Методическая разработка На тему: “Art” (Искусство).
методическая разработка по теме

Департамент образования

Ямало-Ненецкий автономный округ

Управление образования г. Новый Уренгой

Новоуренгойский педагогический колледж

Методическая разработка

На тему: “Art” (Искусство).

Выполнила: Хиль О. А.

г. Новый Уренгой

2006

Содержание

Пояснительная записка…………………………………………………………...3

Текстовой материал для работы по теме “Art”

Unit 1 Indian, Chinese and Japanese Art.……………………………………….....5

Unit 2 The art of ancient Greece…………………………………………………...8

Unit 3 The art of ancient Rome..………………………………………………….10

Unit 4 About painting……………………………………………………………..11

Unit 5 Some glimpses of history of West European art…………………………..13

Unit 6 Artistic and cultural life in Britain………………………………………...15

Unit 7 Prominent English artists………………………………………………….17

Unit 8 Mannerism and Baroque…………………………………………………..20

Unit 9 The National Gallery………………………………………………………22

Приложение (Appendix)…………………………………………………………24

Список литературы………………………………………………………………26

Пояснительная записка.

     Данная методическая разработка по теме “Art” (“Искусство”) предназначена для развития устной и письменной речи студентов, специализирующихся в области изобразительного искусства и черчения, а также отделений английского языка лингвистических факультетов. Работа с методической разработкой  рекомендуется на этапе чтения оригинальной литературы.

     Цель пособия – приобретение студентами коммуникативной компетенции, уровень которой на отдельных этапах языковой подготовки позволяет использовать иностранный язык практически как в профессиональной (производственной и научной) деятельности, так и для целей самообразования. Под коммуникативной компетенцией понимается умение соотносить языковые средства с конкретными сферами, ситуациями, условиями и задачами общения. Соответственно, языковой материал рассматривается как средство реализации речевого общения, при его отборе осуществляется функционально-коммуникативный подход.    

Задачи:

- восполнение недостатка современных материалов по профилирующим темам;

- развитие навыков ведения беседы, дискуссии на материале отрывков публицистических статей и текстов, посвященных вопросам искусства;

- развитие навыков перевода оригинальных текстов среднего уровня сложности;

- анализ специальной литературы;

- активизация лексического запаса по изучаемой теме.

     Методическая разработка состоит из девяти разделов и приложения включающего в себя список известных художников, архитекторов и скульпторов. Каждый из разделов содержит основной текст и упражнения направленные на усвоение лексического материала, совершенствование умений и навыков в области говорения. Текстовой материал носит информативный и проблемный характер и может служить базой для ведения беседы, дискуссии, диспута. Текстовые упражнения призваны обеспечить контроль понимания прочитанного, запоминание и частичную активизацию лексических единиц, а также развитие умения отстаивать свою точку зрения, убеждать собеседника. Упражнения рассчитаны на совершенствование не только устной, но и письменной речи, что предполагает так называемый «свободный перевод».

     В учебном процессе материал методической разработки можно использовать в приведенной последовательности или выборочно как для аудиторной, так и самостоятельной работы.

Unit 1

Indian, Chinese and Japanese Art

     Indian art includes the painting, sculpture, and architecture of India. Indian art dates back to the Indus Valley civilization of about 3000 BC.

     Buddhist art includes sculpture and murals created in the periods of the Gandhara and Gupta kingdoms. The first known images of the Buddha were produced in a monumental soft and rounded style that was exported, with the Buddhist religion, to China, Korea, and Japan.

     Hindu art was influenced by Buddhist art. But, unlike Buddhist art, Hindu art shows the human figure curved and filled with potential motion. Ancient beliefs of the India understood the body as an aesthetic form second only to the deities. Hindu art reflects the life rhythms of the fundamental themes of this religion. Hindu art works are usually brass statues of Krishna, Vishnu, Shiva, and other symbols of devoting. Hindu art creates brilliant sculptural schemes in rock-cut caves at Mamallapuram, and known for their ensemble of religious art (Buddhist, Hindu, and Japan) dating from the 6th and 7th centuries.

     Mogul art dates from the Muslim invasion of north-west India in the Middle Ages. The invaders destroyed Buddhist and Hindu temple art and introduced their own styles, particular of the Islamic art. The Koran forbids human and animal representation in art, therefore Islamic artistry was channeled into calligraphy and ornament. Ceramic tiles decorated mosques and palaces.

    Court artists excelled in miniature painting.

