ФГБОУ ВПО НГПУ им. К. Минина
Учебно-методические материалы
по английскому языку
для студентов неязыковых вузов очного и заочного отделения,
обучающихся по специальности Изобразительное искусство и
технология» и студентов очного и очно-заочного отделения,
обучающихся по специальности «Декоративно-прикладное искусство и
народные промыслы».
Нижний Новгород 2013
1
УДК 75.058 (07)
ББК 85.12я 7
А 81
Печатается по решению редакционно-издательского совета Нижегородского
государственного университета имени К. Минина
Ответственный редактор: Ю. М. Борщевская, канд.пед.наук, доцент кафедры
ин. яз. НГПУ им. К.Минина
Авторы-составители:
Ю. М. Борщевская, канд.пед.наук, доцент кафедры
ин. яз. НГПУ им. К.Минина, И. Л. Будцына, ст. преподаватель кафедры ин.
яз. НГПУ им. К.Минина, Ю. В. Клопова ст. преподаватель кафедры ин. яз.
НГПУ им. К.Минина
Рецензенты:
Е. Ю. Илалтдинова,
канд.пед.наук, доцент НГПУ им.
К.Минина
Т.А. Ревягина, канд.пед.наук, доцент, доцент ГХИ ННГАСУ
Arts and crafts: Учебно-методические материалы по английскому языку для
студентов неязыковых вузов очного и заочного отделения, обучающихся по
специальности Изобразительное искусство и технология» и студентов очного
и очно-заочного отделения, обучающихся по специальности «Декоративноприкладное искусство и народные промыслы». - Нижний Новгород: НГПУ
им. К.Минина, 2013. - 78с.
Учебно-методические материалы
включают оригинальные тексты по
искусству, а так же лексико-грамматические задания. Материалы составлены
с учетом требований программы по английскому языку для высших учебных
заведений по формированию у студентов иноязычной компетенции.
© НГПУ им. К. Минина
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Содержание
Предисловие ………………………………………………………………….
The British museum…………………………………………………………….
Renaissance art. Raphael………………………………………………………..
Leonardo Da Vinci ……………………………………………………………….
Michelangelo………………………………………………………………………
Rembrandt……………………………………………….…………………..
Dialogue 1………………………………………………………………………
William Hogarth………………………………………………………………..
Sir Joshua Reynolds………………………………..…………………………...
Thomas Geinsborough…………………………………………….…………….
John Constable ……………………………………………………..…………...
Dialogue 2……………………………………………………….……………...
Joseph Mallord William Turner...........................................................................
Henry Moore…………………………………………………..………...
English Porcelain..................................................................................................
The National Gallery of Art of the USA..............................................................
Claude Monet …………………………..……………………………….
The Tretyakov Gallery…………………………………………………………..
Ancient Russian Paintings....................................................................................
V.D. Polenov........................................................................................................
Levitan……………………………………………….………………………….
An d r e w Wye t h … … … … … … ……… … … … . … … …… … … … … … ..
Pablo Picasso ……………………………………………………………
The Nizhny Novgorod Region Art Handicrafts………………..……………….
Gorodets painting and wood carving………………………………...………….
Khokhloma painting…………………………………………..………………...
Lace-making…………………………………………………..………………...
Kazakovo Filigree……………………………………………………................
Stone-carving………………………………………………..………………….
Artistic Metal processing……………………………………………………….
Supplementary reading…………………………………………….................
Hieronymous Bosch……………………………………………………………
The painter of the poetic current ……………………………………………..
Tintoretto………………………………………………………………………..
American art…………………………………………………………….............
What has Delacroix to tell us? ……………………………………...…………..
Augustus John ……………………………………………………...………..
Collection of paintings in the Russian Museum………….……………….
Bone – carving………………………………………………………….............
Tanning craft……………………….…………………………………………...
Словарь искусствоведческих терминов……………………………………...
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Предисловие
Предлагаемые учебные материалы предназначены для студентов
первого курса неязыковых вузов очного, заочного и очно-заочного
отделения.
Материалы построены на основе компетентностного подхода, целью
которого является формирование речевой, языковой учебно-познавательной
компетенций.
Данные
материалы
имеют
целью
развивать
и
совершенствовать навыки чтения и понимания оригинальной литературы на
английском
языке,
литературы
по
своей
специальности,
пополнять
словарный запас общеязыкового и специального характера, а также, выбирая
соответствующие значения лексических единиц, составлять краткие устные и
письменные сообщения на основе прочитанного.
Материалы
включают
оригинальные
тексты
о
выдающихся
художниках, величайших музеях, и народных промыслах. Материалы состоят
из двух разделов. В первом разделе к текстам прилагаются грамматические и
лексические упражнения в пределах определенной авторами тематики, во
втором разделе представлены тексты для дополнительного чтения, в
материалы включены два диалога, в конце дан словарь искусствоведческих
терминов.
Материалы
рекомендуются
для
использования
студентами
магистрантами при обучении иностранному (английскому) языку.
4
и
The British museum
The British museum celebrated the 260th anniversary of its foundation in
2013. Its principal aims today are to be at the centre of international scholarship
and to disseminate knowledge for the education in the widest sense of the word.
This is achieved through display at the Museum, and elsewhere by loans, a
vigorous programme of lectures and seminars, and publication in large numbers of
articles and books. From the very beginning interests were universal. The Museum
collected, displayed, stored and preserved the works of humankind with great
earnestness.
The British museum was founded by Act of Parliament in 1753 to house the
collection of Sir Hans Sloan a physician by profession and an antiquarian by
inclination. After his death he wanted his collection to be given to King George II
for the nation.
The British museum first opened its doors to the public in 1759, for
“studious and curious persons” as they were described.
The new Museum started to collect enthusiastically a large proportion of the
antiques being donated. Great Britain was active in voyages of discovery at this
time, so a lot of objects reached the Museum from Greece, Rome, Egypt,
Constantinople, Middle East and other areas. Nowadays the collections cover
Ancient Near East, Africa, Oceania, and the Americas, Asia, the Classical world,
Europe, coins, medals and prints and drawings. Taken together they make the
British museum, perhaps the best introduction to world cultures and civilizations
that exists today.
The remarkable new heart of the British museum, known as the Queen
Elizabeth II Great Court, was opened in December 2000. This building, designed
by Lord Foster of Thames Bank, created a new public space around the famous
circular Reading Room. This solved problems of access circulation and congestion.
Capping the Great Court is a magnificent, delicate, web-like roof of steel and glass.
The Great Court contains shops, exhibition gallery, a restaurant, the Hamlyn
Library and the multi-media programme Compass. Compass provides an online
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guide to the Museum on computer terminal in the Reading Room and on the
Museum’s website (www.the britishmuseum.ac.uk/compass). There are online
tours on a variety of subjects and exhibitions. General admission is free, around 5
million visitors come to the Museum each year.
Today the British museum is one of the world’s universal museums,
concerned not only with art but with cultural history from prehistoric times to the
present day.
The most famous possessions of the British museum are the Parthenon
Sculptures from temples in Athens (known as Elgin Marbles). The frieze
portraying long procession of horsemen and votaries, representing the Great
Panathenia, a festival held every 4 years. The Kosetta Stone, which was used by
scholars to find the key to deciphering Egyptian hieroglyphs (198 BC, Memphis);
Inner coffin of Irtyru 26th dynasty (550BC); Ivory carving from Nimrud (800750BC); British treasures include the beautiful 7th century Satton Hoo finds from a
rich Anglo-Saxon burial contained the hull of a longship with gold, jewelry,
weaponry, a musical instrument. The most spectacular is a magnificent helmet, a
pair of gold shoulder claps inlaid with garnet and coloured glass and the gold beltbuckle; the 12th century chess-pieces from Norway, probably, made of walrus ivory
and whales teeth in the forms of kings, queens, bishops and knights. And a lot of
drawings of Michelangelo Buonarroti, Edgar Degas, Pablo Picasso, E. L. Kirchner,
Katsushika Hokusai, Leonardo da Vinci, Paul Gauguin and others.
Answer the questions:
1. How the British museum’s aims are achieved?
2. What was Sir Hans Sloan’s will?
3. Works from what countries are represented in the British museum?
4. What is there in the Great Court?
5. How much does it cost to visit the museum?
6. Are there works from Britain in the museum?
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Complete the sentences with highlighted words.
1. The house has been in the family’s …………… since the 1500.
2. Last year he …………… $1000 to cancer research.
3. These stories have …………… appeal.
4. It’s Dad’s birthday and we are going out for a meal to …………… .
5. She never agreed to the public …………… of her sculptures while she was still
alive.
6. The book is a useful …………… to British geology.
7. She looked …………… in a long red dress.
8. Although he smiled, Ashley knew he would prepare with …………… .
Work in pairs. Tell your partner if you would like to visit the British museum and
what you would like to see there?
Renaissance art
The period of the classical Renaissance was strikingly short
compared with the development which led up to it. It began with
Leonardo da Vinci's achievements in the eighties of the 15th century,
and by the beginning of the 16 th
century had branched out into its
classical forms in Florence, Rome and Venice.
