitions : a) landscape still wet or damp. b) seascape c) portrait d) still life

1) is a picture on a wall or ceiling where a plaster is

2) is a painting of such unanimated subjects as fruit, flowers and other decorative things. 3) is a painting which represents scenes from every day life in a more or less realistic way. 4) is a picture representing a tract of country with the various objects it contains. 5) is painting or other artistic representation of the

e) fresco sea. f) genre painting 6) is a person who is having his portrait painted. g) sitter, subject, model 7) is a painting, picture or representation of the person, especially of a face generally drawn from life.

Ex. 7. Put the words in order to make recommending expressions. 1. you’re / OK / it’s / sort / if / into / thing / that / of 2. a / must / it’s 3. recommend / really / I / it 4. you / give / if / were / miss / a / I’d / it / I 5. visit / well / it’s / a / worth 6. entrance / not / it’s / the / fee / worth 7. It’s / my / tea / cup / of / really / not

Ex. 8. Use the words from the box to complete the sentences below. portrait landscape still life abstract detailed traditional original colourful 1. I think his work is very individual, very ………………………… . I’ve never seen anything else like it. 2. I’ve just been to a(n) ………………….. exhibition – it’s something I’ve tried to do myself, but my apples always look like peaches! 3. We’ve got a(n) …………………. of my great grand-father at home. He was a general 11

4. 5. 6. 7. 8.

in the army. Renaissance paintings were always very …………………… . You could see all the stiches on the clothes. His most famous ………………… was a picture of the scenery around his home in Provence. I don’t actually like modern art. I much prefer more ……………….. things. I don’t like paintings that are all greys and browns. I like really …………………. things. You know, lots of bright greens and reds and yellows. I don’t understandd her work at all. It’s just too ………………..for me.

Ex. 9. MUSEUM. Interpret the following phrases. 1. 2. 3. 4. 5. 6.

What about going to the Museum of Oriental Culture (of Fine Arts, the State Hermitage, the Tretyakov Gallery, the Tolstoy House)? The museum deals with the history of Russia. The treasures here are valued at millions and millions of roubles. We were at the exhibition of antiques. When you look at the antiques gathered there you forget that you live in the twentн-first century. Much restoration work is being carried out.

7. Эти замечательные произведения искусства дают яркое представление о высоком уровне мастерства древних. 8. Древнее ружье имело заржавленный кремневый замок. 9. Дуло было изъедено вековой ржавчиной. 10. Пистолет был отделан серебром. 11. В музее было множество экспонатов, представляющих исторический интерес. 12. 13. 14. 15.

There were robes covered with gold embroidery and starred with gems. The antique desk was black with age. These coins come down to us from the time of Peter I. These breast plates once belonged to the N. tribe.

16. Если бы мы пошли в Эрмитаж в Санкт-Петербурге, мы могли бы увидеть замечательные коллекции экспонатов, как, например: предметы, сделанные из стекла, кости, камня и железа; 17. предметы, найденные в местах расположения древних городов; 18. предметы, найденные в гробницах различных племен; 19. предметы, найденные при раскопках в различных местах; 20. старинные монеты; 21. обломки сосудов греческой работы ... века; 22. сельскохозяйственные орудия народов, существовавших в древние 12

23. 24. 25. 26.

времена; предметы из серебра и меди, разукрашенные эмалью; рукописи, написанные сотни лет назад; медные и серебряные монеты времен денежной реформы Петра I; костюмы давно минувших времен

Ex. 10. Look up and memorize the pronunciation of the names of the following famous artists Blake, William Constable, John Gainsborough, Thomas Gauguin, Paul Goya, Francisco Jose de Hogarth, William Holbein, Hans Hopper, John Leonardo da Vinci Manet, Edouard Michelangelo Buonarotti Monet, Claude Raeburn, Henry Raphael Rembrandt Renoir, August Reynolds, Joshua Riley, Bridget Romney, George Rubens Turner, Joseph Van Dyck Van Gogh

13

READING

Read and retell the text. TEXT 1.Painting It is sometimes possible to see the national character in painters or groups of painters. But the visual language of art travels quickly and easily, and artists are influenced by things they see all over the world. Painters themselves also travel a great deal, and one of the first important periods of English painting was started by a German visitor. Hans Holbein the Younger lived in London between 1527 and 1543, and painted wonderful portraits of the rich and famous around the court of King Henry VIII. He had learned from Italian painters - which shows how international the art world was, even at that time, when travel was slow and difficult. Inspired by Holbein, a school of portrait painters developed in England. The result was that there are many lovely pictures of Queen Elizabeth I and those who surrounded her. One of the most famous of these painters was Nicholas Hilliard, who specialised in miniatures: very small, beautifully coloured paintings. Another great portrait painter, Joshua Reynolds (1723-92), spent time studying in Italy in the 18th century. Of course, from the viewer's perspective, portraits are a strange art form. As with photographs, why should you be interested if you do not know the person in the picture? But, like that of his contemporaries William Hogarth and Thomas Gainsborough, the quality of Reynolds' painting is enough in itself; the expression in the faces, and the insights into character are fascinating. One of Reynolds' students was as much a writer and poet as a painter. The mystic William Blake (1757-1827) had extraordinary religious dreams and visions, which he expressed in poetry, drawings and paintings. Although there have been brilliant British painters, few of them have achieved an international reputation. However, there is at least one notable exception J.M.W. Turner (1775-1851). His paintings were years ahead of their time. He was working in the first half of the 19th century, but his work seems to look forward to the impressionism of 75 years later. While almost all other paintings of his period were realistic and detailed, Turner's were free, daring and impressionistic. In fact, the genius of Turner was not really appreciated in his own time. Only more recently has he come to be regarded as the greatest of British painters. Much of Turner's work is at the Tate Gallery in London, which is also the best place in the country to see modern art. The 20th century was an extremely busy and exciting time for British painting. At first the tendency was, as often in the past, to imitate the big names from Europe. The French impressionists had taken the art world by storm, and there was little to do but try to copy them. Then Picasso and Braque came up with something completely new - cubism; again British painters followed. 14