     The Shiraz School is distinguished by its brilliance of coloring, a love of gorgeous landscapes, by the frequent inclusion of freely drawn bird and flower motifs in the margins, and by faces and figures with rounded contours, fine lines, narrow eyes, and rather characteristic profile glances. A new system of vertical perspective is evident in which figures are shown one over the other, and where such things as ponds and carpets appear as flat on the page.

     With the arrival of Prince Humay, the symbolic decorative basis of Persian painting is here fully apparent. The flowers bask in the brilliance of daylight while the stars shine in the sky, combining realism with symbolism. The artist is completely unbounded by the practicality of naturalism, yet his approach remains completely comprehensible.

     The art of pottery was greatly advanced in the ninth century with the development of the technique of luster painting. Luster painting is a spectacular means of decorating pottery, perhaps in imitation of precious metal, which was first developed in Iraq and subsequently spread to Egypt, Syria, Iran, and Spain. The production of luster-decorated pottery was complicated, costly, and time-consuming, indicating that such objects were regarded as luxury wares. This technique combines silver and copper oxides with sulfur and other materials, which are applied in liquefied form to the surface of a previously glazed and fired object. The ware is then refried in a muffled, or reducing, kiln, so that the oxygen is drawn out from the metal oxides, producing a dazzling metallic surface. Lusterware can vary in colour from a rich gold to deep reddish brown.

     From the Bronze Age to the Cultural Revolution, Chinese art shows a stylistic unity unparalleled in any other culture. From about the 1st century AD Buddhism inspired much sculpture and painting in China. Bronze Age Chinese art is characterized by rich burial goods with bronzes and jade carvings decorated with hieroglyphs and simple stylized animal forms. Life-size terracotta figures from the Qin Period guards the tomb of Emperor Shi Huangdi in the old capital of Xian.

     Once Buddhism was established in China it inspired a monumental art, with huge rock-cut and bronze images in rounded forms.

     Tang dynasty art shows naturalistic portraits, such as the carved figures of Buddhist monks.

     The golden age of Chinese painting was the Song Dynasty (960 – 1278). The imperial court created its own workshop, fostering a fine calligraphic art, mainly developed to natural subjects – landscape, mountains, trees, flowers, birds. Genre scenes of court beauties were also popular. Scrolls, albums, and fans of silk or paper were painted with watercolors and ink, using soft brushes. Painting was associated with literature, and painters, added poems or quotations to their work. The Song Dynasty also produced the first true porcelain of classic simplicity.

     Ming Dynasty (1368 – 1644) painters continued the landscape tradition. The Song style of porcelain gave way to elaborate work of rich colours.

     Qing Dynasty (1644 – 1911) painters developed personal styles of brushwork. In the 20th century the strong spirit that supported traditional art began to fade.

     Early Japanese art was influenced by China. Painting later developed a distinct Japanese character, bolded and more angular, with the spread of Zen Buddhism in the 12th century. Ink painting and calligraphy flourished, followed by book illustration and decorative screens. Japanese pottery stresses simplicity.

     The 17th century saw the beginnings of kabuki, the popular drama of Japan. Kabuki Theater was founded by a shrine maiden that brought her unique dance style to the ancient capital of Kyoto, and over the next 300 years this art of performing developed into a highly stylized form of theater. Though, kabuki was created by a woman, since the early days all roles have been taken by men. Kabuki Theater is an establishment in which the Japanese take great pride.

1. Answer the questions:

1. What do you know about the influence of Buddhist art?
2. What ensemble of religious art combines the three religions of India?
3. What invaders destroyed Buddhist and Hindu temples?
4. What is particular to Islamic art?
5. What do you know about Chinese and Japanese porcelain and pottery?
6. Who created Kabuki?

2. Agree or disagree:

1. Indian art includes the painting, music and sculpture.

2. Buddhist religion and art were exported to Iran and Iraq.

3. Hindu art was influenced by Buddhist art.

4. Mogul art dates from the Muslim invasion of north-west India in the 20th century.

5. The Koran forbids human and animal representation in art.

6. Terracotta figures from the Qin Period guards the tomb of Emperor Shi Huangdi in the old capital of Xian.

7. Kabuki was created by a woman and since the early days all roles have been taken by women.

3. Make the outline of the text.

4. Retell the text.

Unit 2

The art of ancient Greece

     The art of ancient Greece (sculpture, mosaics, and crafts) is usually divided into three periods: Archaic (late 8th century – 480 BC), showing an Egyptian influence; Classical (480 – 323 BC), characterized by dignified realism; and Hellenistic (323 – 27 BC), more exuberant or dramatic. Sculptures of human figures dominate all periods, and vase painting was a focus for artistic development for many centuries.