Era Bartolommeo, Raphael and Titian form the cul minating
points of the Renaissance . Michelangelo, the fourth artist belonging
to the same generation, created a new style. Under the stimulus of
Leonardo da Vinci's art he painted pictures in which line, light and colour
fulfilled the classical demands of a perfect balance of expression. The
classical nobility and beauty of the human body ref lected an
imagination which gradually turned towards a novel sphere of idealism
and spiritualism.
The tense spiritual climate of Florence formed a com mon basis
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for the many different artists of strong individuality.
Raphael
Many great artists have not been called great until after they
were dead. Raphael's story is very different. The people of his time
recognized him as one of their greatest artists. They called him divino
piitore, which means "divine painter". The sweetness and charm of
his pictures of the mother of Jesus — his Madonnas — won
immediate praise. Just as his Madonnas were loved by all kinds of
people, the artist was loved by rich and poor, young and old. When he
died, such crowds came to his funeral that it seemed all Rome was there.
Raphael (1483-1520) — his full name was Raphael Sanzio —
was born in Urbino, Italy. His father was a painter and poet. The boy
was left an orphan when he was 11. It was clear that Raphael had
remarkable talent, and his father had given him lessons in painting. At
16 he entered the workshop of the artist Perugino at Perugia. In almost
no time he was painting as well as his master. He began to paint pictures
of his own in addition to helping Perugino.
When he was 21, Raphael visited Florence for the first time. At
this time two of the greatest artists the world has ever known were
living there — Leonardo da Vinci and Michelangelo. Wh en Raphael saw
their work he knew that he still had much to learn. And he set about
learning it. Raphael, like almost all artists, borrowed from other artists
any ideas that would help his own work. From Leonardo he learned
about drawing and about making r ich patterns. From Michelangelo he
learned how important it is for an artist to know the human body
thoroughly.
Raphael's visit to Florence was a short one, but he soon returned
there to live. He remained there almost two years. During these two years
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he painted many of his most famous Madonnas.
The beauty of these paintings has made them popular all over the
world. Today they may be seen in museums in Italy and Vienna, Madrid,
London, Paris, Munich, Berlin, New York, and a few other cities. The
most famous Madonna of all, the Sistine¹ Madonna, was the last one
Raphael painted. It belongs to the Dresden Picture Gallery. A Raphael
Madonna is almost the most popular painting in any museum that has
one.
From 1508 until his death Raphael worked in Rome. There he did
more than paint pictures. He was doing at least half a dozen different
kinds of work. He had become the architect of St. Peter's Church. He
made plans for private palaces. He had charge of digg ing up and saving
relics of ancient Rome. He designed mosaics and tapestries. And he
kept on painting frescoes and portraits. He could not carry out all this
work without help. He had about 50 younger artists working with him.
Raphael's work brought him a high social position. But he did not
live long to enjoy it. He was always rather frail, and he was tired from
overwork. Late in March of 1520, he caught a fever. He died on April 6,
1520, his 37th birthday.
¹ - the Sistine Chapel
Сикстинская капелла (в Риме, бывшая домовая церковь в Ватикане, ныне
музей)
Answer the questions:
1. How did the people of Raphael's time call him?
2. Where was Raphael born?
3. What did Raphael borrow from Leonardo da Vinci and Michel angelo?
4. What is the most famous Raphael's Madonna?
5. What kind of work did Raphael do in Rome?
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Complete the sentences with highlighted words.
1. The doctor checked him up ……………. .
2. We went to the church to see beautiful …………… .
3. His first novel received high …………… .
4. Owners came in and took …………… the situation.
5. He has a lot of …………… and his works are fresh and interesting.
6. Guerrero’s music is hugely …………… in Latin America.
7. They …………… a lot from the bank to start their new business.
Leonardo Da Vinci (1452 – 1519)
Leonardo was born near the town of Vinci. He was a natural son of a wellto-do notary and a peasant woman. The boy was lucky to live and get a good
education in the house of his father. He was 16 when he moved to Florence and
entered the workshop of a talented master A. Verrocchio.
Leonardo da Vinci’s achievements were great and were made in many
different and seemingly incompatible fields. He was a superb painter and a
skillful sculptor and architect as well. He was a poet and a musician — and a
military engineer and inventor; a hydraulic engineer — and a life-long
student of botany, zoology, anatomy, geography. Moreover, we are
fortunate in knowing more about Leonardo's life and thought than we do
about most of his contemporaries. In notebooks and journal s, brilliantly
illustrated with his own drawings, he recorded his observations and the fruits
of his studies, and many of these have survived and have been published in
modern times. Yet precisely because his genius pulled him in so many directions,
Leonardo was likely to take up a project and then abandon it at the call of
something new. His immense reputation as an artist rests on fewer than
twenty paintings, and several of these are incomplete.
It is above all in his ability to evoke complex personality and human
10
emotion that Leonardo's art surpassed the achievements of the fifteenth
century. The earlier masters knew how to convey feelings, but their work seems
one-dimensional by comparison, with little sense of man's underlying
complexity. Leonardo, in his profound knowledge of human nature and mastery
of his art, enlarged the range of personality that the painter could represent and
discovered new means of suggesting the breadth and depth of human emotions
Leonardo's power as an artist and a thinker is nowhere more evident than in the
Last Supper and the Mona Lisa, his two most famous works, which are also quite
possibly the most famous paintings in all of Western art. The reputation is
deserved.
Leonardo's Last Supper in the refectory of the monastery of Sta Maria
delle Grazie in Milan is one of the most famous pictures in the world.
Leonardo is known to have been working on it in 1497, and it is the picture,
which perhaps more than any other, can be said to be the first painting of the
High Renaissance. What is so important in the Last Supper is the way in
which Leonardo went far beyond his predecessors in the attempt to render the
inner drama of the precise moment at which Christ announced that one of his
disciples would betray Him. In Leonardo's picture, for the first time, a grouping
of the Apostles is not merely symmetrical. They are shown in groups of three
contrasted types that balance each other as they turn questioningly one to another.
Judas is singled out; his head is so placed that his face is in shadow.
At the end of 1449 the French invaded Milan. Leonardo left the city.
He arrived in Florence in 1500. In 1503 he was commissioned to paint on the
walls of the Great Council Chamber a picture of the Florentine victory.
Leonardo painted several portraits in Milan, but one of them is worldknown – the Mona Lisa. Mona Lisa was not a famous beauty, nor a grand
person but merely a wife of the Florentine official. She sits before a mysterious
landscape background and a sad half-smile plays about her lips. In our country we
can admire two masterpieces of Leonardo in St. Petersburg’s Hermitage –
Madonna with a flower and Madonna with Child. More nearly than any other
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artist Leonardo da Vinci fulfilled the Renaissance ideal of Universal Man.
Answer the questions:
1. What education did Leonardo da Vinci get?
2. Why do we know more about Leonardo da Vinci’s life than his
contemporaries?
3. What are the two most famous paintings of Leonardo?
4. What was Leonardo commissioned to do in 1530?
5. Where are Leonardo da Vinci’s Madonnas displayed in Russia?
Say if the following statements are true, false or not stated:
1. Leonardo da Vinci was a son of a worker and a peasant woman.
2. Leonardo was an inconsistent man.
3. His genius pulled him in many directions, but he liked painting best.
4. In Leonardo's Last Supper a grouping of the Apostles is merely
symmetrical.
5. Mona Lisa was painted in Florence.
6. Leonardo chose a wife of an official as a model for his Mona Lisa because he
loved her.
Work in pairs. Imagine you have been to Leonardo da Vinci’s exhibition. Answer
your partner’s questions about it.
Michelangelo (1475 – 1564)
Put the Verbs into correct Tense and Voice:
In Michelangelo the culminating period of the High Renaissance 1 found a
genius who diverted its previous course by sudden excursions into a
world of the humanistic Renaissance.
Thirst for creation, activity and a proud self -assurance drove
12
Michelangelo throughout his long life. He longed to achieve a
synthesis of idealism and realism in classi cal form. His art, however,
was not a synthesis of these two forces, but an expression of the
conflict deep within his soul.
Michelangelo was a sculptor, but he …………… (to compel) to
extend his activities to painting and architecture. His work became of
decisive influence on subsequent development.
As a boy he had been apprenticed to some painters in Florence,
and as a youth he …………… (to develop) into an almost self-taught
sculptor. It was then that he turned to antiquity seeking to attain its
formal perfection not by imitating the outer form but by penetrating
to its fundamental underlying principles.
The colossal statue of David (1501-1503) was the first monumental
expression of his ability as a creative artist. His works introduced into art a new
idea, a novel approach and style which appeared simultaneously in the great
cartoon The Battle Near Cascina 2 drawn for the mural decorations of the
town hall in Florence.
Michelangelo's fame spread rapidly, and he (to call) to Rome to erect a
tomb, which by its monumental conception and sculptural decorations
…………… (to ensure) lasting fame for the ambitious pope. The work
…………… (to delay) at the very
beginning as the result of
disagreement between the artist and patron. In the meantime Julius II
had turned his mind to the rebuilding of St. Peters and allotted to
Michelangelo the commission of painting the decorations on the ceiling of
the Sistine Chape3.