British art history books are therefore pleased to report that in the middle of the 20th century a new movement actually started in this country. In the 1950s and 60s, Britain was in many ways a very fashionable place: British pop music and clothes were big news all over the world. The visual arts too joined in this successful piece of marketing. Pop art in particular caught the imagination of young people. This movement dropped almost all previous ideas about painting, and picked up the images of advertising, pop music and cheap everyday objects. The first artists to do this were Richard Hamilton, Eduardo Paolozzi (who is Scottish, in spite of his Italian name) and Peter Blake (who did the famous cover of the Beatles album Sergeant Pepper). In 1957, Hamilton said that pop art should be: "Popular, expendable, low cost, mass produced, young, witty, sexy, glamorous". The same feeling of confidence, freshness and innovation gave rise to other styles, too. In her accurate, beautifully designed paintings, Bridget Riley made images which created interesting optical effects - and as a result came to be known as op art. One surprise was that at first she used only black and white, a very unusual thing for a painter to do! SPEAKING

Ex. 1. Do you know how to appreciate a painting? One needs the ability to appreciate and share the vision of artists, lacking such ability one may develop it. The best way to get understanding and greater enjoyment of art is to view many paintings, looking at them thoughtfully, honestly. Do you agree that great works of art seem to look different every time you see them?

Ex. 2. Speak about Van Dyck's influence on English painting (for more detailed treatment see the Appendix). Make use of the following word combinations: expressiveness, emotional impact, spirituality, magnificent features, elegancy, individual traits.

harmony

of

colours,

Ex. 3. Render the text into English:

Дж. Тернер. «Заход солнца над озером» Картина относится к числу поздних произведений Тернера, художника, чье искусство, особенно в последние годы жизни, было удивительно поэтично, соответствовало романтическим настроениям. Основной целью художника стала передача тончайших ощущений от необычных явлений природы. Ее различных состояний. Он отказался от четких контуров, главным средством выражения для него стал цвет. Не случайно в это время он очень много работал в технике акварели. Один из 15

исследователей творчества Тернера писал: «Тернер – безукоризненный рисовальщик, сознательно разучившийся своему мастерству, чтобы открыть возможность более эмоциональной, более прямой формы выражения.

Ex. 4. How do you understand the words which were engraved on Hogarth’s tomb? "The Hand of Art here torfid lies That traced the essential form of Grace; Here Death has closed the curious eyes That saw the manners in the face." Ex. 5. Comment upon Hogarth's words. "To nature and yourself appeal Not learn "of others what to feel." Ex. 6. Dickens and Thackery worshiped Hogarth's works and learned much from him. What could they learn from Hogarth? Ex. 7. Learn to describe the pictures. "OPHELIA" BY J. E. MILLAIS "Ophelia" was painted in 1852. Millais found the stream that provided the setting for his painting near Ewell. Millais' painting is full of Shakespearean allusion: the rose in the dead Ophelia's hand is a reference to brother Laertes's description of her as "the Rose of May" and the robin in the undergrowth is a reminder of Ophelia's song. "For bonny sweet robin is all my joy." A true PreRaphaelite, Millais spent a great deal of time on the exact reproduction of the stream and the overhanging streams. Despite his care after it was exhibited the painting's colour deteriorated and Millais .was obliged to retouch it. The model was Elizabeth Siddal. Millais made her pose fully dressed in a bathtub, as a result of which she, not surprisingly, caught cold. "THE MORNING WALK" BY TH. GAINSBOROUGH Gainsborough is famous for his brilliant sense of composition, harmony and form.: In the foreground of the picture you see a pretty slim young woman of about 25 and an elegant young man. The woman has a very fashionable long dress on, her face is attractive. She has dreamy blue eyes and thick curly golden hair. As for the man, he is tall and handsome, the features of his face are pleasant and expressive. His eyes are dark, his look is proud, his mouth is rather large, his nose is straight, and he has; classical strong figure. I am sure that the young people are happy because they are young, they are in love, because the day is fine, and life is beautiful. It is an idyllic scene in a romantic landscape. Thanks to the soft colour treatment the picture has a lyrical and poetic atmosphere.

16

Ex. 8. Describe different pictures. Use the following words and word combinations: 1. to evoke, intense, to capture the sitter's vitality, to paint from life, penetrating studies of a character, special insight into the psychology, immediacy, spontaniety; 2. conception, brilliant, to portray ...with moving sincerity, poetic in tone and atmosphere, to anticipate, investigation of colour, range of colours, coloured patches; 3. vivid, life-like, supreme mastery of technique, to achieve lightness of tone, high artistic quality, to be impressed by, to retain freshness, to be fascinated by the subject; 4. pure, vivid, to break with the tradition, to place the figure against the landscape background, to look natural, intensity, to emphasize; 5. appeal, brilliance, primary colours, to convey, to produce impression, to acquire, to affect, to glorify, to render; 6. to render, soft, delicate colours, elegant gesture, spiritual face, a brilliant colourist, the impression of, airness and lightness; 7. to radiate, spirituality, to combine form and colour, harmonious unity, romantic, poetic in tone and atmosphere, to ignore the rules, the purest lyricist; 8. emotion, natural and characteristic pose, sharp psychological expressiveness, feeling of air, to convey, finished technique, to produce impression, to penetrate.