     Archaic period.  Statues of naked standing men and draped females show an Egyptian influence in their rigid frontality. By about 500 BC the figure was allowed to relax its weight onto one leg. Subjects were usually depicted smiling.

     Classical period. Expressions assumed a dignified serenity. Further movement was introduced in new poses. They started to express movement in bronze, hollow-cast by the lost-wax method, but relatively few bronze sculpture survive, and many are known only through Roman copies in marble.

     Hellenistic period. Vase painting of ancient Greece was developed by artists who worked as both potters and painters, and the works they signed were exported throughout the empire. Made in several standard shape and size, the pots served as functional containers for wine, water, and oil. The first decoration took the form of simple lines and circles, from which the Geometric style emerged near Athens in the 10th century BC. It considered of precisely drawn patterns, such as the key meander. Gradually the bands of decoration multiplied and the human figure, geometrically stylized, was added.

      About 700 BC the potters of Corinth invented the Black Figure technique in which the unglazed red clay was painted in black with mythological scenes and battles in a narrative frieze.

     About 530 BC Athenian potters reversed the process and developed the more sophisticated Red Figure pottery, which allowed for more detailed and elaborate painting of the figures in red against a red background. This grew increasingly naturalistic with lively scenes of daily life. Later painters tried to follow major art trends and presented special depth, dissipating the unique quality of their fine linear technique.

     The ancient Greeks excelled in carving gems and cameos and in metalwork. They also invented a pictorial mosaic, and from the 5th century BC onwards floors were paved with colored pebbles depicting mythological subjects.

     The earliest literature of ancient Greece is represented by works of Homer and Hesiod. The lyric poet Pindar and the historian Herodotus belonging to the 5th and 6th centuries BC. The 5th century BC saw the development of Athenian drama through the works of the tragic dramatist Aeschylus, Sophocles, and Euripides, and the comedies of Aristophanes. After the fall of Athens came a period of prose with the historian Xenophon, the idealist philosopher Plato, the orators Isocrates and Demosthenes, and the scientific teacher Aristotle.

1. Agree or disagree:

1. The art of ancient Greece is usually divided into three periods: Egyptian, Classical and Hellenistic.

2. Classical period (480 – 323 BC) is characterized by dignified realism.

3. Statues of naked standing men and draped females show an Egyptian influence in their rigid frontality.

4. During the Archaic period subjects were usually depicted crying.

5. Classical period is characterized by bronze statues.

6. Vase painting of ancient Greece was developed by artists who worked as potters, sculptures and painters.

7. The pots served as functional containers for wine, water, and oil.

8. The first decoration of potters took the form of simple lines, from which the Geometric style emerged near Athens in the 15th century BC.

9. About 700 BC the potters of Corinth invented the Red Figure technique.

10. About 530 BC Athenian potters developed the Black Figure technique.

2. Make a short dialogs using the information from the text.

3. Make the outline of the text.

4. Retell the text.

 Unit 3

The art of ancient Rome

     The civilization of ancient Rome influenced the whole of the West Europe throughout the Middle Ages, the Renaissance in the fields of art, architecture, literature, law, and engineering. For instance, the Roman law code has been taken into consideration by many rules in different countries.

     The art of ancient Rome (sculpture and painting) developed from the 4th century BC onwards to the fall of the empire. Roman art was intended for public education, notably the sculpted triumphal arches and giant columns, such as the Trojan Column, and portrait sculptures of soldiers, politicians, and emperors. Surviving mural paintings and mosaic decorations show Greek influence.

     Realistic portrait sculpture was an original development by the Romans. A cult of heroes began in public places. The erected statues were of generals, rulers, and philosophers. The portrait bust developed as a new art form from about 75 BC. These were serious, factual portraits of men to whose wisdom and authority, the bust implied, their subject nations should reasonably submit.

     Narrative relief sculpture also flourished on Rome, linked to the need to commemorate publicly the military victories of their heroes. These sculptures appeared on monumental altars, triumphal arches, and giant columns such as Trojan’s Column, where his battles recorded in relief like a strip cartoon winding its way around the column for about 200 meters. Gods and allegorical featured with Rome’s heroes on narrative relief sculptures, such as those on Augustus’s giant altar to peace.

     Very little Roman painting has survived. And much of what has is due to the volcanic eruption of Mount Vesuvius in 79 AD that buried the South Italian towns of Pompeii and Herculaneum under ash, thus preserving the lively and impressionistic wall paintings that decorated the villas of the art-loving elite. Common motifs were illusion and still life. A type of interior decoration known as Grotesque, rediscovered in Rome during the Renaissance, combined swirling plant motifs, strange animals, and tiny fanciful scenes. Grotesque was much used in later decorative schemes to quote the classical period.