During four years (1508 – 1512) of exhausting work the artist
…………… (to carry)out this task all by himself, without the least
assistance. He depleted The Creation, The Creation of Man 4 , The
Expulsion from Paradise 5 and others.
Michelangelo's dynamic spirit found almost unlimited scope both
13
in the immense structure of imaginary architec ture and in figures set in
this architectural framework, with their superhuman size and the
dramatic movements of their bodies. His guiding princ iple ……………
(to be) that the spiritual state was the source of all movement, all
expression.
Michelangelo altered the course of the Renaissance, and he who
raised it to its climax, in the very act of doing so, laid the foundations of
Baroque Art.
With a concentration worthy of great genius, Michelangelo worked
on the tombs of the Medici in the Chapel of St. Lorenzo in Florence (1520 1534). The formal composition of the architecture passed from the static
Renaissance conception of form to the dynamic Baroque manner, which can
also …………… (to find) in the sculptures where the bodies rotate on
their axes and reveal contradictory movements of trunks and limbs.
His original plan was never completed, but the two walls which ……………
(to finish) proved the revolutionary nature of Michelangelo's art.
In the last period of his life Michelangelo devoted him-self to
architecture. The restless tension of his spirit, seeking deeply into the
secret of life and death and yearning for relief in the Christian salvation,
sought this salvation in art. Everywhere the embittered old man straining
against the bars of the earthy prison that restricted the freedom of his
knowledge and …………… (to keep) his will from transcending beyond the
limits of human possibilities.
He died in 1564, at the age of almost ninety years.
With the works of Raphael and Michelangelo Rome became the
very centre of classical art, but the influences whi ch sp re ad fro m
Ro me ( to adopt ) b y a rtists in varying degrees everywhere.
1
– Высокое Возрождение
2
– Битва при Кашине
3
– Сикстинская капелла (в Риме, бывшая домовая церковь в Ватикане,
14
ныне музей)
4–
5
Сотворение человека
– Изгнание из рая
Answer the questions:
1. What did the High Renaissance find in Michelangelo?
2. What drove Michelangelo throughout his life?
3. What did his art express?
4. Why was Michelangelo’s work in Rome delayed?
5. Was Michelangelo assisted while painting the decorations on the
ceiling of the Sistine Chape?
Work in pairs. Tell your partner what you like in Michelangelo’s creative
work.
Rembrandt (1606 – 1669)
Rembrandt, the outstanding genius of the Dutch school of painting in
the 17th century, was born at Leiden in 1606. His father was a miller,
while his mother was the daughter of a baker.
In 1620 Rembrandt entered the University of Leiden, but he did not
stay there long. So in 1624 he went to Amsterdam and became a
pupil of the historical painter Pieter Lastman. He had a strong desire to
become a painter.
So far Rembrandt has been considered as a painter of classical
and biblical themes, but already in this early period a large proportion
of his work consisted of portraits and studies of single figures and he was
making his first experiments in etching, a medium in which he was later to
achieve great results. The sitters for the portrait studies were frequently
members of his own family. These are not portraits in its fashionable sense,
15
but studies in character, expression and lighting that he used in his
subject pictures.
The means by which he became a great painter as well as his early
success was due to his own industry.
In 1634 he married Saskia van Uylenburgh. In his art as well as in his
life this was a period of growth and expansion.
In the Self-Portrait with Saskia on His Knee Rembrandt is seated
at a richly garnished table, one hand raising a drinking glass, while the
other clasps the waist of Saskia, who sits on his knees. He was only 22 years old
when he painted his first self-portrait. His self-portraits show us how he developed
as a painter and how he gradually aged. Rembrandt did a whole series of them:
in total he must have sat before the mirror some eighty times to record his
features in painting, etching and drawing. As a result, his appearanc e is also
better known to us than that of any other 17 th century figure.
During this period his colouring grew warmer, with brown and golden
tones predominating. In giving expressions to figures and faces, and in the
management of light and shade, few painters have equalled him.
In 1632 he painted his first big portrait —Anatomy Lesson of Doctor
Tulp. 1 This picture reveals the inherent drama of the moment, trying at the
same time to convey the humane and compassionate motives.
From 1636 Rembrandt produced a small number of landscapes, most of
them on panel and small in size.
The celebrated picture known as The Night Watch, 2 which was
completed in 1642, may be regarded as a culminating masterpiece of this
decade of successes. Shown here is the company of “vendel” of Amsterdam guards
led by the captain Frans Banning Cocq. He gives a command and the whole
company is set in motion. The ensign raises the standard, the drummer beats the
drum, the guards grasp their weapons. Rembrandt didn’t paint a neatly arranged
portrait of civil guards in line, but created an exciting spectacle of men in
action. The portrait became world famous.
16
Saskia died in 1642, and a series of misfortunes overtook Rembrandt.
In 1656 he was declared bankrupt and had moved into a humble
lodging in a poorer quarter of the city. He died in 1669.
1
– Урок анатомии доктора Тульпа
2
– Ночной дозор
Answer the questions:
1. What did Rembrandt want to be?
2. What genre did Rembrandt paint in?
3. Did Rembrandt paint portraits?
4. What do we learn from his self- portraits?
5. What picture is considered his first big portrait?
6. What is depicted in Rembrandt’s The Night Watch?
7. Where did Rembrandt spend his last years of life?
Give Russian equivalents of the following words:
Classical and biblical themes, achieve great results, subject pictures,
growth and expansion,
record his features in painting,
predominating,
equalled him, humane and compassionate motives, culminating masterpiece.
Dialogue 1
J: - Morning, Vera!
V: - Good morning, James.
J: - What are your plans for today?
V: - I’m going to visit Art galleries.
J: - Good idea!
V: - I want to start with the National Gallery. Is it in Trafalgar Square?
J: - Right, if you stand with your back to the Nelson’s Column, you will see a
17
wide horizontal front in a classical style – it’s the National Gallery.
V: -The Gallery is large, isn’t it?
J: - Yes, quite large, it contains mostly European art. It was founded in 1824,
but at that time there were many English painters who were against this idea.
V: - Oh! Who could object to?
J: - it’s hard to believe – one of our best painters John Constable. He said:
“Should there be a National Gallery there will be an end of the art in poor
Britain”.
V: - Sounds strange!
J: - Fortunately, he was wrong. The pictures of old famous masters were
brought to London for everybody to see and for the painters to get their
inspiration from. Almost all old masters are represented in the Gallery. There is
the richest collection of Dutch masters including 19 Rembrandts. British art of
painting flourished too, pictures representing British life and landscape and
British people painted by W. Hogarth, J. Constable, T. Gainsborough, J.
Reynolds soon became famous all over the world.
V: - I see, but where can I see these paintings?
J: - In the Tate Gallery. It’s the most rewarding.
V: - Oh! I’ve heard of Sir Henry Tate, a well known English patron of art, who
gifted 65 paintings and 2 sculptures to the nation and built a gallery to house
them like our Russian Pavel Tretyakov. Do you know Moscow’s Tretyakov
Gallery?
J: - I know nothing of it, but I must see the website. You see, I wish I had a
chance to visit The Hermitage in St. Petersburg.
V: - the Hermitage is really worth visiting. I’m sure you’ll enjoy it. As for the
Tate Gallery, does it contain only British paintings?
J: - Not at all. Except unique collections of W. Turner, W. Blake, superb
Constables the Tate Gallery owns the vast collection of pictures from the 16 th
century to the present day and the sculpture collection by A. Rodin, Epstein, H.
Moore as well. But the Tate Gallery is the name of several art galleries in the
18
UK – Tate Modern and others, you can’t see everything in one day.
V: - Really! What galleries are there in the central London?
J: - Well, you can go to the Royal Academy to admire the famous Exhibition of
contemporary art.
V: - Is it far from Trafalgar Square?
J: - No, you should walk there from Trafalgar Square to Piccadilly Circus, then
along Piccadilly Street, you will see on the north side Burlington House, home
of the Royal Academy of Arts. A statue of J. Reynolds stands in the courtyard.
You can’t miss it.
V: - And what else?
J: - Well, if you are not exhausted go to the Museum of Ornamental Art in
Victoria ans Albert Museum. This museum includes fine and applied arts of all
kinds – European and oriental. I say, Vera, I’ve got to go. Let’s go. I’ll give you
a lift to the nearest underground station.
V: - OK. I’m ready.
Match the words and the definitions
1) to found
a) very large and wide, great in amount or in area
2) to object
b) modern, belonging to the present time
3) inspirations
c) the act or state which gives a person the urge or
4) to represent
the ability to do something
5) to flourish
d) a natural ability to do something
6) rewarding
e) to be against something
7) a gift
f) to fail to hit, catch, find, meet
8) vast
g) to start the building or development of
9) admiration
h) a feeling of pleasure or respect
10) contemporary
i) to feel tired out, lacking power in body or mind
11) to miss
j) worth doing or having
12) exhausted
k) to depict
19
l) to be active and successful
William Hogarth (1697-1764)
William Hogarth was unquestionably one of the greatest of English artists
and a man of remarkable individual character and thought. It was his achievement
to give a comprehensive view of social life within the framework of moralistic and
dramatic narrative. He produced portraits which brought a fresh vitality and truth
into painting. He observed both high life and low with a keen and critical eye. His
paintings contained not only dramatic composition but an element of satire or
caricature.