Ex. 9. Discuss a portrait painting according to the following plan . 1. THE GENERAL EFFECT. (The title and the name of the artist. The period or trend represented. Does it appear natural and spontaneous or contrived and artificial?) 2. THE CONTENTS OF THE PICTURE. (Place, time and setting. The accessories, the dress and environment. Any attempt to render the emotions of the model. What does the artist accentuate in his subject? 3. THE COMPOSITION AND COLOURING. (How is the sitter represent... ed? Against what background? Any prevailing format? Is the picture bold or rigid? Do the hands (head, body) look natural and informal? How do the eyes gaze? Does the painter concentrate on the analysis of details? What tints predominate in the colour scheme? Do the colours blend imperceptible? Are the brushstrokes left visible?). 4. INTERPRETATION AND EVALUATION. (Does it exemplify a high degree of artistic skill? What feelings or ideas does it evoke in the viewer?)

17

CONVERSATION

Act out a conversation between two friends in an art gallery. Discuss the paintings you see there. WRITING

Write an essay on the topic: Does painting have any advantages over

photography in portraying people?

READING TEXT 2.

Read and retell the short texts. David Hockney

One of the members of the 60s pop art movement has gone on to become Britain's favourite modern painter. At the time, David Hockney (born 1937) fitted perfectly into that new, fashionable London scene.

He was young, well-dressed and gay, but came from a working-class background in Bradford in the north of England; so for rich Londoners he was a breath of fresh air. But, having followed a fashionable style at the beginning of his career, he has developed a very personal way of painting which puts him outside any modern art movement. While younger artists have been playing around with all sorts of theories, political statements and attempts to shock the public, Hockney has just continued to produce lovely paintings with fabulous design sense and colours. Like all great artists, Hockney had been through a number of periods in which he changed his style and experimented. For example, in the 1980s he did clever montages using photographs. He would take a lot of pictures of details of a person, an object or a scene. Then he reassembled all the photos in a free and inventive way, so that you can see the scene broken up almost as in cubism. But generally his work has been painting, often mixing graphic design with realism, and always with a supremely modern sense of colour. This is what has made him so popular with the public. His work can be seen everywhere: on posters, postcards, calendars and T-shirts as well as in art books, museums and galleries. The latest in British art For some years now, young British artists seem to have given up the traditional forms of drawing, painting and sculpture. If you go to an art college exhibition, you will probably see photos, videos, constructions with lights and sounds, live people performing, found objects and philosophical statements. Media attention is always on the new, the daring and the shocking, and art prizes often reward originality rather than old-fashioned taste and skill. One of the current celebrities is Mona Hatoum, who made a video with tiny medical cameras inside her own body. Tracy Emin became quite famous for 18

making a small gallery entirely devoted to things about herself: pictures of her, bits of her hair and objects of importance to her. But unquestionably the biggest name is Damien Hirst, who won the important Turner Prize in 1995. He is a joker who actually makes fun of those who pay high prices for his work. His best-known piece was a 4.5-metre shark in a tank of formaldehyde. Pickled sheep and bullet holes Dead sheep, sharks and cows immersed in formaldehyde? A bullet would on a human head? Such “art” drives animal rights activists nuts and is a guaranteed turn-off for a lot of other people, but it has succeeded in drawing attention to young British sculptors and painters. Attention is exactly what Damien Hirst, 29, ringleader of this new group of British artists, wants. He has developed his own method of selling his art, in the tradition of Andy Warhol. In 1988, he and some fellow student artists put together their own show, bypassing the established galleries. One especially provocative piece by Hirst was a 14 foot shark preserved in a tank of bluish formaldehyde entitled “The Physical Impossibility of Death in the Mind of Someone Living”. Hirst followed up with more pieces featuring dead animals – including a cow and a calf, sawn in half. Its title: “Mother and Child Divided”. Now Hirst and friends are coming to the U. S. The Walker Art Center in Minneapolis will stage a major exhibit in October – “Brilliant”: New Art from London” If you want to go and see Hirst’s pickled sheep, it’s currently on exhibit at the Chicago Museum of Contemporary Art. The piece was recently vandalized by enraged animal rights activists, but it has since been restored. CONVERSATIONS

Put the jumbled conversations into the correct order.

(1) a. I went and saw an exhibition at the Hayward Gallery earlier in the week. b. So, do you recommend it, then? c. Quite good, actually, the photos were really great, quite amazing – some of them. d. Oh, really? It sounds quite interesting. What was it like? e. Yes, you should go and see it. f. It was a collection of photos from the first lunar landing. g. Oh, did you? What was it? (2) a. I went and saw that new exhibition at the National Gallery the other day. b. Oh, that was a collection of Flemish paintings from the seventeenth century. 19

c. Oh, did you? Which one’s that again? d. Well, I didn’t think much of it myself. It was all a bit dull, you know. e. No, I’d give it a miss, if I were you – unless you really like that sort of thing, of course f. Oh really? What was it like? g. So, you wouldn’t recommend it, then? SPEAKING

- Here are some strange works of art. You are a gallery guide. Give a short talk on one of them. •

A bathroom. You look into it through a hole in the door.

•

Little bottles containing things from the artist’s body – hair, skin, etc.

•

A bed covered with pages from the Bible.

•

A broken television.

•

A Christmas tree hanging upside down.

•

A real homeless man standing by the wall in the art gallery.

-Most of these strange works are trying to communicate ideas, rather than be ‘beautiful’. They have a message. Is this the right thing for art to do? -Janice Jeavons, a London art critic says: “People have been making paintings

and sculptures for thousands of years. You can’t do anything new with them. It’s time to experiment with new media.” Do you agree?