     The art of mosaic was found throughout the Roman Empire. It was introduced from Greece and used for floors as well as walls and vaults, illusionary effects, geometric patterns, and scenes from daily life and mythology.

1. Make the outline of the text.

2. Retell the text.

Unit 4

About painting

     Art is creation of pictures with the help of paint applied to a solid surface. In painting it is colour and line which are of primary importance. Besides, to make a picture expressive, artist uses light and shade (chiaroscuro), the stroke and the composition. All these expressive means enable an artist to present colour, shape and volume of the material world, to portray an endless variety of objects and living beings, light and air, sky and water, space and movement.

     A long history of art shows that it pictures a broad panorama of social life, historical events, and the inner world of man. Due to the varied expressive means, art is an important means of reflecting reality; it has an important social and ideological message to convey.

     According to the particular sphere of reality reflected in art, there are many genres of it: portrait painting, landscape and seascape, still life, genre scenes, historical painting, painting of battle scenes. They all belong to the so-called easel painting. Monumental painting includes fresco, panel. They are widely employed to decorate buildings both outside and inside. Decorative painting deals with sketches of scenery and costumes in theatrical productions and filmmaking.

     In easel painting the most common techniques are oil painting, water colours, tempera, gouache, pastel, coal, pencil and ink.

     Graphic art is somewhat different from painting. First of all, genres and techniques are different. Graphic art includes drawing, engraving, etching, poster, (book) illustration and cartoon. In graphic art colour is not commonly used, it is the line and the contrast of black and white that are of primary importance. Graphic art is more laconic and austere, less sculpturescue. But it is also very expressive, democratic, reflecting burning issues of present day life. Today new form and techniques have been evolved: lithography, lonography, designing stamps, trade marks and ex-librises.

1. Match the words from the both columns:      

1. line                                                  1. графика

2. light and shade                                2. жанровая живопись

3. stroke                                              3. станковая живопись

4. composition                                    4. линия, рисунок

5. volume                                            5. светотень

6. landscape                                        6. мазок

7. seascape                                          7. портретная живопись

8. still life                                            8. монументальная живопись

9. genre scenes                                    9. декоративная живопись

10. historical pointing                         10. пейзаж

11. battle scenes                                  11. пастель

12. easel painting                                12. эскиз

13. monumental painting                    13. морской вид

14. decorative painting                        14. батальная живопись

15. sketch                                             15. акварель    

16. oil painting                                     16. историческая живопись

17. pastel                                              17. живопись масляными красками

18. coal                                                 18. уголь

19. ink                                                  19. композиция

20. graphic art                                      20. тушь

21. portrait painting                              21. объем

22. water colour                                    22. натюрморт

2. Retell the text.

Unit 5

Some glimpses of history of West European art

     The beginning of art goes back to the prehistoric times when man used tools made of wood, bone or stones, and modeled figures, drew or painted his first pictures. At the early stages and up to the Middle Ages art was dominated by religion. The history of painting in Western Europe begins with the 13th Century Italian artist Giotto. He executed frescoes in the great church of St. Francis in Assisi and this work is a high point in the tendency toward humanizing art and life. Giotto is a master of monumental dignity and controlled emotional strength. Another great artist was Masaccio (1401 – 1428/29), who was the first to apply the laws of perspective, thus giving a picture an optical illusion of depth. It should be noted however, that art still remained ecclesiastical, painters mostly portrayed biblical subjects.

     The great Flemish artist Jan van Eyck (1370/85 – 1441) was the first to paint portraits of his contemporaries, stressing unique human features of each individual. Besides, he invented the arrangement of light and shade as an artistic principle and used a new technique of oil-painting that helped to render the richest varieties of colour and shape of material objects.

     Art began to be centered on man and his inner world, religious subjects and motifs were treated from a different angle, as if biblical personages were real human beings. The Renaissance gave a powerful impulse to the progress of art, with Italy giving the world quite a number of most brilliant painters. Experts in art usually speak of the Early and Late (High) Renaissance. The Early Renaissance painting (14 – 15 cent.) produced such masters as Fillippo Lippi, Fra Angelo, Verrocchio, Sandro Botticelli, Mantegna, Giovanni Bellini and others. Their pictures are marked by a perfect sense of harmony, a true interest in moral problems, joyful perception of reality and rich imagination. The High Renaissance (16 – 17 cent.) produced the great figures of Leonardo da Vinci, Raphael, Michelangelo, Giorgione and Titian who combined artistic perfection with a deep analysis of life.