His fist success as a painter was in the “conversation pieces” in which his
bent as an artist found its logical beginning. These informal groups of family and
friends surrounded by the customary necessaries of their day-to-day life were
congenial in permitting him to treat a picture as a stage. Series – “The Hartot’s
Progress”°, “The Rake’s Progress”¹ and story series “Marriage á la Mode”²
followed after. This set of contains the most important and highly realistic of
Hogarth’s comedies. The artist describes the negotiations for a marriage pending
between the daughter of a rich citizen Alderman and young Lord Viscount
Squanderfield , the dissipated son of a gouty old Earl. Pride and pomposity of the
Earl, full money bags of Alderman, the bride, twiddling her marriage rings –
Hogarth exposed himself on the canvas as a “literary” artist.
William Hogarth expressed in his art the new mood of national elation, the
critical spirit of the self-confident bourgeoisie and the liberal humanitarianism of
his age. He was the first native-born English painter to become famous on the
continent. He even was a hero of English tenement. One reason for his popularity
was that the genius of the age found its highest expression in wit. It was the great
and single-handed achievement of Hogarth to establish comedy as a category in art
to be rated as highly as comedy in literature.
20
The quality of Hogarth as an artist is seen to advantage in his sketches and
one of his sketches stands alone in his work, taking its place among the
masterpieces of the world in its harmony of colour, form and content – it’s his
famous “Shrimp Girl”.³
° - карьера продажной женщины
¹ - карьера мота
² - модный брак
³ - продавщица креветок
Answer the questions:
1. What did William Hogarth achieve according to the article?
2. When was his first success?
3. What was depicted in his works?
4. William Hogarth was the first famous artist on the continent, wasn’t he?
5. Why was his popularity so great?
6. Are there any famous sketches that we know?
Match the words and the definitions:
1) unquestionably
2) achievement
a) a funny drawing of someone that makes them
look silly
3) caricature
b) to start a company, organization, system, etc. that
4) to describe
is intended to exist or continue for a long time
5) self-confident
6) to establish
7) advantage
c) used to emphasize that something is certainly
true
d) something that helps you be more successful
than others
e) to say what something or someone is like by
giving details about them
21
f) sure that you can do things well, that people like
you etc.
g) something important that you succeed in doing
by your own efforts
Work in pairs. Imagine you have been presented William Hogarth’s painting. Tell
your partner about it.
Sir Joshua Reynolds (1723-1792)
and his portrait of ‘ Mrs. Siddons as the Tragic Muse.’
The Theorist on art and the most respected painter, the president of the
Royal Academy Sir J.R. wrote 15 discourses to the students. What did hi plead for
in them? ‘Study the great masters’…who have stood the test of ages; … ‘study the
works of ancient sculptors; keep ‘principal attention fixed upon the higher
excellencies, …who borrows an idea from an ancient, or even from a modern
artist,… can hardly be charged with plagiarism;… he should enter into a
competition with his original and endeavour to improve what he is appropriating to
his own work. From his point of view the portrait of Mrs. Siddons as the Tragic
Muse is a perfect illustration of Reynolds’s advice to the students. But what is
eminently important about Reynolds is the contrast between what he preached and
what he did as a great and talented painter.
At the time the portrait was painted Sarah Siddons was in her late twenties
but she already had a solid decade of acting experience behind her and was the first
lady of the British stage. The central figure sits on a thronelike chair. She doesn’t
look at the spectator but appears in deep contemplation. Her expression is one of
melancholy musing. Her gestures aptly reinforce the meditative air of the head and
also contribute to the real quality of the whole figure. In the background are two
attendant figures. One, with lowered head and melancholy expression, holds a
bloody dagger; the other his features contorted into an expression of horror. If the
22
arrangement of the figures in the portrait of Mrs. Siddons suggests Michelangelo’s
prophets and Sybils of the Sistine ceiling. Mrs. Siddons pose recalls that of Isaiah
and one of attcudants-the left very closely modelled of the prophet Jeremiah, other
aspects of painting – the colour, the shadow effects and the actual application of
the paint, are totally unlike the work of Michelangelo. The disparate elements have
all been transformed through Reynolds’s own visual imagination and have
emerged as a unit in which the relationship of all the parts to one another seems not
only correct but inevitable.
In ‘The Tragic Muse’ Reynolds achieved an air of grandeur and dignity
which he and his contemporaries regarded as a prime objective of art and which no
other portrait of the day embodied so successfully.
Answer the questions:
1. What is the idea of Reynold’s advice to his students?
2. What is eminently important about Reynold’s?
3. What was Mrs. Siddons famous for?
4. How many figures are there in the portrait?
5. What are remarkable features of these figures?
Add the missing words:
1. The President of the …………… Sir J.Reynolds wrote 15 …………… to the
students.
2. She doesn’t look at the …………… but appears in …………… …………… .
3. In the …………… there are two …………… figures.
4. The ……………, the …………… and the actual application of the paint, are
totally unlike the work of Michelangelo.
5. The disparate elements have all been transformed through Reynolds’s
…………… .
23
Thomas Gainsborough (1727-1788)
Gainsborough’s greatest power was as a lyricist. He excelled in two
distinct branches of the art, portraiture and landscape, and revealed an unequalled
success in combining the two- that is, in adjusting the human figure to a
background of natural scenery. Moreover, he excelled in conversation pieces,
animals painting, seascapes, genre and even still life. Such was his peculiar variety.
Although he painted at court he was not a courtly person, but preferred to associate
with musicians, simple folk, with cottagers. His grand sitters seem a little glacial as
though a pane of glass was between them and the artist and the sitters with whom
he could be informal were always painted by the artist commonly in their habit as
they lived. Each of Gainsborough’s portraits is distinct and individual even though
taken as a whole; they depict an entire society in its significant manifestations.
Gainsborough’s truthful and subtle rendering of character is typical of his portrait
painting. His special insight into psychology of women makes him essentially the
woman‘s painter. One of the most fascinating of Gainsborough’s works is his
study ‘Two Daughters’. Unfinished though it is an exquisite study of young
girlhood. Its light tone, use of light blues and yellows belongs essentially to the
spirit of the painter.
Another his famous painting is ‘ Mr. and Mrs. Andrews’ where
Gainsborough shows the pleasure of resting on a rustic bench in the cool shade of
an oak tree, while all around the ripe harvest throbs in a hot atmosphere enveloped
in a golden light. In his late work ‘The Market Cart’ the season is autumn and the
picture is penetrated throughout by the richness and warmth of the colour of this
season, by its scents of drenched earth and marshy under growth. And in our
country you can enjoy the brilliant portrait of The Duchess de Baufort in the
Hermitage, to admire the generous and inspired image of the charming young
woman with a silver blue hair.
Contrasts of light and shade in a context of flowing, curved and broken
lines produce an impression of animation and mobility which is the characteristic
of Gainsborough’s art. This mobility is directly connected with his technique of
24
seizing of effect in a rapid stroke, so that a beauty of form emerges from his bold
execution and masterly technique.
Answer the questions:
1. Which two branches of the art did Gainsborough excel in?
2. In what way did Gainsborough paint his sitters?
3. What makes him essentially the woman‘s painter?
4. Is there any painting by Gainsborough presented in our country?
5. What is special about Gainsborough’s technique?
Form all possible derivatives of the following words and translate them:
Observer, science, inspiration, impressionist, founder, painting, success, nature,
image, significant.
Work in pairs. Ask your partner if he/she has seen Gainsborough’s paintings and
what he /she thinks of them.
John Constable (1776-1837)
One of the foremost landscapists in history, Constable represents a full
step forward in the modern development of landscape art. His birthplace was
Eastern England with its luxurious meadows, distant horizons, picturesque
villages, the low hills along which meanders the River Stour. The son of a
prosperous mill-owner Constable showed a taste for sketching at an early age but
did not become a serious art student untill1799, he entered the Royal Academy
School in 1800. Soon Constable realized that within the old model for landscape
painting he could not paint the English countryside as he saw it, and in his search
for more suitable methods he created his own art.
In 1802 he began the practice of sketching in oils in the open air, a form of
study which he continued throughout his life. To him they were the exercises and
25
the raw material out of which he could create more ambitious and logically
constructed landscapes. Being financially independent, he felt confident enough to
work upon a series of large canvases, the subject of which were taken from the
banks of the River Stour and which he exhibited in successive years at the Royal
Academy. The fist was
‘ Flatford Mill on the Stour’(1817), then ‘The
Haywain’(1821), ‘View on the Stour near Dedham (1822) and ‘ The Leaping
Horse’(1825).
During his lifetime Constable’s originality and uncompromising temper
prevented wide recognition of his merits among both artists and the public in
England. After 1824 his style of painting was changing, he became more and more
concerned with light and shade effects. To Constable’s contemporaries his painting
looked unfinished, and the glazed highlights with which he enhanced them became
known as ‘Constable’s snow’
In France however he was accepted as an important figure. At the Salon in
1824 his‘The Haywain’ was awarded a gold medal. And his influence on the
Romantic and the Impressionist groups is well known.