-Should critics, or the public, tell artists what to do? Or should artists be completely free to do whatever they like? -Many famous artists from the past were considered strange and revolutionary in their time. Think of Pablo Picasso or Salvador Dali. Do you think Damien Hirst will be famous 100 years from now? -What strange and original work of art would you like to do yourself? LISTENING Listen to Tony Sotelo, a graffiti artist in New York. Is he proud of what he does, or does he feel like a criminal? Here are some comments from the people in New York. Do you think Tony would agree or disagree with them? Write A (agree) or D (disagree).

a)

‘Graffiti makes the town look better’.

b)

‘Doing graffiti can be dangerous’.

c)

‘Most graffiti artists are paid for their work.’

d)

‘Felt tip pens are just as good as spray cans.’

e) see.’

‘The important thing is to write your ‘tag’ – your name – for everyone to

20

f)

‘Graffiti artists have a better attitude than ‘normal’ painters.’

Do you agree with Tony Sotelo that graffiti is the art of the people, that it is ‘democratic’? CONVERSATION

Roleplay this situation: An angry shopkeeper finds a graffiti artist spraying the side of the shop – not just a ‘tag’, but a big, colourful mural. Instead of running away the artist stays and argues with the shopkeeper. Act out the parts of the artist and the shopkeeper. WRITING • A fried of yours is in trouble for doing a graffiti on the wall of the school. Write a letter to the headteacher, defending your friend. • Write a magazine article with the title Graffiti – the Art of the 21st Century. READING TEXT 3. GUERNICA

A This passage describes Pablo Picasso's Guernica, which was painted after the bombing of a Basque town during the Spanish Civil War. The painting itself is nearly eight metres across, but the reproduction below gives an idea of what it looks like and will help you to follow the description in the first two paragraphs. Before you read it, discuss your reactions to the picture with a partner.

21

Guernica is the most powerful invective against violence in modern art, but it was not wholly inspired- by the war: its motifs - the weeping woman, the horse, the bull - had been running through Picasso's work for years before Guernica brought them together. In the painting they become receptacles for extreme sensation - as John Berger has remarked, Picasso could imagine mare suffering in a horse's head than Rubens normally put into a whole Crucifixion. The spike tongues, the rolling eyes, the frantic '.splayed toes and fingers, the necks arched in spasm: these would be unendurable if their tension were not braced against the broken, but visible, order of the painting. ... it is a general meditation on suffering, and its symbols are archaic, not historical: the gored and speared horse (the Spanish Republic), the bull (Franco) louring over the bereaved, shrieking woman, the paraphernalia of pre-modernist images like the broken sword, the surviving flower, and the dove. Apart from the late Cubist style, the only specifically modern elements in Guernica are the eye of the electric light, and the suggestion that the horse's body is made of parallel lines of newsprint like the newspaper in Picasso's collages a quarter of a century before. Otherwise its heroic abstraction and monumentalized pain hardly .seem to belong to the time of photography and bombers. Yet they do: and Picasso's most effective way of locating them in that time was to paint Guernica entirely in black, white, and grey, so that despite its huge size it retains something of the grainy, ephemeral look one associates with the front page of a newspaper.

B meanings:

Highlight these words in the description above and explain their

invective ephemeral

motifs

receptacles

archaic

bereaved

paraphernalia

C Now read the continuation of the passage and write your answers to the questions that follow, using your own words as far as possible. Guernica was the last great history-painting. It was also the last modern painting of major importance that took its subject from politics with the intention of changing the way large numbers of people thought and felt about power. Since 1937, there have been a few admirable works of art that contained political references - some of Joseph Beuys's work or Robert Motherwell's Elegies to the Spanish Republic.But the idea that an artist, by making painting or sculpture, could insert images into the stream of public speech and thus change political discourse has gone, probably for good, along with the nineteenthcentury ideal of the artist as public man. Mass media took away the political speech of art. When Picasso painted Guernica, regular TV broadcasting had been in existence for only a year in England and nobody in France, except a few electronics experts, had seen a television set. There were perhaps fifteen 22

thousand such sets in New York City. Television was too crude, too novel, to be altogether credible. The day when most people in the capitalist world would base their understanding of politics on what the TV screen gave them was still almost a generation away. But by the end of World War II, the role of the 'war artist' had been rendered negligible by war photography. What did you believe, a drawing of an emaciated corpse in a pit that looked like bad, late German Expressionism, or the incontrovertible photographs from Belsen, Maidenek, and Auschwitz? It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and without bombast, that art could morally influence., the world. Today, the idea has largely been dismissed, as it must be in a mass media society where art's principal social role is to be investment capital, or, in the simplest way, bullion. We still have political art, but we have no effective political art. An artist must be famous to be heard, but as he acquires fame, so his work accumulates 'value' and becomes, ipso facto, harmless. As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power. If the Third Reich had lasted until now, the young bloods of the Inner Party would not be interested in old fogeys like Albert Speer or Arno Breker, Hitler's monumental sculptor; they would be queuing up to have their portraits silkscreened by Andy Warhol. It is hard to think of any work of art of which one can say, This saved the life of one Jew, one Vietnamese, one Cambodian. Specific books perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920s is that they thought such a work of art could be made. Perhaps it was a certain naivete that made-them think so. But it is certainly our loss that we cannot. (from The Shock of the New by Robert Hughes) 1 Before 1937, when Guernica was painted, how did artists believe that they could make political statements? 2 How do people in the West nowadays form their, political opinions, according to the writer? 3 Why did it become meaningless to paint scenes of war during World War II? 4 What is the function of art in the modern capitalist world? 5 What is the role of art in politics nowadays? SPEAKING

Work in groups and discuss these questions: • To what extent do you agree with the writer's views? • What do you think is the purpose of a work of art? • What influence could a painting, or any other work of art, have on your own feelings and attitudes? • Does a critic like Robert Hughes perform a useful function in explaining 23

works of art as well as evaluating and interpreting them? • Does the same hold good for a film critic, a music critic, a TV critic or a sports writer? WRITING

In one paragraph, using your own words as far as possible, summarize the changing role of art in Western society between the 1920s and the present day. CONJUNCTIONS and CONNECTORS

Replace the conjunctions in these sentences with the words given.