     The Renaissance ideals and principles were also reflected in the art of Holland, Germany, Spain and France. The Dutch school of painting is represented by H. Bosch, P. Bruegel the Elder, H. van der Goes, R. van der Weiden, H. Memling, Vermeer. Through different in subjects, artistic ideas and technique, these artists tried to give their own vision of life and inner world of man. The great Dutch painter Rembrandt van Reyn (1606 – 1669) is a whole artistic world. German school was much influenced by the ideas of the Reformation; it tends to social analysis and sometimes reflects class struggle. The Flemish artist Peter Paul Rubens combined artistic principles of Baroque with realistic vision of the world. The development of Spanish painting was hampered by the Inquisition and all-penetrating religious ideology, but in the 17th century some really magnificent artists appeared (El Greco, B. Murillo, and Diego Velasquez). Their dramatic pictures represent social contrast combined with a deep psychological approach. Later, on the verge of the 18 – 19 centuries, Spain produced an artist of versatile genius, Francisco Goya.

     French painters were inspired by the new artistic ideas, first Baroque and Rococo (A. Watteau, F. Boucher) the 1st half of the 17th century, both of them are a step backward compared with powerful realism of older masters. Later, in the 19th century, classicism appeared (J. L. Davis, J. A. Ingres, A. Gros), followed by romanticism, the artist of genius being E. Delacroix. In the second half of the 19th century French artists made the most important contribution to painting both in artistic approach and technique by evolving impressionism (E. Manet, C. Monet, E. Degas, C. Pisarro, A. Renoir).

1. Answer the questions:

1. What ideology was predominant in art during the Middle Ages? What subjects did the painter represent?  

2. What was the new outlook brought about by the Renaissance?

3. What artist were great innovators in the technique of painting?

4. Characterize the Early and High Renaissance artists and their principles.

5. What were the most outstanding schools of painting in the 14th – 17th centuries?

6. What great artists and artistic trends did France produce?

7. Name the main trends of art in the 14th – 17th centuries?

2. Make the outline of the text.

3. Retell the text.

4. A. Describe a picture by a West European artist (speak about its subject, composition, colour, the rendering of space, perspective, motion, light, technique, the message conveyed in the picture.

    B. Discuss a picture by a West European artist in group.

Unit 6

Artistic and cultural life in Britain

     Artistic and cultural life in Britain is rather rich. It passed through several stages in its development. The Saxon King Alfred encouraged the arts and culture. The chief debt owned to him by English literature is for translations and commentaries on Latin works in Old English.

     Art, culture and literature flowered during the Elizabethan Age, during the reign of Elizabeth Ι; it was the period of English domination of the oceans. It was at this time that William Shakespeare lived. The empire, which was very powerful under Queen Victoria, saw another cultural and artistic heyday as a result of industrialization and the expansion of international trade. But German Air raids caused much damage in the First World War and then during the Second World War. The madness of the wars briefly interrupted the development of culture.

     Immigrants who have arrived in Britain from all parts of the Commonwealth since 1945 have not only created a mixture of nations, but have also brought their cultures and habits with them. Monuments and traces of past greatness are everywhere. There are buildings of all styles and periods. A great number of museums and galleries display precious and interesting finds from all parts of the world and from all stages in the development of nature, man and art.

     London is one of the leading world centres for music, drama, opera and dance. Festivals held in towns and cities throughout the country attract much interest. Many British playwrights, composers, sculptors, painters, writers, actors, singers and dancers are known all over the world.

     The British Council promotes knowledge of British culture and literature overseas. It organizes British participation in international exhibitions and encourages professional interchange in all cultural fields between Britain and other countries.

     The development o British painting was very interesting. 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 (the 16th century) when the Protestants prohibited all kinds of art 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 tradition, 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 Anthony Van Dyck.  

     In the early 18th century, although, influenced by Continental movements, particularly by Flemish Rococo, British art began to develop independently. The first outstanding English painter was William Hogarth. Later, in 1768 The Royal Academy was headed by a gifted painter, Joshua Reynolds. It was he, who insisted that English artists should be brought into line with European art and that they should develop the Grand Style of painting. The one hundred years between 1750 – 1850 witnessed the development of the art forms.

     The most vivid representatives of that period were Constable, Gainsborough and Turner.

1. Make the outline of the text.

2. Retell the text.

3. A. Describe a picture by an English artist (speak about its subject, composition, colour, the rendering of space, perspective, motion, light, technique, the message conveyed in the picture.