As for the technique of Constable to accomplish his aim of rendering the
living, moving quality of nature he used broken touches of colour. On a foundation
of warm reddish monochrome he would build up the fresh blues and greens of
nature, the undivided sports of pain often laid on with a palette knife in the modern
manner. The sparkles of light and colour and the deliberate roughness of texture
broke with the tradition of smooth painting.
Answer the questions:
1. How did the beautiful nature of Constable’s birthplace influence him as a
painter?
2. Why did he create his own art?
3. Where did Constable take the subjects for his canvases?
4. What prevented wide recognition of Constable’s merits in England?
5. What was special about his painting technique?
26
Find the English equivalents of the following words in the text:
Наиболее
важный,
экспонировать,
зарисовка,
улучшить,
пейзаж,
преуспевающий,
красноватый,
достигнуть,
достоинство,
живописный,
современники.
Dialogue 2
J: - Good evening, Vera. Have you been to any museums today?
V: - Oh, yes! I’ve visited the Tate Britain! I’ve seen W. Turner’s paintings. I’m
really fascinated!
J: - I’m glad you like them. The English are very proud of our brilliant artists.
V: -Turner’s great! You see, I knew about him and about his life. He was born in
1775 into a barber’s family. His life wasn’t easy, he was persecuted by the art
critics and the literary people. J: - you are right, but at the same time the public, in
spite of the novelty of his inspiration, always acclaimed his pictures with great
admiration.
V: - yes, a Gallery attendant told us the same. Well, I saw his plates in the albums,
but when I’ve seen them today with my own eyes, I’m impressed and amazed, not
only by his popular ”The Fighting”, “Temeraire” tugged to her last berth to be
broken up, I saw it in the National Gallery, but especially by “Snowstorm”, “Shade
and darkness”, “Rain, Steam and Speed”, “The evening star”, “Music party” and a
lot of other pictures. All of them are fantastic! They are out of the world!
J: - Now all the critics and painters of the world proclaim him a genius, they say he
“discovered light and air in landscape painting”.
V: - He created his masterpieces a hundred years before the French modern
painters – he is a predecessor of impressionists.
J: - I agree, Turner is unique. Were there any Turner’s exhibitions in Russia?
V: - Yes, there were. The first was in 1975 at Moscow’s Pushkin Museum of Fine
Arts. His oil and water-colours were on display and created great interest. As for
27
me, I’ve seen his works for the first time here in London.
J: - I’ve heard that some of Russian painters were influenced by Turner.
V: - Yes, one is them is A. Savrasov – a master of a landscape. I say, James, I’d
like to see Turners once more. Will you join me, on Saturday, for example?
J: - Sounds good. I’d love to.
V: - That’s settled. And now I want to say good night. I’m so tired.
J: - Good night, Vera.
Match the words and the definitions
1) fascinating
a) to treat cruelly and cause to suffer
2) to persecute
b) to fill with a feeling of great surprise or wonder
3) unique
c) to produce something new
4) to amaze
d) a person who gives judgments about the good and
5) masterpiece
bad qualities
6) to discover
e) extremely interesting and charming
7) exhibition
f) to have an effect on something or somebody
8) to display
g) great
9) to create
and
rare
power
of
thought,
skill,
imagination
10) to influence
h) public show of objects
11) critic
i) to find something that already existed but wasn’t
12) genius
known about before
j) to arrange or spread out for public view
k) being the only one of its type
l) a piece of work, done with extreme skill
Joseph Mallord William Turner (1775-1851)
William, as his family called him, was born on 23 April, 1775. His home life
wasn’t happy because his mother was ill and died in asylum. To his father William
was devoted. From the first appearance of his son’s gift he encouraged it in a very
28
practical form-exhibiting his son’s drawing for sale in the window of his barber’s
shop. And there were plenty of customers willing to buy them at prices from one to
three shillings. The artist was quite young when entered the Royal Academy as a
student and in two years William was successful in having a drawing chosen for
exhibition at the Royal Academy. The painter made his name creating landscapes
in the romantic taste of the time. ‘Calais Pier’ is one of Turner’s grandest creations
of that time. This is the scene of storm and craft of the boats. Those who look at
the picture can smell the spray and hear the din of the water and the shout of the
deafening wind. ‘Windsor, ‘Frosty Morning’, ‘Sun Rising through Vapour’ are
canvases delighted by public. Then Turner entered the dreaded ‘middle period’
when old accomplishments did not satisfy him and the new vision was not in yet in
focus.
In 1819 William visited Italy for the first time, after that he was in Italy
several times. Tuner’s journeys to Italy had the paradoxical effect on his art. His
interest was directed towards the colour in the visible world, if need be at the
expense of its form. His present fascination for the immaterial vehicles of colour,
steam, smoke, mist helped to make his choice. So in the later pictures he composes
in colour, dissolving, suggesting, and only have- defining form; in his private
exercise he composed in coloured washes alone, virtually excluding any reference
to the forms of nature, unless we regard them as veiled areas of sky, earth and sea.
Critics of course were shocked; they called his pictures ‘of nothing and very line’
or ‘tined steam’. Fortunately at this moment the artist was staying with his friend
and patron Lord Egremont at Petworth. In park and surrounding country he painted
some of the most extreme of all his sunsets, but even more extraordinary is the
series of studies which he made inside the house. ‘Interior at Petworth’ and ‘Music
party’ are his first attempts to make light and colour alone the basis of the design.
Since that time till his death the painter began to use in oil the gorgeous
colour schemes with which he had earlier experimented in water- colour and which
were the marked characteristic of the last twenty years of his life.
29
He created spectacular ‘ The Burning of the Houses of Lords and
Commons’(1834), ‘The Fighting Temeraire’(1838), ‘Peace-burial at sea’(1842)
and his real masterpieces ‘Snowstorm’(1844), ‘Shade and darkness’(1843), ‘Rain,
steam and Speed’(1844), ‘Light and Colour’(1843).
Turner was buried in St. Paul’s Cathedral. The genius of Landscape
painting, he is a pride of the world art.
Answer the questions:
1. How did Turner’s father encourage his son’s gift?
2. How did the painter become famous?
3. What effected his art?
4. What was critics’ opinion about Turner’s later art?
Say if the following statements are true or false:
1. William Turner was happy during his childhood.
2. Turner’s father supported his son’s gift.
3. Nobody wanted to buy his first drawings.
4. The creating of portraits helped Turner to make his name.
5. William was rather young when some of his paintings were exhibited at the
Royal Academy.
6. Turner entered the dreaded ‘middle period’
because the public disappointed
with his drawings.
7. Some years later he changed his painting technique.
Work in pairs. Tell your partner if you would like to visit William Turner’s
exhibition and what you would like to see there?
Henry Moore ( 1 8 9 8 - 1 9 8 6 )
There emerged in the early twenties a sculptor who was within a few
30
years to transform the climate in which British sculptors work and to give a
lustre to British sculpture which it had not enjoyed since the Middle Ages.
This was Henry Moore. His debts to his masters: the ancient Mexicans
and Egyptians, the Negroes, Giotto, Masaccio and Picasso, he has never sought
to disguise or even to minimize; he has on the contrary proclaimed his
gratitude.
Like the other sculptors of his time Moore has looked attentively at
contemporary painters, in particular at Picasso, but he has evolved
sculpture that is more independent of contemporary painting than that of any
British sculptor and more original.
Some Moore's sculptures have the appearance of abstractions, but the
intention behind even the most abstract of these has not been to create a form
valid in itself and without reference to nature but to penetrate to an inner
reality, to provide, perhaps, analogies for certain principles of structure,
growth, erosion and rhythm. The greater part, however, testifies frankly to
his interest in life and most of all to his interest in his fellow human beings.
For all his rejection of the classical, he is in one sense at least conspicuously
classical himself, in his indifference to the individual and in his concern with
such general conceptions as the Family, Mother and Child, Warrior, even
generic Man.
There is nothing intimate about the art of Moore, not even in the
relation between his mothers and their children. His figures, like all his forms,
are massive and hieratic; they do not suffer the frets and stresses of common
life, rather do they just serenely exist in their remoteness. Inert and massive
though they are, Moore's figures possess a latent primeval power, as rare in
modern sculpture as it is common in that of primitive people. Unlike Picasso
Moore is a man of a few simple slowly but logically evolving ideas,
chiefly concerning certain fundamental aspects of man and nature, which he
has expressed with a simplicity that is the result of complexities not avoided
but resolved, and with memorable strangeness.
31
Answer the questions:
1. What did Henry Moore do with the climate in which British sculptors
work?
2. Who were his masters?
3. Did Moor ignore contemporary painters?
4. What was he interested in?
5. How do his figures look like?
6. What are the ideas that Moor expressed in his sculptures concerned with?
Complete the sentences with highlighted words.
