Научно-исследовательская работа по английскому языку

Муниципальное бюджетное общеобразовательное учреждение

Елизаровская средняя школа

Исследовательская работа

English school of painting

                                                                                                         Автор:

                                                           Лошкарева Екатерина Дмитриевна

                                                                          ученица 8 класса          

                                                                                 MБOУ Елизаровская СШ

Руководитель:

 Грачева О.А.

учитель английского языка

                                                                                 MБOУ Елизаровская СШ

Елизарово

2018

Contents

II. Introduction …………………………………………………………………..3 I. Annotation……………………………………………………………………..4

III. Art…………………………………............................................................5-6

1.  What is art?      ………………………………………………………………5
2.  Painting ……………………………...………………………………………6

IV. English painting …....................................................................................7-14

4.1 English school of painting………………....................................................7-9
4.2 The best English painters …....................................................................10-11
4.3 John Constable….....................................................................................12-13
4.4 My picture description.……………………………………………………..14

V. Conclusion…………………………………………………………………..15          VI. Resources ………………………………………………………………….16    VII. Addendum…………………………………………………………………17

1. Annotation

The work is entitled «English school of painting». It is reported in it, that English artists had become a world famous only in the early 1700s. The text gives the information about the best English painters and the styles of painting. Special attention is devoted to the biography of   John Constable, the artist of the golden age of English painting. In my opinion the work is rather interesting for both children and adults. It is useful for your own development. In conclusion the author describes the masterpiece of J. Constable.

II.Introduction

The reason I have chosen the theme “English school of painting’ is that a lot of people like drawing, but only a few of us can create a real masterpiece. I like painting and know some names of famous artists: I.Levitan, Serov, V.Surikov, I.Shishkin. I like English too. Nowadays painting is not popular among teenagers. I want to read about English famous artists and tell it to my classmates. It is interesting to learn the styles of painting, the history of British painting. I want to find the information about the best English artists and their pictures.

Everyone can feel the magic of painting. One beautiful picture can elevate your mood and give a feeling of joy. Painting is pleasure and even the feeling of happiness.

Amazing painting interested people long time before. It attracted people’s attention because of its unknown force that could influence a person. We enter the world of  colours, comes out of it, his psychological state is qualitatively different, calm, refreshed, just like after a walk in the woods, swimming in the sea or  talking with a close friend. ‘Who can penetrate the mystery of art?  We can hear the sound of the sea, the wind in foliage, birds’ singing cause a variety of impressions in us. And quite of a sudden, without asking our permission, one of our memories expresses itself in the language of art’.

The problem of my research- I know Russian painters and their pictures, but I  have never heard about English artists.

The aim of my work- learn the history of English school of painting

The objectives:

• learn new words
• find the information about English art
• know the names of famous English artists
• describe a picture

III. Art

3.1 What is art?

Art plays a great role in our lifе. It can help a person to open himself, to have a new look at this world.  Some people think that art is a very important part of our life, to others it is nothing. People have always argued about art – how to make it, what it should look like and why. But there is no right or wrong answer. For example, some people think that paintings should look true to life. But many artists want to create more imaginative works – especially now that we have photographs to record how things look like.

Art includes various forms such as prose writing, poetry, dance, acting, sculpture, architecture, painting, drawing, music, theatre, and cinema. There are a variety of arts, including visual arts and design, decorating arts, applied arts, performing arts. New forms include photography, film, video art, fashion, computer art.

The early art began in prehistoric times (rock painting). The greatest works of arts appeared in the ancient times (theatre, singing), in the Middle Ages (architecture), during the Renaissance period (literature, theatre and painting), in the 18th-19th centuries (music, literature), in the 20th century (all modern arts).

Visual arts are a vast subject, including all kinds of pictures and sculptures. Artists make art for many reasons. Hundreds of years ago, when people couldn’t read, paintings were often designed to illustrate stories, especially Bible stories. And a lot of paintings were made to decorate churches. More recently, artists have begun to paint to express their own feelings or explore ideas, or just to create something beautiful.