      B. Discuss a picture by an English artist in group.

Unit 7

Prominent English artists

     William Hogarth (1697 – 1764) was one of the greatest of English artists and a man of remarkably individual character and thought. He observed life with a keen and critical eye and his range of observation was accompanied by an exceptional capacity for dramatic composition. Hogarth was a social painter who produced his own pictorial drama comprising various scenes of society’s social life and every aspect of its people. His art was a reflection, an interpretation, and a commentary on the social condition of his time. Hogarth’s magnificent powers of composition were fully displayed in his series of engravings, such as “The Harlot’s Progress”, “The Rake’s Progress”, and the masterpiece of the story series “The Marriage-a-la-Mode”.  “The Marriage-a-la-Mode” is perhaps the most famous of all Hogarth’s moral series which consists of six engravings. The subject of the series is contemporary high life and a marriage based on money and vanity. Hogarth was also a brilliant portrait painter. In portraiture he displayed a great variety. The charm of childhood, the ability to compose a vivid group, and a delightful delicacy of colour appear in “The Graham Children”. The picture is notable for its play of expression and movement and for the freshness of its colour.

     Sir Joshua Reynolds (1723 – 1792) was one of the outstanding British portraitists who had an important influence on his contemporaries. Reynolds painted portraits, group pictures, and historical themes. His sitters included the socially prominent people of the time, representatives of the highest aristocratic circles as well as an exclusive literary and theatrical group. Reynolds collected Old Master paintings and made careful studies of Rembrandt, Titian, and Corregio. He believed that by analysis of Old Masters he could build a composite style of great art. His aim was not to copy their individual works, but to win a similar mastery of the effect which they knew how to achieve: to rival them in their own language but not to copy them. Reynolds was the first who insisted in his practice that a portrait should be a full, complex work of art. Each sitter was not just a physical fact to be recorded, but rather a story to be told. A fine colorist and a master of composition, Reynolds produced over two thousand portraits of statesmen, famous writers, actors and others, which had historical as well as artistic value. Among his best works are “The Portrait of Nelly O’Brien”, “The Portrait of Samuel Johnson”, “The Tragic Muse” (“The Portrait of Mrs. Siddons”), “Three Ladies Adorning the Term of Hymen”, “Garrick between Tragedy and Comedy”, and others.

     Thomas Gainsborough (1727 – 1788) is the purest lyricist of English painters. He succeeded brilliantly as a portrait painter. His gift for catching a likeness was unrivalled, but his portraits became essays in poetic mood. Each of his portraits is distinct and individual. In his portraits Gainsborough is an out-door painter. The figures are inseparable from the landscape in which they move. The particular discovery of Gainsborough was the creation of a form of art in which the sitter and the background merge into a single entity. The landscape was not an additional element to the portrait but it was painted in order to achieve the greatest possible degree of spontaneity. “The Morning Walk”, an idealized portrait of Squire Hallet and his wife, has the beauty of the landscape. It represents the perfection of Gainsborough’s later style and goes beyond portraiture to an ideal conception of dignity and grace in the harmony of landscape and figure. The most fascinating of Gainsborough’s works are “The Painter’s Daughters with a Cat”, the portraits of Mrs. Sheridan, Mrs. Siddons and the double portrait of Mr. and Mrs. Andrews.  

     John Constable (1776 – 1837), the greatest of English landscape painters. Constable was an acute observer of nature and had a romantic passion for light. For him light was the means by which a tree or cloud could take on some particular significance in the ordinary scale of things. He painted exactly what he saw in the clearest and freshest tones; his capacity for rendering the freshness of atmosphere and incidence of light was unique. Constable’s method of painting was nearest to that of Impressionism, broken touches of colour animating the canvas with sparkling movement. All Constable’s works show picturesque variety of detail, a triumph of keen observation, truth of atmospheric colour, and directness of handling. “Hay Wain”, “The Valley Farm”, “Weymouth Bay”, “Brighton Beach with Colliers”, “The Leaping Horse and Handleigh Castle” are among his best known paintings.

     Joseph Mallord William Turner (1775 – 1851) was a genius in seascape painting. His marine canvases reveal the grand beauty of the sea, its dynamic force and movement. Turner’s love of the sea was deep. The sea absorbed him; his eyes were open to its beauty. Turner loved to depict the sea, and especially the sea as it affected ships. It was well seen on his famous canvases “Calais Pier” and “The Fighting Temeraire”. His highly atmospheric use of colour and the concern with generalized effects rather than with specific details make ships seem almost a part of the natural world.