1. What are the reasons for his …………… of the theory?
2. She had a deep …………… towards David, but she didn’t love him.
3. For the sake of ……………, the tax form is divided into three sections.
4. The wall hangings are thought to be …………… with tiled floors.
5. At least he died suddenly and didn’t …………… .
6. They went into with the …………… of visiting the library.
7. He studied …………… civilizations of Asia.
English Porcelain
Fill in the gaps with the words in brackets:
(free-hand paintings, the middle of, to provide, porcelain, stone ware, pottery,
moulds, luxurious product, came into fashion, pewter, abroad)
Porcelain making began in England about 1) ............... the 18th century. The
early factories at Chelsea, Bow, Derby, Worcester and Langton Hall all started
work between 1745 and 1752. By that time 2) ............... from the Royal Factory at
Meissen near Dresden had set the fashion for this 3) ................ throughout Europe,
though in 1756 the lead passed to Serves, patronized by Louis XV of France. The
32
English factories faced financial problems which had proved fatal to some of them
by 1770, when cheaper cream coloured earthen wear of Wedgwood type 4)
............... . Derby and Worcester, however, managed to survive into the 19 th
century.
Josiah Wedgwood (1730-1795) is a characteristic figure of his time, when
industry already beginning to move towards mass production. In his Staffordshire
works, he catered for all classes with his 5) ............... and jasper ware, creating a
big market both at home and 6) ............... . Wedgwood laboured both at finding
new types of beauty and at extending and cheapening his business. He
experimented with new scientific methods, new 7) ............... and new designs.
During this period 8) ............... went out of general use and was succeeded by
earthen wear plates and vessels, so that eating and drinking became more hygienic
and more delicate. In the next generation men no longer spoke of pewter but of
“common Wedgwood”.
The most famous of all Wedgwood’s inventions, however, was his jasper
an unglazed vitreous fine 9) ............... which could be stained blue, green, lilac,
yellow maroon or black 10) ............... a suitable background for white classical
reliefs or portraits in the same material.
In 1774 Wedgwood completed for the Empress Catherine II of Russia the
largest and most famous commission of all, a dinner and dessert service of 952
pieces decorated with 11) ............... of 1244 different English scenes. Several cases
displaying pieces of this service are now at the Hermitage in St. Petersburg. Josiah
Wedgwood is remembered as the “Father of English Potters”.
Answer the questions:
1. When did porcelain making begin in England?
2. What kind of difficulties did the English factories face?
3. What is Josiah Wedgwood famous for?
4. How did he try to improve his business?
5. What was the most famous Wedgwood’s invention?
33
The National Gallery of Art of the USA
Fill in the gaps with the words in brackets:
(outstanding, enjoy, patron, free of charge, collection, on behalf, heritage,
masterpieces, highlights, sculpture, tradition)
The National Gallery of Art of the USA belongs to all the people of the
USA. The Gallery assembles and maintains a national 1)............... of paintings,
sculptures and the graphic arts, representatives of the best in the artistic 2)
............... of America and Europe.
The Gallery situated at the 6th street of the US capital.
During the 1920’s Mr. Mellon, a known American 3) ............... of art
started collecting works of art with the intention of forming a national gallery of art
in Washington. His collection was given to the Nation in 1937, the year of his
death. It was done according to his will. In 1941 the completed Gallery was
accepted by president F.D. Roosevelt 4) ...............of the people of the USA.
More than 1/3 of the exhibition space on the Main Floor is devoted to
Italian paintings and 5) ............... dating from the early Renaissance to the 18 th
century.
Here one can see beautiful paintings by Giotto, Raphael, Titian, Leonardo
and others. Flemish, German and Dutch paintings can also be seen at the Gallery.
Here the visitors can 6) ............... excellent examples of Spanish painting including
‘Sain Martin and the Beggar’ by El Greco and ‘ Senora Sabasy Garcia’ by F. De
Goya. Some famous works of the classical 7) ............... in French art are also here.
Painting-lovers can’t help admiring wonderful figures compositions of Poussin and
landscapes by C. Lorrian. Nobody remains indifferent to their 8) ................
The large and important collection of British paintings is centred around
pictures by Constable and Turner which are 9) ............... of the collection.
American paintings are widely exhibited here too. Works by Copley, B.
West and G. Stuart are represented by a number of 10) ...............portraits.
Guided tours and lectures are given 11) ............... in the Gallery.
34
Answer the questions:
1. Who does the National gallery belong to?
2. Why did Mr. Mellon start his collection?
3. What was written in his will?
4. Whose works can a visitor see on the Main Floor?
5. Are there British paintings in the Gallery?
6. Are there any excursions given in the Gallery?
Impressionist landscape painter – Claude Monet
Claude Monet, one of the outstanding impressionist landscape
painters, in his youth tried to complete his acad e mic studies in
Paris, but in the co mpany of his friends Renoir, Sisley and Bazille he
abandoned his studies and followed the path which Edouard Manet had
set by his work. His Breakfast on the Grass (1865) is one of his best
known early works. It was inspired by Edouard Manet. Monet continued
his investigations of sunlight and colour (Women in the Garden, Breakfast in
the Room).
During his London visit (1870 -1871) he had seen the outdoor oil
studies of Constable and the romantic land scapes of Turner.
The new method appeared in a ma nifest way in the picture of the
London embankment -Sunrise (1872) which Monet called impressionism. He
made the subjective sight, impression, the decisive factor in the
construction of the picture, and placed clear tones in transient patches
side by side to give the firework effect of sunset in a humid
atmosphere, using contrasting blue, orange and red col ours. The
picture was shown at a private exhibition to which Monet and his
fellow-artists, such as Pissarro, Cezanne, Degas, Renoir, etc., were
rejected by the jury of the Salon.
From then the group became known as Impressionists. Monet
35
continued to analyse colour and light in pictur es of the town and the
countryside (Boulevard Des Capucines and others). At the end of the
seventies his analysis of light and colour became almost prismatically
pure, and each tone was subdivided into tiny colour patches.
He moved his studio to the outskirts of Paris and went on painting
all the year round from spring until winter revealing the varying face
of the landscape. To show that the subject did not matter and that only
the state of the l a n d s c a p e a n d t h e m a t t e r o f s e e i n g w a s o f a r t i s t i c
importance, he painted a whole cycle of pictures on the same theme.
The reaction of light in the atmosphere in which the motive was set
was his actual subject for in terpretation in paint.
Claude Monet is often described as “the most Impressionist of
Impressionists” and regarded as the central figure in the movement.
This is the description of Claude Monet’s picture “A field of
Poppies”, written by his contemporary: “Here human beings pass as
glimmers and glimpse of everything is had through the transparent
atmosphere … everything is illuminated and quivers under waves of
light propagated in space”.
Answer the questions:
1. Did Claude Monet complete his academic studies?
2. Who was Claude Monet inspired by?
3. How did Monet call the new method ?
4. What was new in the method?
5. What time of the year did Claude Monet prefer for painting?
6. Did his contemporaries admire his works?
Translate into English:
1. Клод Моне – один из выдающихся импрессионистов 19 века.
2. Клод Моне считается ключевой фигурой импрессионизма.
36
3. Новый метод в живописи был назван импрессионизм.
4. «Восход
солнца»
Моне
была
представлена
на
частной
выставке.
5. Моне рисовал пейзаж во все времена года.
6. Главной в его картинах была игра света и цвета.
Work in pairs. Imagine you have been to Claude Monet exhibition. Answer your
partner’s questions about it.
The Tretyakov Gallery
Put the verbs in brackets into the Past Simple Tense. Translate the text.
In 4986 Moscow's Tretyakov Gallery was 150 years old. It (be) an important
event in the cultural life of the capital. This largest collection of Russian pictorial
art bears the name of its founder, Pavel Mikhailovich Tretyakov.
The merchant Tretyakov was a man who (devote) his life to the creation of a
national art gallery. At first, Tretyakov (collect), only the paintings of
contemporary Russian masters and (maintain) particularly close ties with the
Peredvizhniki. The largest art society of Russia in the second half of the 19th
century, this group (unite) nearly all progressive artists of that time. It (receive) its
name when, after its exhibition in Moscow and Petersburg, it travelled from town
to town and (acquaint) thousands with the works of the most advanced artists.
Tretyakov was personally connected with most of the Peredvizhniki, he
attentive1y (fo11ow) the progress of their work and (buy) the best of their
paintings. Many pictures of the finest Russian painters, including Kramskoy,
Repin, Surikov, Vereschagin, Victor Vasnetsov, Levi tan and Serov, were bought by
Tretyakov as soon as they were finished.
He also(commission) a series of portraits of outstanding men of
Russian culture, a collection which has retained its value to the present day.
Ultimately, Tretyakov resolved to broaden the scope of his collection and
37
(begin) to acquire the paintings of masters of the 18 and the early 19th centuries. To
these he (add) a collection of the finest works of the old Russian icon painters.
The gallery (grow) and soon Tretyakov's home in Lavrushinsky street could no
longer hold all the pictures. The construction of a special hall for his paintings was
begun in 1870.
The main building which houses the collection today was designed by the
painter Victor Vasnetsov, an authority on old Russian architecture, and it is in this
style that the gallery was built.
The staff of the gallery do their best to popularize the art treasures of their
native land. The museum receives more than a million
visitors every year
including more than ten thousand organized groups of visitors.
Answer the questions:
1. When did the Tretyakov Gallery celebrate the 150th anniversary?
2. Who was Tretyakov?
3. Whose paintings did Tretyakov buy?
4. Did Tretyakov collect icon paintings?
5. How many people visit the Gallery?
Ancient Russian Paintings
Put the verbs into the correct Tense and Voice.
