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(John Walker. J.M.W. Turner)

PRACTICE 2

1.Reread the texts making up a list of words and cliches which may come in handy in speaking about painting.

2.Pick out words denoting different genres of painting. Give a brief definition of each genre. What other genres of painting do you know?

3.Comprehension check. Preserve the wording of the original where possible.

a)What is the essential difference between the description of a picture given in the extract from Maugham’s novel and the descriptions on the rest of the texts?

b)What is the difference between the still lifes of Chardin and Cezanne so for as can be judged: 1) from the descriptions; 2) from your own acquaintance with these painters’ work?

c)Why is the composition of ―Ophelia‖ challenging? Does the choice of the subject matter fit the theme?

d)What is Constable’s manner in the treatment of the landscape?

e)How do you understand the words ―a study of light‖ in the description of Monet’s ―Picnic‖? How did the Impressionists treat the problem of light?

f)How do you understand the words ―A study of human nature‖ in the description of Van Dyck’s portrait? Give examples of famous portraits which can be said to be ―a study of human nature‖.

g)What is the difference between a really good portrait and a colour photograph?

h)What is the subject matter of ―The Fighting Temeraire‖? What is its theme?

What mood does the painting evoke in a spectator?

i)All great art is believed to be thought provoking. How do you understand this statement? Give examples of pictures which you think to be thought provoking.

4.In the texts above find sentences which, in your opinion, stress the essential aspects of each picture (2-4 sentences for each text).

5.When talking or writing about pictures, the following points are often discussed:

Composition: in the foreground/background, in the centre foreground/background; in the right foreground/background; in the centre/middle (of the picture); off centre; on/to the right/left (of the picture); at the top/bottom; in the top/bottom left/righthand corner.

Colour: pure, vivid, brilliant, intense, luminous, shrill. soft, delicate, subdued, transparent, light, dark, bright, pale, strong, harsh, pastel, warm, cool,

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cold colours; primary colours; shade, tint, tinge, tone, hue; cold and warm tones, delicate/exquisite tints.

6.Find a good reproduction of a) a still life, b) a landscape, c) a portrait.

Give a talk on each of the reproductions descibing their technical aspect. Use the words and cliches from your list and the previous exercise. Here are some more of them which may prove useful;

the theme/subject of the picture the faulty/out-of-line drawing good/weak line

the picture is saturated with light the brushstrokes are visible

the brushwork is imperceptible the effect is accentuated by

7.Using a reproduction of a portrait give a talk on it showing that it is a study of human nature. Through what technical devices does the painter reveal the sitter’s inner qualities?

8.Describe a landscape. What are the implications of a really good landscape? Is it just a view or is there a deeper meaning in it? What are the ethical and educational values of this genre? You have seen in text A what complex implications can be discerned in a modest still life. Can the same apply to a landscape?

9.Describe a genre painting. Dwell on the subject, the technical aspect and on the implications.

10.Describe your favourite paintings of any genre) and why you like them. If possible, find them in a book so that you can refer to them or show them to other people. If you can’t, then sit and look through a book of famous works of art, and decide which ones you like and which ones you don’t. Consider whether you would want all, any or some of them in your sitting room.

11.Comment on: ―… out of pain and distress and unkindness, out of all the evil of the world, you can create beauty.‖

The first impression may be that this statement is a startling and extravagant exaggeration. Yet, it is a true observation: artists do create beauty ―out of pain and distress and unkindness‖. Here are some suggested examples which you may consider: ―The Last Day of Pompeii‖ by Karl Bryullov ―Guernica‖ by Pablo Picasso; ―Ivan the Terrible Kills His Son‖ by Ilya Repin; battle scenes in the paintings of numerous artists. Think of other examples.

12. Give a talk/write a report on your favourite genre in painting.

READING 3.

STREET ART: American Graffiti

Until relatively recently, graffiti was considered to be an example of antisocial behaviour, the work of vandals. Nowadays, many of those 'vandals' are

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treated as respected artists, and some of them have made it in the world of business.