1. I don't know much about art but I know what I like. Despite 2. Not only does she paint in oils, but she also paints watercolours. Besides 3. You won't get scats for the show if you don't go to the box-office today. Unless 4. The performance was cancelled because the tenor and soprano were both ill. Due to 5. I like all kinds-of music but I don't like jazz. Except for 6. He was missing his wife and he was missing his children too. As well as ' 7. You didn't enjoy the film, and neither did I. Like 8. The soloist gave a wonderful performance, otherwise I wouldn't have enjoyed the concert. , But for………………. B Fill each of the gaps in this passage with a suitable word or phrase from the

list (some are used more than once). after all although and because example however in this one case unless When when while

But

but even incidentally

for since

Critics should never imagine that they are powerful, 1………………. it would be culpable of them not to realize that they are bound to be influential. There is no reason, 2………. to be crushed flat by the responsibility of the job. It is,3…………….....a wonderfully enjoyable one, 4……………..at its most onerous. The onerousness,5………….springs more from the fatigue of trying to respond intelligently than from the necessary curtailment of one's night-life. Television critics soon get used to being asked about how they can bear the loss of all those dinner parties. Don't they pine for intelligent conversation? The real answers to such questions are usually too rude to give, 6………………. 24

the interrogator is a friend. Formal dinner parties are an overrated pastime, barely serving their function of introducing people to one another, 7……………….nearly always devoid of the intelligent conversation they are supposed to promote. Most people severely overestimate their powers as conversationalists, 8………….. even the few genuinely gifted chatterers tend not to flourish when surrounded by bad listeners. The talk on the little screen is nearly always better than the talk around a dinner table. For my own part, I hear all the good conversation I need 9……….. lunching with drunken literary acquaintances in scruffy restaurants. In London, the early afternoon is the time for wit. At night, it chokes in its collar. What I miss in the evenings is not dinner parties but the opera house 10……………………..I finally give up reporting the tube, it will probably be 11……………………….. the lure of the opera house has become too strong to resist 12………………. sitting down to be bored while eating is an activity I would willingly go on forgoing. The box is much more entertaining - a fact which even the most dedicated diners-out occasionally admit, 13…………….. from time to time it becomes accepted in polite society that dinner may be interrupted in order to watch certain programmes. It was recognized, .14…………… that Tlie Glittering Prize might justify a collective rush from the dinner table to the television set, 15 …………….I confess that 16……………. my own inclination was to rush from the television set to the dinner table. C Look at these phrases that are used when making generalizations:

As a rule broadly speaking everyone would agree that generally speaking in many cases in most cases in some cases it is often said that it is recognized that it is sometimes said that many people believe on the whole some people believe to a certain extent to some extent And giving exceptions

Apart from but but all the same but every so often but now and then but in other cases but in this one case but there are exceptions to every rule except for however on the other hand Fill the gaps and write a continuation for each of these sentences using the phrases above. 1. Some people say that… modern art is overrated and ……….I do agree, but……………. 2. …………………….artists lead a good life: their hobby is their profession, but…………… 3. …………………….Hollywood movies are ephemeral, …………………………… you see one you can’t forget. 4. ……………… …..watching television is rather a waste of time,…………………………….. 5. ……………………politicians are honourable, dedicated people,………………………. 6. ……………………reading is a wonderful source of pleasure,………………………..

25

7. ………………......people work because they have to, not because they want to……………… 8. ……………………I enjoy all kinds of music, ………………………….. TRANSLATION

Ex. 13. Translate this text into English:

«Тайная вечеря» особенно заставляет удивляться интеллектуальной силе художника, показывая, как тщательно он размышлял и над общей концепцией и над каждой деталью. Эту громадную фреску, где фигуры написаны в полтора раза больше натуральной величины, постигла трагическая участь: написанная маслом на стене, она начала разрушаться еще при жизни Леонардо – результат его неудачного технического эксперимента с красками. Теперь о ее деталях можно судить только с помощью многочисленных копий. В «Тайной вечере» можно видеть пример мудрого понимания законов монументальной живописи, как они мыслились в эпоху Возрождения, то есть как органическая связь иллюзорного пространства фрески с реальным пространством интерьера. «Тайная вечеря» написана на узкой стене большой продолговатой залы – трапезной монастыря Санта Мария дела Грации. На противоположном конце залы помещался стол настоятеля монастыря, и это принято во внимание художником: композиция фрески, где тоже написан стол, параллельный стене, естественно связывалась с интерьером и обстановкой. Пространство в «Тайной вечере» умышленно ограничено: перспективные линии продолжают перспективу трапезной, но не уводят далеко в глубину, а замыкаются написанной стеной с окнами – таким образом, помещение, где находится фреска, кажется только слегка продолженным, но его простые прямые очертания зрительно не нарушены. Христос и его ученики сидят как бы в этой же самой трапезной, на некотором возвышении и в нише. А благодаря своим укрупненным размерам они господствуют над пространством залы, притягивая к себе взгляд. Христос только что произнес: «Один из вас предаст меня». Эти страшные, но спокойно сказанные слова потрясли апостолов: у каждого вырывается непроизвольное движение. Двенадцать человек, двенадцать различных характеров, двенадцать различных реакций. "Тайную вечерю» изображали многие художники и до Леонардо, но никто не ставил такой сложной задачи – выразить единый смысл момента в многообразии психологических типов людей и их эмоциональных откликов. Каждый их апостолов ищет сочувствия и отклика у соседа – этим оправдана симметричная, но выглядящая естественно разбивка на четыре группы, по трое в каждой. Только Иуда психологически изолирован, хотя формально находится в группе Иоанна и Петра. Он отшатнулся назад, тогда как все другие непроизвольно устремляются к центру – к Христу. Судорожное 26

