- •Topical vocabulary
- •1. General terminology
- •2. Genres in painting
- •2.1. Landscape painting
- •3.3. Composition
- •3.4. Colour
- •3.5. Light and shade
- •3.6. Line(work)
- •3.8. Style and technique
- •5. Going round a museum or art gallery
- •6. Names of museums and galleries
- •Vocabulary exercises
- •X. Choose the right word:
- •Illustration and training
- •II. Make up statements choosing suitable words.
- •III. Make up statements.
- •IV. Make sentences using these patterns.
- •V. React to the following sentences as in the model below.
- •VI. Say you did not know about the facts your partner tells you.
- •VII. Tell what genres of painting would choose the following as their objects.
- •VIII. Object to the following statements.
- •IX. Memorize these short dialogues.
- •Glimpses of british art
- •I. An outline of english painting
- •Exercises
- •1. Read the text given above.
- •3. Find the English equivalents for:
- •4. Explain and expand on the following:
- •Portrait painting
- •I. Read the texts for obtaining information. Sir joshua reynolds
- •Thomas gainsborough
- •Exercises
- •1. Study the italicised phrases, translate the sentences with them, give a back translation without consulting the texts.
- •2. Explain or expand on the following:
- •II. Without translating the extracts give the English equivalents for the italicized words, groups of words or phrases and render the paragraphs.
- •III. Study and describe Thomas Gainsborough's famous picture Portrait of the Duchess of Beaufort. Make use of the text given below and the following vocabulary:
- •VI. Two portraits of sarah siddons
- •1. Study the text “Mrs. Siddons as the Tragic Muse” in “In the World of Painting” ( p.P. 22-24). Summarize it. Use the following vocabulary:
- •2. Read the text of Ex. V in “Practical Course of English” (3d year) edited by Prof. Arakin, 1974, p. 145. Render it in English.
- •3. Pass your judgement on the opinion of an enthusiastic admirer who saw the “Mrs. Siddons” by Gainsborough in the Manchester exhibition of 1857.
- •4. Work in pairs. Compare the two portraits. Landscape painting
- •I. Give a brief talk about the outstanding English landscape painters Constable and Turner.
- •II. Read the following text and speak on the similarities and differences between Constable’s and Turner’s painting.
- •Exercises
- •1. Learn the italicized phrases and use them while speaking about the painters.
- •2. The following sentences may be used while speaking about the painters. Your task is to decide who they refer to:
- •III. Translate the following into English:
- •V. Act as interpreter in the following dialogue:
- •The tretyakov gallery
- •I. Describe the reproduction of Surikov's "Boyarina Morozova" using this text as a guide.
- •Exercises
- •1. Find in the text English equivalents for the following phrases and write them out:
- •2. Use the active vocabulary in sentences of your own.
- •3. Describe the “Boyarina Morozova” according to the following plan:
- •II. Act as interpreter in the following dialogue:
- •From "Christmas Holiday" by w. S. Maugham
- •1. Still Life with Soup Tureen by Paul Cezanne (1883 – 1885)
- •2. "Picnic" by Claude Monet (1866)
- •3. Portrait of Cardinal Bontivoglio by Antonis Van Dyck (after 1621)
- •Exercises
- •Free speech activity
- •Instructions
- •Reference literature
Glimpses of british art
I. An outline of english painting
Some of the greatest foreign masters were attracted to England loaded with honours and even in some sort received into the nation by the titles of nobility conferred upon them. Sir Anthony Van Dyck, who married the daughter of a lord, and died in London is really the father of the English portrait school. He trained a few English pupils, nevertheless his principal imitators and successors were like himself foreigners settled in London. Not until William Hogarth (1697–1764) do we find a painter truly English, indeed violently so. Van Dyck was the father of the English portrait school and set before it an aristocratic ideal; Hogarth was a printer's son, uneducated but a curious observer of men and manners, who with his frank, robust personality brought strength to the stripling's grace. His first works date from 1730. For rather more than a century England was to see a brilliant succession of geniuses, Reynolds, Gainsborough, Lawrence, Constable and Turner, responding to her highest aspirations. No country has had so exclusive and strongly marked a love of the portrait. England and Holland alike were deprived of the religious painting by the Reformation, and mythology met with no better fate. Scarcely any decorative painting is found, and what little survived is mediocre. Holland compensated by inventing the small genre picture, street scene or interior which she brought to an unheard of pitch of refinement. But England practised genre painting only from the beginning of the nineteenth century, in imitation, moreover, of the Dutch...
Now, if portrait painting is one of the glories of English art, landscape is another; in both directions it rose to supreme heights.
The third characteristic of the English school is the moral strain emanating from the old Puritan tradition. It sometimes favours a conception of art closely akin to that of the novel which from the eighteenth century onwards is so living and original a part of English literature. Sometimes it leans towards the pamphlet, which is, moreover, often one of the forms of the English novel, or else towards caricature. Sometimes it inspires visions by turns angelic and apocalyptic, but always with a profound moral aim; and, finally, sometimes results in movement which is to all appearances entirely poetic, like that of the Pre-Raphaelites, but with a poetry that is more literary than plastic and in which the idea of purification is applied almost as much to the intentions of art as to its specific processes and sensible effects...
(From the Encyclopaedia Britannica)
Exercises
1. Read the text given above.
2. Read the text about the golden age of British art in "Glimpses of British Art": "The eighteenth century was the great age of..." (p.p. 38 - 39).
3. Find the English equivalents for:
основатель английской школы портрета; человек, с любопытством изучающий человеческую натуру; последователь; ряд гениальных последователей; ряд знаменитых (прославленных) художников; любовь к портрету; бытовая картина; уличная сценка; лирический пейзаж; посредственный; памфлет; карикатура; довести до неслыханного совершенства; гордость (слава) английского искусства; подняться до величайших высот; концепция искусства, близкая к пониманию романа; приобрести национальный характер; отрицать иностранное влияние.
Translate the sentences with these words and word combinations. Give a back translation without consulting the texts.