New Yorkers used to see the graffiti on the walls of poor neighbourhoods and subway trains as something menacing and an example of urban decay.

The scrawled names and slogans were seen as ugly and aggressive, the work of vandals seeking to express their identities or even make a political point. Up to the 1970s, most New Yorkers hated graffiti, considering it as an eyesore that was illegal and punishable by fines.

Since those days, graffiti has changed a lot and it is no longer found only in the subway and the poor ghetto areas of the city. Nowadays it has the status of 'street art' and you get graffiti in places where you wouldn't expect to - in advertisements, on clothes, on toys, and even on the Wall Street Journal's official website! In the early 1980s, there was a real craze for graffiti art and the sophisticated Manhattan art world had displays of street art in its galleries. The trend was short-lived - until the arrival of hip-hop music in the late 80s.

In her book, Subway art, Martha Cooper says: "Graffiti came back with hiphop music and people are now appreciating it for its style, which they couldn't back then, because they couldn't get beyond the vandalism thing."

Hip-hop was originally black ghetto music, sung by young African Americans from the poor, run-down districts of American cities. When it suddenly got to the top of the American music charts, hip-hop culture was spread, bringing graffiti with it.

Today companies are starting to realise the appeal of graffiti in advertising. Kel Rodrigez, who used to spray New York subway trains, was the artist chosen to design the Wall Street Journal's website and it is obviously done in graffiti style.

Many of this new wave of artists give lectures on developments in their art. Lee Quinones is having a lot of success in Europe and feels that European galleries and museums are more open to his art form.

"They want to support an artist as he develops," comments Quinones, who can get up to $ 10,000 for his paintings.

Indeed, the Groninger Museum in Holland is one of the few museums in the world that displays and recognizes graffiti as an art form.

Another artist, Blade, has his own website devoted only to the world of graffiti. This website has a "merchandise page" where Blade sells things with his own original designs all over the world - everything from baseball caps to yo-yos!

Leonard McGurr, a street artist for 25 years, went from painting subway trains to designing and marketing graffiti-inspired clothes for young people.

"Graffiti has been a story of survival," he says. "There's a way to benefit from your work without spoiling public property."

From Opportunities Upper Intermediate

Did You Know?

• The term graffiti comes from the Greek word "graphein" which means "to write".

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•Graffiti was first found on ancient Roman architecture.

•Graffiti is still illegal in many places and you could be fined. Graffiti

Language

•Most graffiti artists prefer to be called "writers".

•A writer's signature with spray paint or marker is called a "tag"

•Communities of writers who are friends are known as "crews",

•Those writers who are inexperienced or new to an area are called "toys".

Graffiti: Art or Vandalism?

Some people think that graffiti is another form of art; others think that graffiti is vandalism.

1. What is your opinion of graffiti?

2. Make up a list of arguments For and Against graffiti.

Role playing

a)A guide explains pictures to a group of tourists. The scene is set in a picture gallery.

b)A young woman finds herself in an artist’s studio for the first time in her life.

She does not know much about painting but does her best to conceal it and expresses her opinion about the pictures she is shown using the vocabulary the picked from art books. Her praise of the pictures is over-enthusiastic and exaggerated (e.g. It’s the best picture I’ve ever seen; It surpasses all work of old masters; it’s thought – provoking; the drawing is divine; I do like this effect; the colour-scheme is strikingly original; the colours are extremely effective; the composition is wonderfully balanced, etc).

c)A young man shares his impressions about a recent art exhibition. He thinks he knows a lot about painting and is highly critical of everything he saw at the exhibition. (e.g. the drawing is all faulty; the colour scheme is muddy; the perspective lacks depth; the greens (reds, yellows) are shrill; the red (yellow, blue) patch kills whatever effect there might be; light is not rendered at all; a feeble imitation of Post-Impressionists (old masters); the exhibition is a flop/one big flop; etc).

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An Outline for a description of a picture

1.The title of the picture and the name of the artist. The period or trend represented.

2.The subject matter of the picture.