движение руки Иуды, его темный профиль выдают нечистую совесть. В жесте Христа – стоическое спокойствие и горечь: руки брошены на стол широким движением, одна – ладонью кверху. Говорили, что лицо Христа Леонардо так и не дописал, хотя работал над фреской шестнадцать лет.

Ex. 14. Interpret the following . ‘Usually when I go to a museum it’s never to see the pictures in general, but some particular canvases. It’s different, however, when it is your life’s chance and there are so many things to see and only two or three days to jam them into. So, when I was I Moscow for the first time , I wandered through all the halls of the Gallery. Unguided, all by myself. Not that I don’t need guidance. My education in art is none too profound and I am very glad you could spare some time and come here with me. Incidentally, why is the Gallery called the Tretyakov Gallery? Is that the name of the patron who founded it?’ 'Да, Павел Третьяков – основатель галереи. В 1892 году он передал ее в дар городу Москве вместе с художественным собранием своего брата. А с 1918 года, после того как она была национализирована, она стала называться Государственной Третьяковской галереей. Для своей коллекции он приобретал, главным образом, работы художников-реалистов демократического направления. К моменту революции в галерее было 4 тысячи произведений живописи, рисунка, скульптуры, а сейчас это число увеличилось в десять раз. Может быть, у вас есть какие-то пожелания в отношении осмотра? Вы хотели бы посмотреть какие-то определенные картины или разделы выставки, или определенных художников?’ ‘If you don’t mind, I’d like to see several historical paintings first. One is ‘Ivan the Terrible Kills his Son’ by Repin, the others are by Surikov. I know the name of one – ‘The Execution of the Streltsi’, but I don’t know the name of the other – that’s a picture portraying a woman dissenter. And, of course, I am interested in the art of the latest period.’ ‘Ну что же, давайте начнем с исторических полотен, а потом пройдем в залы советской живописи. Вы, по-видимому, имеете в виду картину Сурикова «Боярыня Морозова». Она названа так по имени персонажа картины.’ ‘Incidentally, the two painters I mentioned belonged to the Itinerants, didn’t they? I happen to know the name, though I am not sure of the idea behind it. That was the name of a Society of Travelling Art Exhibitions, wasn’t it?’ ‘Да, Общество передвижников было основано с целью просвещать народные массы и популяризировать искусство. Было это более ста лет тому назад, и в разные периоды в него входили такие художники, как Репин, Суриков, Серов, Левитан, Ярошенко, Нестеров, Архипов и другие. Словом, очень многие из тех, кто составляет гордость нашей живописи.’ 27

'It would appear that among the genre of easel painting the so-called 'genre bas' prevailed in their paintings. They all seem to have devoted themselves to depicting national subjects and they did that with great dramatic force and real empathy. All their pictures are invested with dramatic narration.’ ‘Собственно говоря, их искусство было шагом вперед во всех жанрах станковой живописи. Но, действительно, бытовой жанр занимал значительное место. Передвижники были прогрессивно настроенными людьми. И они стремились привлечь внимание к страданиям народа России. Многие их картины были настоящим вызовом правительству. Ну вот мы и пришли. Это одна из исторических картин, которые вы хотели видеть. Только называется она несколько иначе: «Иван Грозный и его сын Иван, 16 ноября 1581 года».’ ‘The picture has such tremendous dramatic force and characterization as to be almost disturbing. I wasn’t much surprised when I heard it had been stabbed by a maniac some time or other. It’s very skillfully restored, however. The scar isn’t seen at all. ‘А вот «Утро стрелецкой казни». По-моему, это гениальная картина, так же как и картина «Боярыня Морозова». Вы знаете сюжет картины?’ ‘I know the historical background of this picture. I majored in Russian history. The events date back to 1698 when Princess Sofya was shorn a nun. This knowledge adds to the attraction of the picture to me as a historian. But, of course, it is a fine picture on its own merits. Even for a layman its composition is very skillfully balanced and it has powerful vitality. Look at this red-beared strelets – that glaring challenge in his eyes.’ ‘Да, между ним и Петром идет настоящая дуэль взглядов. Суриков впервые в истории русской живописи изобразил народ не как страдающую покорную массу, но как людей, способных на возмущение, протест, наделенных большим духовным богатством. И в этой картине, и в «Боярыне Морозовой» он изобразил события как народную драму. Он говорил, что не понимает действия отдельных исторических лиц без народа, без толпы.’ 'The scene seems so crowded, but looking closer, the artist achieved this effect without actually overcrowding the picture with figures. And you are right, of course, that the treatment of the strelrsi suggests anything but submission.’ (in front of the picture ‘Boyarina Morozova’) ‘У художников часто бывает, что какой-то зрительный образ подсказывает им сюжет картины. Например, Крамской написал свою картину «Христос в пустыне» после того, как увидел сидящего в задумчивости на камне нищего старика. А эта картина была подсказана образом сидящей на снегу вороны.’ ‘The colouring of the picture is amazing. The artist uses the entire gamut of the pallet from the white to the black. His blues, yellows and blacks are of very high saturation, and yet that does not turn the picture into a merely 28