1. Answer the questions:

1. How do you understand the words ‘a social painter’ and ‘a portrait painter’? What topics do they deal with? What qualities do you think are required of the painters of these genres?

2. How are the works of Thomas Gainsborough and John Constable distinct and individual?

3. What artistic means did all painters use to achieve greater effects in their works?

2. Name some of your country’s famous artists who succeeded brilliantly as portrait painters and as landscape painters. What are their greatest merits as painters?                            

3. What modern painters are highly appreciated in Britain? In what genres did they work?

4. Make the outline of the text.

5. Retell the text.

Unit 8

Mannerism and Baroque

     Mannerism is the term used to describe the artistic style that arose in mid-16th  century. It comes from the Italian “maniera”, or “style”, in the sense of an artist’s characteristic “touch” or recognizable “manner”.

     The term was first used by German art historians like Heinrich Wölfflin to categorize the seemingly uncategorizable art of the Italian 16th century, the style that introduced the Renaissance to France in the Fontainebleau school and to Antwerp in quite another “manner”, styles that were neither Renaissance nor Baroque.

     Mannerism is usually set in opposition to High Renaissance conventions. It was not that artists despaired of achieving the balance of Raphael; it was that such balance was no longer relevant or appropriate. Mannerism developed among the pupils of two masters of the integrated classical moment, with Raphael’s assistant Giulio Romano and among the students of Andrea del Sarto, whose studio produced the quintessentially Mannerist painters Pontormo and Rosso Fiorentino.

     After the realistic depiction of the human form and the mastery of perspective achieved in High Renaissance Classicism, some artists started to deliberately distort proportions in disjointed, irrational space for emotional and artistic effect. There are aspects of Mannerism in El Greco. In spite of the uniquely individual quality that sets him apart from simple style designations, you can detect Mannerism in El Greco’s “acid” color sense, his figures' elongated and tortured anatomy, the irrational perspective and light of his breathless and crowded composition, and obscure and troubling iconography.

     In Italy mannerist centers were Rome, Florence and Mantua. Venetian painting, in its separate “school” pursued a separate course, epitomized in the long career of Titian.

     Baroque style started around 1600 in Rome, Italy and spread to most of Europe. The style used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance and grandeur in sculpture, painting, literature, and music.

     The name “baroque” adapted a French adjective that is derived from the Portuguese noun “barroco”; both described a pearl of irregular shape.

     The popularity and success of Baroque was encouraged by the Roman Catholic Church when it decided that the drama of the Baroque artists' style could communicate religious themes in direct and emotional involvement. Many forms of art, music, architecture, and literature inspired each other in the Baroque cultural movement.

     The appeal of Baroque style turned consciously from the witty, intellectual qualities of the 16th century Mannerist art to an appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, and dramatic. The most famous representatives of Baroque style were Caravaggio, Correggio, Federico Barocci, and Peter Paul Rubens.

1. Answer the questions:

1. Explain the meaning of the words Baroque and Mannerism.

2. Who and why used the term Mannerism for the first time?

3. Who developed Mannerism?

4. What is the difference between Mannerism and High Renaissance Classicism?

5. What style used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance and grandeur in sculpture, painting, literature, and music?

6. Explain the popularity and success of Baroque.

2. Give the list of the most popular sculptures, painters, and writers of Baroque style and Mannerism.

3. Make the outline of the text.

4. Retell the text.

Unit 9

The National Gallery

     The National Gallery was begun in 1824 when the government of the day decided that London needed a national art collection to compete with famous European galleries, such as the Uffizi in Florence and the Louvre in Paris. It just happened that the Pall Mall house o Jon Julius Angerstein was for sale at the time, along with his collection of 38 painting, including works by Raphael, Rembrandt and Van Dyck. They were purchased for 57,000 and Angerstein`s house was used as the first gallery, until the present building was completed in 1838. In the meantime, a number of important pictures were added to the collection through gifts and bequests, but many of the most famous works were acquired by shrewd gallery directors scouring Europe for masterpieces that could be bought cheaply because the artists were temporarily “out of fashion”. Because space in the gallery was limited, the directors pursued a policy of quality rather than quantity.

     The National Gallery fills the whole of the north side of Trafalgar Square, and house of Western paintings. Few people notice that the building itself is a rather uninspired piece of neo-classical design because there are so man competing attractions in the square and the view from the entrance terrace is superb. Two bronze statues stand on the lawns either side of the entrance: one of James ΙΙ dressed like a Roman, and one of George Washington, presented by the American people in 1921.  