3.The composition and drawing.

4.Colouring, light and shade effects.

5.The general effect. Interpretation of the painting. Evaluation of the painter’s artistic skill.

I.The title of the painting, the name of the artist, the period or trend represented.

The picture belongs to the brush of... a mature/fashionable/self-taught artist...

whose fame rests on ...; to be characteristic of; to be a celebrated/eminent/illustrious/renowned representative of... trend/style/school; to be a recognized master/supreme genius of; to be unrivalled/unparalleled/unequalled in; to be inspired; to be painted in oils, ... to employ different devices;/ means/mediums; to evolve a new method/establish a new trend; to adhere to; to have a deep social message; to be filled with a profound human content; to be imbued/ pervaded with a belief in the reason/triumph of...; to reach a peak/zenith; to develop one's own style; to conform to the taste of the period; to break with the tradition; to be in advance of one's time; to expose the dark sides of life; to become famous overnight, to die forgotten and penniless.

II.Subject, the contents of the picture, the place, time and setting the age, appearance, dress and other accessories of the portrayed person.

To paint from nature/memory/ imagination; to draw one's subjects from everyday life; to tackle new subjects; to turn to biblical/religious/mythological/historical/hackneyed subjects or scenes taken directly from life; to portray social themes; to paint the scenery of one's native land; to keep returning to the same subjects; to be detached from life; to be the dominant motive of one's art; to concentrate on; to specialize in; to give a truthful representation of/treatment of; to portray people in historical costumes/in striking attitudes with moving sincerity/with restraint; to depict the life/history/struggle/scene of; to represent people/objects/places; to render space/light/mood; to convey a mixture of emotions/an atmosphere of; to interpret the personality of; to reveal the person's nature; to capture the sitter's vitality /transient expression; to treat with a dramatic force; to show with keen realistic insight; to observe with a critical eye; to contain an element of satire; to aim at exactness; to discover a new aspect/beauty; to be (im)partial to the sitter; to be in the fullest accord

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with; to be the picture/symbol/embodiment/incarnation of; to enjoy continuous popularity; to achieve great popularity.

III. Composition and drawing.

To view composition as a key to an idea; to seek new/surprising angles of; to be arranged/composed/grouped/scattered at the will of the artist with an artful casualness; in the way that draws the attention/catches/captivates/commands one's eye; to concentrate on the essential and neglect the secondary elements; every detail serves to reveal the content/artist's vision; to note the freedom of arrangement/unity of composition; to hold/bring/pull together; to be drawn in perfect (dis) proportion; to be distorted; to fit figures into a certain geometrical pattern; to arrange symmetrically/in a pyramid/in a vertical format; to divide the picture space diagonally; to be (placed) in the centre/off the centre/in the lower part/in the far distance/in full (half) shadow; in the left/near foreground/middle ground/background; to stand/be silouelted against a dark/light/blurred background; to define the nearer figures/objects more sharply; to emphasize contours purposefully; to be scarcely discernible; to merge into a single entity; to blendfuse with the background; to melt into the background; to be represented standing/sitting; to be outlined; well/carefully balanced composition; a crowded/many- figured/closely-knit/rigid composition; to be of utter simplicity/complexity; to be (in)conspicuous; to accentuate/suppress/; to be marked by an exquisite sense of arrangement/composition in accord with the general design.