The most important role of art is to show us the beauty of our world.  Poets, artists, playwrights and composers are the sources of truth, order, harmony. Art makes people kinder, and kind people are always happy. 

3.2 Painting

Different people like different types of art.  Some of them are fond of painting. Others like music or they have a passion for literature.  But all of us cannot help admiring the canvases of such great painters as Thomas Gainsborough, Rembrand.

    There are a lot of styles in painting. Classicism is a style of art practiced especially in the 18th century in Europe. It follows the ancient Greek or Roman principles of harmony, regularity and balance. The artist does not attempt to express strong emotions or give way to feeling. It is often contrasted with Romanticism. The most notable artists who painted in this style are French painters Claude Lorrain and Nicolas Poussin. Romanticism is a style in art which tries to depict feelings and emotions. This movement in the arts and literature originated in the late 18th century, emphasizing inspiration, subjectivity, and the primacy of the individual. It is often contrasted with Classicism. Realism is an art movement or style which represents people or things like in real life (lifelike pictures). It followed Romanticism in the 19th century. Impressionism is a style of painting developed in France between 1870 and 1900 which concentrated on showing the effects of light on things rather than on clear and exact detail. Surrealism is a style in art and literature in which ideas, images, and objects are combined in a strange way, like in a dream. Cubism is a style of art, begun in the early 20th century, in which objects are represented as if they could be seen from several different positions at the same time, using many lines and geometric shapes. This style was created by Picasso and Braque. Expressionism is a style of art which uses symbols, exaggerated shapes and colours to express the inner world of emotion rather than reality. It was founded by the Norwegian painter Edward Munch at the beginning of the 20th century. Abstract art is art that does not attempt to represent reality but it is an arrangement of shape and colours. It became popular in the 20th century.

IV. English painting

4.1 English school of painting

The development of English painting was very interesting and unusual. Until the 18th century there were no famous national artists in Great Britain for two reasons:

1. The formation of the national art traditions was interrupted during the Reformation (16th century) when the Protestants prohibited all kinds of are decoration in the churches. Later, during the revolution of the 17th century, the works of painting and sculpture were denounced as objects of luxury. And the Puritans – the radical group of British Protestants – considered luxury to be a sin. So the development of painting was slower than in the other countries of Europe.
2. Because of the absence of strong national traditions, the British kings invited some famous artists from the continent – first of all, masters of portrait painting.

Finally, two great European portrait-painters became the founders of the British school. In the 16th century – Hans Holbein, the Younger, and later, in the 17th century - the great Flemish master Antony van Dake (1599-1641). Van Dake appeared in London in 1632 at the invitation of King Charles I. In his native land he used both biblical and mythological topics for his works; but in London he dedicated himself only to the portraits if British aristocrats. By means of his brilliant technique, he showed the nobility and the aristocratic delicacy of his models.

    His experience was so successful that after his death in 1641 London was full of his imitators. The imitation of Van Dake’s manner made the portraiture the main genre of British painting.

     The first outstanding English painter was William Hogarth. He never imitated his great Flemish predecessor, but his manner was very influenced by the theatre tradition. His father, a school teacher, gave him a very good education. So, like the famous philosopher John Locke, Hogarth looked at art  as the best way of upbringing. He believed the artist should improve the moral atmosphere of society, and a picture had to be a moral teacher for the people. Most of his works are like a little performance, where the topic has a serious moral problem. The best one is a cycle of pictures “The Marriage a la mode”. It consists of six works; a detailed story about the marriage between a noble but poor young man and a rich girl who was not from a noble family.

The other famous English artist was Thomas Gainsborough. He painted both portraits and landscapes, and his creative activity was connected closely with sentimentalism in literature. In his portrait manner, there is the influence of Van Dake, But for Gainsborough, Van Dake’s tradition became the object of artistic improvisation which helped him to create the image of the romantic hero.

 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. 