Ancient Russian paintings and articles of applied art from monasteries and
temples of Murom (study) and (restore) for the past 50 years only. In 1919 a
scientific expedition, led by Academician I.E.Grabar, (bring) from Murom very
good icon “Our Lady of Odigitry”, now (deposit) at the Tretyakov Gallery. This
masterpiece (do) by an outstanding artist and, there is every reason to believe that
it was (do) in a Moscow shop, influenced by Theophanes Grek, highly gifted
38
Byzantine master. Moscow icon painters (detail) to Murom on the promise of Ivan
Grozny when the buildings of the temples in Murom (complete). Moscow tsars
(send) to Murom as Gifts to temples not only icons, but also valuable handcrafts
made by skilled needlewomen. In 1594-1595 Grozny’s Tsar Fedor and his wife
Irina (send) an embroidered pall for the sepulchre of Peter and Habronia. Local
artists and jewellers (become) active in the second half of the 16 th century. Among
them (be) Nikita Darydov, a wonderful gunsmith who worked for many years at
the Tsar’s court.
In the 17th century local artists (paint) many icons describing the history of
their native town. Numerous miniatures (paint) by them of Peter and Habronia
describing in detail all the events in their biography. Towards the end of the 17th
century Murom icon painters began putting their signature and the date of their
icons. Artist Alexander Kazantsev is especially notable. Monumental compositions
of the Doomsday, Christ the Almighty and Our Lady (portray) by him.
The original paintings and articles of applied art of the medieval Murom
are a part of the treasury of the history of the culture of Russia.
Answer the questions:
1. Where did ancient Russian paintings and articles of applied art come from?
2. Where is “Our Lady of Odigitry” now?
3. Who painted this icon?
4. What was sent to Murom as a gift?
5. When did icon painters start signing their icons?
6. Who is the most notable among them?
V.D. Polenov ( 1844-1927)
Put the paragraphs in the correct order and translate the text.
A..... For many years V.D. Polenov taught at the Moscow school of art,
sculpture and architecture. He exercised a beneficent influence on the development
39
of a whole galaxy of brilliant young artists. His pupils include I. Levitan,
S.Korovin, I. Ostroukhov, A.Arkhipov, A . Golovin and many other outstanding
Russian artists of the latter part of the 19th century.
B.... We honour Vassili Polenov as a splendid Russian artist who was a real
reformer of a landscape. He is known to have opened the way to the plein – air
painting in Russia art.
C.....In the eighties of the 19th century Polenov permeated his canvases by
dramatic feelings. Under the fresh impression of the death of his beloved sister
Vera appeared his picture “the Invalid”. In two years the artist displayed his
famous “Christ and a sinner” based on a Gospel plot.
D.....After graduating from the St. Petersburg academy of Arts with a gold
medal and a six-year scholarship abroad, Polenov worked among the world-known
art treasures of Rome and Paris.
E..... Vassili Polenov a brilliant Russian landscapist was born into a family
of a prominent scientist archaeologist- his father and a gifted writer and portraitpainter his mother. “It was from my mother that I inherited an ardent love for
painting”- told the artist years later.
F..... Upon his return to Russia Polenov joined the Association of
“Peredvizhniki”. He was fully in accord with the advanced line of the Association
and exhibited his canvases at its shows. “A little Moscow Couvyard”,
“Grandmother’s Garden”, “An Over grown Pond”, “ The old Mill”-all
masterpieces of Russian art.
G.....A lot of time V.Polenov spent in his estate near the town of Tarusa
(nowadays-Polenovo with the museum) It was in this place on the Oka river he
40
created his hymns to Russian nature “Golden Autumn”, “Autumn on the Oka near
Tarusa”.
Answer the questions:
1. What were Vassili Polenov’s parents?
2. What was his education?
3. Where did Polenov work?
4. Were his pupils a success?
5. What are the most famous Polenov’s paintings?
6. What do you know about Polenov as a reformer of a landscape?
Work in pairs. Tell your partner what you know about Vassili Polenov and his
works.
Levitan
Isaac Ilyieh Levitan, the great Russian artist, was one of the first painters of
the Russian scenery to reveal its beauty. He is a real poet of the Russian
countryside. Levitan developed the traditions of painters of the Russian realistic
landscape school – Savrasov, Polenov, Serov and others. He found poetry in
what would seem daily life.
Levitan is a very special sort of painter. There is something in his landscapes
that reflects our own moods. He deeply felt what he wanted to depict, and his
brush transferred his feelings to the canvas.
A master of landscape, he never introduced figures into it. Though if you
look at “The Autumn Day in Sokolniki”, everything seems to bring out the
loneliness of the figure in the centre: the trees losing their leaves, the remote,
indifferent sky, the path going off into the distance. But the fact is that it was not
Levitan who painted the figure. It was Checkov's brother Nikolai who did it.
Levitan's art was greatly influenced by his travels along the Volga. He
41
chose Plyoss, a small provincial town on the Volga, for his place of residence
and for a subject of many of his canvases. His paintings like “Evening”, “Golden
Plyoss”, “After the Rain” depict the scenery of the place. They are full of subtle
feeling and tenderness, but there is no sentimentality in them; Levitan's pictures are
truly realistic.
In the closing years of his life Levitan made several journeys abroad. He
travelled to France, Italy and Germany where he painted many of his landscapes.
Levitan was only 49 when he died in 1900.
Levitan's influence over lyrical landscape painters can't be overestimated.
His deep feeling for nature, love for his native land, his ability to reveal the poetry
of the Russian countryside have won his paintings the love and gratitude of
people.
Topical Vocabulary
an artist – художник
a painter of the Russian scenery – художник, изображающий российский
пейзаж
to reveal beauty – отразить красоту
poet of the Russian countryside – поет российской деревни
to develop the traditions of – развивать традиции кого-либо
the realistic landscape school – школа реалистического пейзажа
to reflect one's own moods – передавать чьи-либо собственные настроения
to depict – отражать, передавать
one's brush – кисть
to transfer one's feelings to the canvas – перенести чьи-либо чувства на холст
a master of landscape – мастер пейзажа
to bring out the loneliness of – подчеркивать одиночество
to be greatly influenced by – испытать сильное влияние кого-либо
a subject of a canvas – предмет изображения на картине
to depict the scenery – изображать пейзаж
42
to be full of subtle feeling and tenderness – быть полным нежности
truly realistic – действительно реалистический
influence over – влияние на
to be overestimated - переоценить
to win one's paintings the love and gratitude of people – завоевать любовь и
благодарность людей
Answer the questions:
1. What is Levitan famous for as a painter?
2. Why can he be called a very special sort of painter?
3. What genre did he paint in?
4. What was Levitan's art greatly influenced by?
5. Why can you say that Levitan's influience over lyrical landscape painters can't
be overestimated?
Translate into English:
1. Левитан, знаменитый русский художник, считается мастером русского
пейзажа.
2. Левитан, изображая пейзажи, передавал настроение.
3. Мастер пейзажа, Левитан развил традиции русской реалистической
пейзажной школы.
4. Многие
картины
Левитана,
полные
нежности,
но
реалистичные,
изображают Плес.
5. Трудно переоценить влияние Левитана на русское искусство.
6. Любовь художника а природе, его умение передать красоту русского
пейзажа, выразить настроение завоевали картинам Левитана любовь и
благодарность людей.
43
An d r ew W y e t h
Andrew Wyeth, one of the prominent living American painters, was born
in 1917. The son of illustrator N.C. Wyeth, Andrew is the leading member of the
dynasty of painters that includes his sisters, their husbands and his own two sons.
He won fame at the age of 12 for his illustrations of «Robin Hood». He was 20
years old when he first exhibited his paintings.
Andrew studied with his father and was strongly influenced by him. His
father's style of illustration expresses sentimentality and strives for absolute
reality. But very early the young artist gravitated away from his teacher. Wyeth's
style is both precise and minute in detail; he is a realist influenced by
photography.
He painted portraits, landscapes, seascapes and domestic scenery.
His favourite media are tempera and water-colour. Wyeth's works are
easily recognized by dimly lit and deserted landscapes in tones of grey and
brown, which convey feelings of loneliness and solitude. One of the keys to his
works is that he creates mysteries that need resolution. This is apparent in many
of his works, such as “Inland Shell” or “Christina's World”. In “Inland Shell” he
painted a shell above the leafy forest floor. The contrast between the bright shell and
the dark surroundings is stark. How the shell arrived in the forest or why it is there
he doesn't explain.