IV. Colouring, light and shade effects.

Rendering of perspective, space, motion and character. To have/display a complete command/mastery of colour; to achieve a freshness of colour/richness of hues; to have a fine eye for colours and effects; to be an instinctive colourist; to be absorbed in/concerned with rendering of colour, light and atmosphere; to admire the play of colour; a riot of colours; a masterful/subtle/fierce/gaudy/restrained colouring; to combine form and colour into harmonious unity; brilliant/low-keyed colour scheme where ... predominate; prevailing colour; to be based on the colour contrast; muted in colour; cool and restful/hot and agitated/soft and delicate/dull and muted/oppressive and harsh colours; to mark the delicacy of the tones; to be lost in a reproduction; to use a spotlight effect/violent contrast of light and shade/drama tic lighting; to be bright and full of light and colour; to be flooded with light/illuminated/irradiated/lit; to be bathed in sun (moon) light; to be aglow/awash with light; to highlight the essential; to be done in the brightest/darkest shades of; to paint in high/low key; to emanate from the canvas; the contrast is full of meaning; to create an extraordinary feeling of beauty by exquisite finish/subtle colouring/rhythmic flow of line/expressive tones/skilful handling of the brush; to apply the laws of perspective; an open-air feeling is achieved; to make figures solid/three-dimensional; poetic in tone and atmosphere; meant to be viewed from the distance; to represent in the telling way; to be seen to advantage; a careful/admirable

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execution of; to have the true refinement; perfect delineation contributes to; to lend some feeling to the canvas; to be static/dynamic; to impart animation/motion; to produce/suggest a sense of movement; to lack technical skill/motion; to attain the desired effect of; to give one's brush a free reign; to produce/enhance/heighten the impression of; to catch a likeness/mood; to capture the inner life of the personality; to give a subtle insight into the psychology; to be astonishing in the penetration; to project the drama of the spirit on the canvas; to give a comprehensive view; to stand out; to be enveloped in; to be imbued with the aura of.

V. Appreciation, judgment and personal impressions.

To admire (he painting/one's versatile talent; an admirer of; to be greatly/vehemently/deeply impressed/moved/ stirred/touched/excited by; to stand/be overwhelmed/entranced/spellbound before this wonderful creation; to come on smb. like a revelation; to touch some secret chord in one's soul; to reveal/disclose/help to perceive the wonder and beauty of life or the power of the human spirit; to lack words to express joy/admiration; to teem with tenderness; to evoke/arouse/cause a warm/passionate response/echo in the heart; the charm/spell/success of the picture is/lies in; to be immersed in; to pulsate with life; the picture may be moving/lyrical/romantic/original/poetic in tone and atmosphere; an unsurpassed/superb masterpiece distinguished by; the picture may be dull/crude/chaotic/obscure/unintelligible/gaudy/depressing/ disappointing/cheap and vulgar/devoid of; a colourless daub of paint; (not) to stand the test of time; to glorify/magnify/prettify; to exemplify the rest of his works; to have a stupendous impact/effect on the world of art; to have a far-reaching influence on; to have an irresistible fascination/charm for; to be vivid/dramatic/exceptional; to overcome smb.

Read the description of the picture and try to enlarge it.

Gainsborough.

"Portrait of Duchess de Beaufort".

Thomas Gainsborough (1727-1788) was an

outstanding English painter of the 18th century. He was a

favourite portraitist of the aristocracy. The artist's deep

psychological approach enabled him to impart a poetic

expression of individuality.

Gainsborough's "Portrait of Duchess de Beaufort" is

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an exquisite work of art. The artist depicts a graceful and attractive young woman. She has a pleasant oval face, straight eyebrows and black eyes, a straight nose and well-shaped delicate hands. You can see that she is an aristocrat.

Her rather pale complexion is contrasted by the dark colour of the background (the dark background was traditional in Gainsborough's time). The artist enlivens the face by a little colour on her cheeks.

Her greyish hair is combed very high and fastened with a comb and a blue ribbon, as was the fashion in those days. The dress is very low cut, also according to the fashion of the day.

The portrait is painted in cold colours (black, blue, grey, white). At first sight you may think that it is a traditional ceremonial portrait, but if you look attentively, you will see that her parted lips, fleeting glance, and graceful gesture of her hand help to create a true impression of the sitter's vitality and optimism. The woman in the picture is alive, and we have a feeling that she is looking at us.

Write the description of the given picture according to the outline and the sample about.

A Look at these comments on Kandinsky's painting. Do you agree or disagree with them?

It looks very abstract and modern.

I can't see anything that looks remotely like a Cossack. It looks as if it was painted by a five-year-old.

В Discuss the following questions using the structures above.