Reynold's contemporary George Romney reflects Reynold's style to some degree. The portrait of Mrs. Greer shows a very attractive young woman whose beauty is emphasized by a contrast between her white face and dark eyes and the severe coloring of her dress. 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).
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.

4.2 The best English painters

• William Hogarth (1697-1764)
Pioneer figurative painter; founder of English portraiture and genre-painting.
• Allan Ramsay (1713-84)
Scottish-born portrait painter, official portraitist to King George III.
• Richard Wilson (1714-82)
Pioneer of English landscape painting.
• Alexander Cozens (1717-86)
One of the first exclusively landscape painters; noted for monochrome works.
• Nathaniel Hone the Elder (1718-84)
Irish portraitist settled in London; earliest of the 18th-century miniaturists.
• Joshua Reynolds (1723-92)
Grand style portraitist, first President of London Royal Academy of Fine Arts.
• George Stubbs (1724-1806).
Finest ever animalier and equestrian horse painter.
• Francis Cotes (1725-70)
Follower of Reynolds, noted for his sensitive portraits in cool colours.
• Thomas Gainsborough (1727-88)
Outstanding portrait and landscape painter.
• Johann Zoffany (1733-1810)
Fine genre painter, visual chronicler and portrait artist.
• Joseph Wright of Derby (1734-97)
Highly original portraitist and genre painter, noted for candle-lit scenes.
• George Romney (1734-1802)
Noted for his sympathetic, charming but mediocre portraits.
• John Singleton Copley (1737-1815)
Of British parents, initially a portraitist, became a great history painter.
• Benjamin West (1738-1820)
American artist active in London. Second President of Royal Academy.
• Tilly Kettle (c.1740-86)
Follower of Reynolds who made a fortune painting Princes, Nabobs of India.
• Richard Cosway (1740-1821)
Greatest English miniaturist painter of the close of the 18th-century.
• John Hamilton Mortimer (1741-89)
Romantic, history painter; lifelong friend of Joseph Wright.
• James Barry (1741-1806)
One of the best Irish artists in London, noted for his mythological painting executed in the 'grand style'.
• Henry Fuseli (1741-1825)
Swiss-born Romantic artist, symbolist painter.
• Ozias Humphrey (1742-1810)
Miniaturist, pastel artist, later Portrait Painter in Crayons to George III.
• John Russell (1745-1806)
Miniaturist portrait artist in crayon, pastel, plumbago or lead pencil.
• Henry Walton (1746-1813)
Genre painter of grace and charm in the manner of the great Jean Chardin.
• John Robert Cozens (1752-99)
Son of Alexander Cozens; the finest landscape watercolourist of his day.
• Thomas Stothard (1755-1834)
Illustrative artist noted for his literary painting and small book-illustrations.
• Sir Henry Raeburn (1756-1823)
Virtuoso portrait artist, a Scottish Holbein or Van Dyke.
• William Blake (1757-1827)
Highly original engraver, etcher