decorative canvas.’ ‘Да, Суриков прекрасно справился с колористической и с композиционной задачей. А ведь изображение толпы на снегу ставило перед художником нелегкие задачи в этих отношениях. Кстати, в русской живописи изображение громадной массы людей на открытом воздухе было новым.’ ‘What is most amazing is that the image of the boyarina, forceful as it is, dominates the canvas without obliterating the crowd. The painter created a gallery of types of characters, one more striking than the other. A most gripping picture, really.’ ‘Да, совершенно верно. В композиционном отношении образ Морозовой как бы объединяет собой народную толпу, нисколько ее не затмевая. И сам благодаря ей приобретает новую значимость. Великолепный тип лица у нее, не правда ли?’ ‘Oh yes, you don't forget such a face in a hurry. And how well did the artist capture the expression of this proud face and the drama of the moment!’ TOPICS FOR DISCUSSION 1 1. 2. 3.

Explain the following. "A picture is a poem without words." (Horatio) "Art is long and life is fleeting." (Longfellow) "All art is but imitation of nature." (Seneka)

2 Finish the sentences. 1. 2. 3. 4. 5.

My preference lies with the genre of portrait because... I personally like genre paintings. They are... I prefer landscape to other genres. You see... I care much for still lives... I prefer battle pieces ...

3 What does it mean? 1. 2. 3. 4. 5. 6.

It's hard to overestimate the role of art in one's life. Art forms our outlook and enriches our inner world. Art has a great educational significance. Art brings people up - makes them more humane and kind. Art holds up people's spirits in the tragic moments of their lives. The language of art is universal.

4 Let's have a talk about art. 1. What makes good art? Do you think art can be great if it is not linked with the people's lives, their interests and ideals. Give your reasons. 2. How does art help us understand the outside world? 3. What purposes does true art serve? 4. Share your opinions: real art appeals to the heart and mind of man, to his 29

5. 6. 7. 8.

feelings and ideals and it proclaims life. Art is life, pretence of art is death.. True art elevates the mind and the soul of the people. The habit of looking at good pictures is in itself a means by which taste can be formed and the scope of one's enjoyment widened and developed. The acquisition of good taste is a matter of time. Painting in this respect doesn't differ from other arts. A great painting enriches our experience of life, just as a great poem does or a great musical composition.

Study the following texts.

APPENDIX

ENGLISH PAINTING Painting in England in the 17—19th centuries is represented by a number of great artists and during that period it was greatly influenced by foreign painters. The Flemish painter Van Dyck was really the father of English portrait school. The English king personally invited Van Dyck to London and during his first year in England the painter spent most of his time painting the King and the Queen. Van Dyck created the impressive, formal type of portrait and such masters as Reynolds, Gainsborough, Lawrence and Raeburn owed much to their study of his works. He created a genre of aristocratic and Intellectual portrait which influenced much the development of English painting, Van Dyck created the type of portrait which helped him to convey the sitter’s individual psychology. "FAMILY PORTRAIT" The sitter's individuality is vividly expressed in this portrait. One can easily follow the gentle and even character of the young woman and the outstanding searching, restless ; personality of her husband. The artist managed to create the impression ,of spiritual relationship in spite of the difference of characters. The colour scheme of this canvas is very beautiful. The prevailing tones are red, 'golden and brown. During the 18th century the truly national school of painting was created, William Hogarth was the first great English painter who raised British pictorial art to a high level of importance. Hogarth (1697—1764) wasn't a success as a portrait painter. But his pictures of social life which he called "modern moral subjects" brought him fame and position. Among his favourite works are six pictures united under the title "Marriage a la Mode." This famous series is really a novel in paint telling the story of the marriage of earl's son and city merchant's daughter, a marriage made for reasons of vanity and money. Despite the satirical, often amusing details, the painter's purpose is serious. He expects his pictures to be read and they are perhaps full of allusions. At the same time Hogarth remained an artist and passages especially in "Shortly after the Marriage" show how attractively he could paint. The free handing of the "Shrimp 30

Girl" is combined with cockney vivacity. The girl is brushed onto the canvas in a vigorous impressive style. As a painter Hogarth was harmonious in his colouring, very capable and direct in his theme land composition. He painted many pictures. He is well known as a humorist and satirist on canvas. In the second half of the 18th century narrative and satirical themes lost their leading role in the English art. The ruling classes tried to show in art a confirmation and glorification of their social position. The most popular form of painting became ceremonial portraits of representatives of the ruling class. Sir Joshua Reynolds was the most outstanding portraitist of the period. In December 1768 the Royal Academy was founded and Reynolds became its first president. He created a whole gallery of portraits of the most famous of his contemporaries. He usually painted his characters in heroic style and showed them as the best people of the nation. As a result his paintings are not free of a certain idealization of the characters. Reynolds' was greatly influenced as a painter by the old masters. This influence can be seen in his "Cupid Untying the Zone of Venus". The picture is close to Titian's style in the use of colour, but it is typical of the 18th century English school of its approach to subject-matter. He often included real personages in his mythological works (Venus — Hamilton). Reynolds did not want British art to be provincial and isolated. It was he who insisted that it should be brought up in line with European art and that they should develop the Grand style of painting. As a president of the Royal Academy Reynolds delivered lectures. These lectures were regarded as the most sensible exposition of the Academic view that by welldirected work it was possible to learn the rules of art and use discoveries and ideas of the old masters to create a new style of one's own. He recommended that a would-be painter should put his faith in old masters from whom he should be ready to borrow. He advised that in portraits the grace should consist more in taking the general air than exact rendering of every feature. He suggested that the proportions of a sitter's figure should be altered in accordance with a fixed ideal. Reynold's contemporary George Romney reflects Reynold's style to some degree. The portrait of Mrs Greer shows a very attractive young woman who's beauty is emphasized by a contrast between her white face and dark eyes an the severe colouring of her toilette. He did not try to understand the psychology of the sitters. He created only general impression. John Hopper was one of the better-known portraitists at the turn of the 18th century. He was famous for his ability to portray elegant ladies and children. His men are simplier, especially in later paintings (portrait of Sheridan). The works of the Scottish painter Henry Raeburn bear a certain resemblance to those of Reynolds and his school. But Raeburn's portraits are done with greater feeling and he achieves this depth by the effective use of shadow and light (Portrait of Mrs Raeburn). Thomas Gainsborough, one of the greatest masters of the English school, a 31