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1.Are there any parts of the painting which look calm /dramatic / violent?

2.Can you see anything that looks like a flock of birds / a castle / a lance / a sword? 3.Can you identify two horses rearing up/a battle going on / the sun shining?

Stories about painting and painters

A Good Lesson

One day Turner’s dog broke a leg. The artist loved his dog so much that he decided to send for the best doctor in London instead of sending for a veterinary. When the doctor arrived, Turner said to him, ―Excuse me for having sent for you. I know of your being a great doctor, but I beg you to help my dog. It is so important for me‖. The doctor was angry but didn’t show it. The next day the doctor asked Turner to come to his house. When Turner arrived, the doctor said, ―Mr.Turner, I am glad that you have come. I am sorry for having asked you to come, but my door needs painting. I know you are a great painter but I beg you to do it. It is so important for me.‖

An “Old Master”

Once in London a wealthy American came to a painter and said that he had secretly bought a valuable 16th century ―old master‖. He said, ― I know that the English Government won’t let me take it out of England, but I have a plan how to get round that. I want you to paint a picture – it doesn’t matter what it is – on top of the ―old master‖. The American explained that he could easily get the new picture removed from the canvas when he got to New York, without damaging the painting underneath. So, the painter painted a picture of a London gas-works on it, and the client got the canvas to New York all right. There he sent the painting to the firm that could remove the new picture. About a week later he got a telegram from the firm. It said, ―We have removed the picture of the gas-works, also the

―old master‖ , and now we are down to a portrait of Queen Victoria. When do you want us to stop?‖

A Strange Picture

A rich American went to Paris and bought a strange picture painted by a fashionable modern artist. The American thought the picture was very fine because it cost a lot of money. When he came to this hotel and wanted to hang the picture up on the wall, he could not tell which was the top and which the bottom of the picture. The American turned the picture this way and that, but still could not decide which was the top and which was the bottom.

So he thought of a plan. He hung the painting in the dining-room and invited the artist to dinner. When the artist came, the American said nothing to him about the picture.

When they began to eat soup, the artist looked at the picture many times. When they were having the second course, he put on his glasses and looked at the

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picture again. Before he began to eat his dessert, he got up and walked over to the picture to look at it more closely. At last when they began to drink their coffee, he said, ― Why, my friend, my picture is hung upside down‖. ― Oh, is it ? ‖said the American. ―Why didn’t you tell me so at once?‖

― Well, you see, I was not sure myself at first‖, said the artist.

Stories about painters:

1. When James Whistler, an American painter, had finished a portrait of a wellknown celebrity, he asked the man whether he liked it.

―No, I can’t say I do, Mr.Whistler, and you must really admit it’s a bad work of art‖.

―Yes‖, replied the artist, looking at the sitter, ―but then you must admit that you are a bad work of nature‖.

2. A rich, but ignorant Englishman once came to the famous painter Joseph Turner and ordered a painting. When it was finished, he refused to pay the price that the artist demanded.

― Why‖, he exclaimed, ―all that money for a square yard of canvas and a little paint?‖.

―Oh !‖ replied Turner, ―if it’s just paint and canvas you want, here is a half used tube and over there in the corner you’ll find some canvas. I won’t charge you much for them‖.

3.A rich London banker asked a well known painter to draw something in his album. The painter did it and asked for fifty pounds.

―Why‖, cried out the banker. ―It took you only 5 minutes to do it!‖

―Yes‖, answered the painter, ―but it took me 20 years to learn how to do it in 5 minutes‖.

Jokes about art

1

She: ―I hear you are a great artist‖.

He: ―I hope to be. I’ve only just started‖. She: ―What are you doing?‖

He: ―Well, I am living in a studio and growing whiskers‖.

2

―You say that I am the first model you ever kissed?‖ ―Yes‖.

―And how many models have you had before me?‖ ―Four. An apple, two oranges, and a vase of flowers‖.

3

Mrs Newrich: ―And the portrait will be reall pretty?‖ Artist: ―Of course. You won’t know yourself‖.

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