4.3 John Constable

I want to tell you about one of the greatest masters of English painting school. John Constable (11 June 1776 – 31 March 1837) was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann Constable. His father was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill. Golding Constable also owned his own small ship, The Telegraph, which he moored at Mistley on the Stour estuary and used to transport corn to London. Although Constable was his parents' second son, his older brother was mentally handicapped and so John was expected to succeed his father in the business, and after a brief period at a boarding school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the corn business after leaving school, but his younger brother Abram eventually took over the running of the mills. In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk countryside that was to become the subject of a large proportion of his art. These scenes, in his own words, "made me a painter, and I am grateful"; "the sound of water escaping from mill dams etc., willows, old rotten planks, slimy posts, and brickwork, I love such things." He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain, which inspired Constable. Later, while visiting relatives in Middlesex, he was introduced to the professional artist John Thomas Smith, who advised him on painting but also urged him to remain in his father's business rather than take up art professionally. In 1799, Constable persuaded his father to let him pursue art, and Golding even granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections as well as studying and copying Old Masters. Among works that particularly inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci and Jacob van Ruisdael. He also read widely among poetry and sermons, and later proved a notably articulate artist. By 1803, he was exhibiting paintings at the Royal Academy. In 1802 he refused the position of drawing master at Great Marlow Military College, a move which Benjamin West (then master of the RA) counselled would mean the end of his career. In that year, Constable wrote a letter to John Dunthorne in which he spelled out his determination to become a professional landscape painter."For the last two years I have been running after pictures, and seeking the truth at second hand. I have not endeavored to represent nature with the same elevation of mind with which I set out, but have rather tried to make my performances look like the work of other men... There is room enough for a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth." His early style has many of the qualities associated with his mature work, including a freshness of light, colour and touch, and reveals the compositional influence of the Old Masters he had studied, notably of Claude Lorrain. Constable's usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He did, however, make occasional trips further afield. For example, in 1803 he spent almost a month aboard the East Indiaman ship Coutts as it visited south-east coastal ports, and in 1806 he undertook a two-month tour of the Lake District. But he told his friend and biographer Charles Leslie that the solitude of the mountains oppressed his spirits; Leslie went on to write: "His nature was peculiarly social and could not feel satisfied with scenery, however grand in itself, that did not abound in human associations. He required villages, churches, farmhouses and cottages." In order to make ends meet, Constable took up portraiture, which he found dull work-though he executed many fine portraits. He also painted occasional religious pictures, but according to John Walker, "Constable's incapacity as a religious painter cannot be overstated." Constable adopted a routine of spending the winter in London and painting at East Bergholt in the summer. And in 1811 he first visited John Fisher and his family in Salisbury, a city whose cathedral and surrounding landscape were to inspire some of his greatest paintings.

4.4 My picture description

 Look at this masterpiece.  It’s “The Hay Wain” by Constable, the English national icon’. This is a picture about as English as you can possibly get. We look at a picture like this and we see green fields, we see blue windy sky, we see a nice cosy cottage, a wagon with horses and we think, «it is an old England, it is a traditional English village in the past».

I think he remembered his parents, his childhood painting this picture. This is a picture of Constable’s boyhood home. He was brought up in rural Suffolk and he painted this picture when he was living in London. So Constable of course created the picture that was a fiction, even to him in the early 1800s, this was a lost world. This was a world that had been changed by cars, factories, industry. This was a world where people appreciated the human relations and the beauty of nature.

You never see a railway train, you never see a factory chimney, and you never see any of these signs of progress that were forever changing the face of England. It’s a nostalgic picture harking back to an age that actually never existed because here we’re seeing happy peasants in the fields when, of course, life of the peasants who worked on the land were dire and desperate.

A fantasy picture, but a very beautiful fantasy picture that I think we all probably want to believe in it, especially when we’re in the middle of polluted, noisy, dirty town or city, looking at it, we think, «I want to go there».

V. Conclusion

In conclusion, I can say that I have reached the aim and found the information about English painting and famous artists. I have learnt to describe a picture. My new aim is visiting an art gallery and watching the masterpieces of great masters in reality. If you do not have hobby, start painting and your life will change forever. This kind of art arouses positive emotions. I think that pictures of great artists create the psycho-emotional state of serenity, calmness and safety. It’s good to paint when you are upset or depressed. You forget your problems and sink in the world of beauty and harmony. Painting is the shortest and easiest path to happiness and joy. Further research in this area, will provide more information and allow even more to understand about the influence of art on the human state in general.

VI. Resources

1. http://www.verim.org/project/
2. http://lidadhi.narod.ru/mr_lisovskaja.html 
3. http://images.yandex.ru/yandsearch.667-fw-1126-fh-461-pd-1
4.  http://www.yourfreedom.ru/
5. Методическое пособие с электронным приложением/С.В. Володина.-M: Планета,2014
6. English painting/Ernest Chesneua-New York: Parkstone

VII. Addendum

                  John Constable

The Hay-Wain, 1821