portraitist and a landscape painter. His portraits are painted in clear tones. Blue and green are predominant colours. One of the most famous works is the portrait of the Duchess of Beufort. He managed to create a true impression of the sitter. Gainsborough greatly influenced the English school of landscape painting. He was one of the first English artists to paint his native land ("Sunset", "The Bridge") and others. He was the first English artist to paint his native countryside so sincerely. His works contain much poetry and music. He is sometimes considered the forerunner or the impressionists. Gainsborough was the antithesis of the businesslike Reynolds. He was very poetic by his nature, he abhored rules and cared little about the old masters. By necessity a portraitist he was by inclination a landscapist. John Constable an English landscape painter painted many well-known works ("A Cottage in a Cornfield", "The Loch"). He is the first landscape painter who considered that every painter should make his sketches direct from nature that is working in the open air. His technique and colouring are very close to the impressionists. Constable ignored the rules established by Reynolds. He insisted that art should be based on observation of nature and feeling. He was the herald of romanticism. But the realistic qualities of his art are sensed very strongly. The furious apostle of the philosophy of romanticism was William Blake who was strongly opposed to the rules of Reynolds proposing that the guiding force for creative spirit should come from imagination not reason. A complete expression of romantic ideal can find itself in the pictures of Turner. Joseph Turner was an outstanding painter whose most favourite topic was to paint sea ("The Shipwreck"). He painted waves and storms, clouds and mists with a great skill. Although his talent was recognized immediately' he deliberately turned his back to the glittering social world of London. Victorian England which found it more important that a man be a gentleman in the first place and only in the second a genius, never forgave him. The Pre-Raphaelite Brotherhood was an association of painters, formed; in London in 1848. Its chief members were Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. As a group, the Brotherhood lasted for little .more than a decade, but it gave a new direction to Victorian art which lasted into the 20th century. They determined to paint direct from nature, with: objective truthfulness, emulating the work of the great Italian artists before] Raphael. They appreciated nothing but beauty and turned to the Bible and classical mythology for inspiration.

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BIBLIOGRAPHY 1. Ермолович Д. И. Русско-английский словарь для гидов-переводчиков и экскурсоводов. М. 2003. 2. Alexander L. G. Developing Skills. M.: 2004. 3. Alexander L. G. Fluency in English. M.: 2004. 4. Farrell, M. British Life and Institutions. М., 2000. 5. Johnson O., Farrell, M. Ideas & Issues (intermediate). М., 1998. 6. Jones, L. Progress to Proficiency. New edition. Student’s book. Cambridge University Press. 1994. 7. Misztal, M. Tests in English. Thematic Vocabulary. 1999. 8. Preisis, Sh. North Star (advanced). Longman. 9. Soars L., Soars J. New Headway (advanced). New edition. Student’s book. Oxford University Press, 2005. 10. Voytenok V., Voytenko A. Conversational English. M. 2003. 11. Wellman, G. Wordbuilder. Macmillan Heinemann, 1998.

AUDIO MATERIALS 1. Jones, L. Progress to Proficiency. New edition. Class cassettes. Cambridge University Press. 1994. 2. Johnson O., Farrell, M. Ideas & Issues (intermediate). Tune-in (Class cassette). М., 1998.

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KEYS to Vocabulary Ex. 9.

Как Вы смотрите на то, чтобы пойти в Музей народов Востока (изобразительных искусств), Эрмитаж, Третьяковскую галерею, Дом-музей Толстого? В музее собраны материалы по истории России. Сокровища здесь оцениваются в миллионы и миллионы рублей. Мы были на выставке античного искусства. Когда Вы смотрите на экспонаты древнего искусства, собранные там, Вы забываете, что живете в двадцатом веке. Сейчас проводится большая реставрационная работа.

Those remarkable works of art give a vivid idea of the high level of ancient art. The eternity of a gun had a rusty flint lock. The muzzle was eaten by the rust of centuries. The pistol was barred and plated with silver. The whole museum was crowded with historical interest.

Там были мантии, вышитые золотом и украшенные драгоценными камнями. Старый стол почернел от времени. Эти монеты дошли до нас со времен Петра I. Эти нагрудники когда-то принадлежали (воинам) племени Н.

If we went to the State Hermitage in S. Petersburg, we could see splendid collections of exhibits such as: articles of glass, bone, stone and iron; articles found at the sites of ancient towns; articles from the tombs of different tribes; articles from the excavations at different places; ancient coins; fragments of Greek vessels of the — century; agricultural implements of people that existed long ago; painted enamal articles in silver and copper; manuscripts that were written centuries ago; copper and silver coins of the monetary reform of Peter I; costumes of the times of the long ago

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