     The National Gallery is one of the world’s richest art collections, covering most schools and periods of painting up to the 20th  century. The gallery provides a leaflet locating the 20 most popular masterpieces. It also highlights a particular painting each day, providing notes on the subject, context and artistic achievement. It is a good idea to start your tour at the new Sainsbury Wing annexe. Here you can check on the day’s free lectures and guided tours at the information desk and obtain a room-by-room guide to the gallery.

1. Complete the sentences:

1. London needed a national art collection to compete with …

2. The present building was completed in …

3. The directors pursued a policy of …rather than …

4. The National Gallery is situated … and houses …

5. The view from the entrance terrace of the building is …

6. The National Gallery is one of the world’s … collections, covering … of painting up to the 20th century.

7. Here you can check on …

2. Speak on:

1. The history of the Gallery.

2. The architecture of the Gallery.

3. World famous museums and galleries in the world and in your own country.

3. Retell the text.

Appendix

BASSANI – a family of Italian painters: Jacopo Bassano [bə'sa:nou] (1510 – 1592) and his four sons                                      

BERNINI [bə'ni:ni] (1598 – 1680), an Italian sculpture, architect and painter

BURNE-JONES (1833 – 1898), an English painter and designer

CARAVAGGIO (1573 – 1610), an Italian painter

CEZANNE [sei'zæn] (1839 – 1906), a French painter

COLLOT (1748 – 1821), a French sculptress

CONSTABLE (1776 – 1837), an English landscape-painter

COROT (1796 – 1875), a French painter

DEGAS [de'da:] (1834 – 1917), a French painter

DELACROIX [dəla:kr'wa:] (1798 – 1863), a French painter

DONATELLO (1386? – 1468), an Italian sculpture

DOUW [dou] (1613 – 1675), a Dutch portrait-painter

DÜRER ['djuərə] (1471 – 1528), a German painter and engraver

EL GRECO [el'greikou] (1541 – 1614), a Spanish painter

GAINSBOROUGH ['geinzb(ə)rə] (1727 – 1788), an English painter

GHIRLANDAJO (1449 – 1494), an Italian painter

GIOTTO (1266?  1276 – 1337), an Italian painter

GOYA (1746 – 1828), a Spanish painter and engraver

GREUZE [grə:z] (1725 – 1805), a French painter

GUTTUSO [gu'tu:zou] (b.1912), an Italian painter

KENT [kent] (b.1882), an American painter

LEAL [leal] (1629 – 1690), a Spanish painter

LEMERCIER (1585 – 1654), a French architect

LEONARDO DA VINCI (1452 – 1519), an Italian painter

MANET [ma:'ne] (1832 – 1883), a French painter

MICHELANGELO (1475 – 1564), an Italian sculpture, painter, architect and poet

MILLET [mi'lei] (1814 – 1875), a French painter

MONET [mo:'nei] (1840 – 1926), a French painter

MURILLO (1617 – 1682), a Spanish painter

PHIDIAS ['fidiæs] (5th cent. B. C.), a Greek sculpture

PISSARRO [pi'særou] (1830 – 1903), a French painter

POTTER (1625 – 1654), a Dutch painter

RAPHAEL ['ræfe(i)l] (1483 – 1520), an Italian painter

REMBRANDT ['rembrænt] (1606 – 1669), a Dutch painter

REPIN (1844 – 1930), a Russian painter

REYNOLDS ['renldz] (1841 – 1919), an English painter

ROERICH ['rə:rik] (1874 – 1947), a Russian painter

RUBENS ['ru:binz] (1577 – 1640), a Flemish painter

SARGENT (1856 – 1925), an American painter

SCOTT, GILBERT (1811 – 1878), an English architect

SHAW, NORMAN (1831 – 1912), an English architect

TITIAN (1477 – 576), an Italian painter

TURNER ['tə:nə] (1775 – 1881), an English landscape-painter

VAN DER HELST [vændər'helst] (1613 – 1676), a Dutch portrait-painter

VAN GOGH (1853 – 1890), a Dutch painter

VASARI [wæ'zæri] (1511 – 1571), an Italian painter and art-historian

VELASQUEZ [vi'læskwiz] (1599 – 1660), a Spanish painter

WHISTLER ['wislə] (1834 – 1903), an American painter

ZURBARAN [zə: bə'ræn] (1598 – 1662), a Spanish painter

Список литературы

1. Богородитская В. Н., Хрусталева Л. В. The world of retain. – М.: Версия, 2000.
2.  Кононова Т. М. the world of creative work: museums, painting, architecture. – Тюмень: Издательство Тюменского государственного университета, 2001.
3. Периодическое издание English. – М.: Первое сентября.