Topical Vocabulary
a prominent living painter – выдающийся современный художник
an illustrator – иллюстратор
the dynasty of painters – династия художников
to win fame – завоевать популярность
to exhibit paintings – выставлять картины
to be strongly influenced by – быть под сильным влиянием
to express sentimentality – выражать сентиментальность
to strive for absolute reality – стремиться к абсолютной правдоподобности
44
to gravitate away from – отойти от
style - стиль
precise and minute in detail – точный и четкий в деталях
a realist – реалист
to paint a portrait – написать портрет
a landscape – пейзаж
a seascape – морской пейзаж
domestic scenery – интерьер, домашние сцены
favourite media – любимые средства выражения
tempera – темпера
water-colour – акварель
in tones of grey and brown – в серо-коричневых тонах
to convey feelings of loneliness and solitude – передавать чувства уединенности
и одиночества
to create mysteries that need resolution – создавать тайны, требующие разгадки
Answer the questions:
1. What kind of family did Andrew Wyeth come from?
2. When did he win fame?
3. What was Wyeth's style in his early work?
4. What kind of style did he develop later?
5. What were his favourite media?
6. What are his landscapes easily recognized by?
Translate into English:
1. Эндрю Вайет завоевал популярность, когда ему было 12 лет; в 20 лет он
впервые выставил свои картины.
2. Эндрю Вайет входит в династию художников.
3. На стиль Эндрю Вайета большое влияние оказал его отец.
4. Молодой художник создал свой реалистический стиль, точный в деталях.
45
5. Его стиль сформировался также под влиянием фотографии.
6. Эндрю Вайет писал пейзажи в серо-коричневых тонах.
7. Его картины передают чувство одиночества.
8. Его картины – это тайны, нуждающиеся в разгадке.
Work in pairs. Imagine you have been presented Andrew Wyeth’s painting. Tell
your partner about it.
Above all, he believes in life (1881 – 1973)
Pablo Picasso was born at Malaga, in Spain. His fa ther was an
artist and professor at the Academy of Fine Arts at Barcelona, and
under him Pablo received his first lessons in art. He showed
exceptional talent a t a very early age.
After many visits to Paris, he settled there in 1903. He
developed his art in France where he became one of the outstanding
leaders and creators of modern French art. He has never, however, forgotten
that he is a Spaniard.
He is now probably the most well-known and respected artist in the
world, because his art speaks for his country, his beliefs, his comrades.
The first time he spoke in this way was when he painted Guernica1
( 1 9 3 7 ) a n d o t h e r w o r k s d e a l i n g w i t h 2 the Spanish Civil War.
"What do you think an artist is?" he declared when being
interviewed in the spring of 1945. "An imbecile who has only his eyes if
he's a painter, or ears, if he's a musician, or a lyre in his heart if he's a poet."
"On the contrary, he's at the same time a political being;
constantly alive to heart-rending, fiery or happy events, to which he
responds in every way."
Since 1945 Picasso has spoken in his works many times for all
those who demand peace. He has painted on the theme of war and peace
46
itself; he has painted his protests about Korea; his doves of peace have
flown all over the world.
During his life Picasso has painted in many different styles. But,
whatever the style, 3 he has always taken reality as his starting point. Above
all, Picasso is a man of imagination who believes in life.
Picasso has done more than any other artist to destroy and replace the
standards of the 19th century bourgeois art. He believes in progress and has a
vision of the future. He has realized that to contribute to the future a political
man must also be a Communist. He joined the French Communist Party in
October 1944. “My adherence to the French Communist Party follows logically
on my life, on all my work. Because, I’m proud to say, I have never considered
painting as an art of agreement, of entertainment,” said Picasso then. “I have
wanted, through drawing and colour, as these are my arms, to penetrate
always deeper into knowledge of the world and of men, because this
knowledge liberates us more with each day.”
1
– Герника (картина Пикассо, принесшая художнику известность)
2
– имеющее отношение
3
– каким бы ни был его стиль
Answer the questions:
1. When and where was Pablo Picasso born?
2. Why is Picasso the most well -known artist in the world?
3. How did he explain the essence of an artist?
4. Which of Picasso’s paintings made him famous?
5. Why did he join the French Communist Party?
Say if the following statements are true or false:
1. Picasso’s mother was his first teacher of art.
2. When Pablo Picasso settled in Paris he forgot that he was a Spaniard.
47
3. There was a protest against the war in Picasso’s paintings.
4. Pablo Picasso always considered painting as an art of entertainment.
5. The painter has done very much to develop the standards of the bourgeois art.
The Nizhny Novgorod Region Art Handicrafts
Today the Nizhny Novgorod region is among the leaders of Russia in terms
of the richness in folk artistic crafts.
Golden Khokhloma, Kazanovo filigree, Gorodets, Semyomov and Pokhov
Maidan painting and wood-carving, Vorsma knives of stainless steel, Gorodets
golden embroidery, Arzamas Rod-braiding and Birch-bark craft, Pottery,
Varnavino Bone-carving, Bornukovo Stone-carving, Balakhna lace-making,
Shakhunya patterned wearing, Chkalovsk Guipure, Gorodets wooden painted toys
and Zhbannikov clay whistles have become recognized all over Russia and are
perceived as Russia’s visiting card abroad.
Gorodets painting and wood carving
This topical painting is more than 150 years old. It’s the brightest
phenomenon of so called ‘naïve’ painting. The most popular topics of the painting
are public makings, tea parties, a famous Gorodets horse with a horseman mounted
on it, local holidays. The painting is very rich in colours of Russia summer, with its
magnitude of grass of various colours, is illuminated with the bright sunshine that
seem to flood the luxuriant garlands of flowers and whimsical birds.
Now Trade House ‘Gorosetskaya Rospis’ produces a wide choice of
products with traditional patterned topical painting and also wood-carving. This
tradition originated in the old art of home carving, the samples of which are in the
collections of the largest Russian museums. It is based on the plant decorative
pattern with inserted inscriptions and dates as well as images of lions and fairy-tale
personages. The beautiful carving is used for decorating boxes, small panels, icon
48
frameworks, small sculptures and honey-cakes boards. Due to the use of these
carved boards Gorodets honey-cakes are not only a delicacy but a work of art. At
special orders honey-cakes were baked to be presented to touring actors, the
governor and even to Tsar Nicolay II.
Answer the questions:
1. What is the genre oа Gorodets painting?
2. What are the most popular topics of the painting?
3. Is Gorodets painting bright and colourful?
4. What are the images of Gorodets wood-carving?
5. Why are the tasty Gorodets honey-cakes work of art?
6. Have you ever tried Gorodets honey-cakes?
Give Russian equivalents of the following words:
To insert, sample, sunshine, framework, inscription, horseman, whimsical birds,
marry-making, fairy-tale, luxuriant garland, honey-cakes board, wide choice,
magnitude of grass, to illuminate.
Khokhloma painting
Golden Khokhloma is one of the oldest and unique Russian handicrafts that
has been forming the tenor and mode of life of many generations and is an integral
part of Russian culture.
Khokhlomapainting was named after the place where it originated – the
village of Khokhloma of Kovernono district of the Nizhny Novgorod region. In the
17th century very smart plates and dishes were made there and then delivered to the
Tsar’s court. The products were characterized by the peculiar and poetic plant
pattern, the festive and solemn colouring and the strict simplicity of the form. The
specific feature of Khokhloma craft is production of gifted kitchen wooden utensils
without the use of precious metals but with the use of unique glass-line painting.
49
The main colours used in painting are red, black and gold. The combination of the
colours that originally was used in icon painting is very symbolic: red is the colour
of the power, gold is the colour of the quest prosperity and holy firing, black is the
colour of the veil that opens way to the eternal life, the colour of the spiritual
purification. For many centuries the masters preserve the art of the Khokhloma and
pass it to new generations. The products of this kind were sold at famous Makariev
Trade Fair, then at Nizhny Novgorod Trade Fair. Since the 60s of the 19 th century
Khokhloma plates and furniture were exhibited at Russian and foreign
exhobotions. The range of products include over 1,000 utensils and souvenirs, and
among them – kits for fish soup, for dessert, place sets, carved ladles and ladles for
wine, vases, panels, music boxes and many other things. The bodies of 8 aircrafts
of British Airways were decorated with Khokhloma painting to celebrate the 40 th
anniversary of flights from London to Moscow. The capital town of the crafts
nowadays is Semenov 80 km. from Nizhny Novgorod. The Fire-bird decorated
with bright flowers is the symbol of Khokhloma paitings.
Answer the questions:
1. Where and when did Khokhloma painting appear?
2. What are the peculiarities of this handicraft?
3. What do colours of Khokhloma painting mean?
4. Is Khokhloma painting well-known all over the world?
5. Why is the Fire-bird the symbol of Khokhloma painting?
6. Do you have any of Khokhloma things at home?
Complete the sentences with highlighted words.
1. Unfortunately, the problem of fathers and sons is the …………… problem of
generations.
2. India is still trading …………… stones and luxury goods with Europe.
3. Next year there will be the 50th …………… of my grandparents wedding.
4. Graham was going for an interview that day and came looking very ............... .
50
5. Mary’s friends wished her family health, happiness and …………… .
6. It seemed nothing could disturb the …………… of our life in those happy
prewar days.
7. The ceremony of getting diplomas was a …………… moment for all the
graduates.
8. There is modern kitchen equipment and all cooking …………… in this new
café.
Lace-making
From time immemorial the town of Balakhna has been famous for unique
crafts. In the second half of the 16th century people of Balakhna mastered the
production of Dutch tiles. The tiles from Balakhna were used to revet architectural
monuments, churches and house ovens. A lot of tiles were decorated with painted
figures of people, birds, animals and fantastic beasts. Stoves made by Balakhna
masters may be found in various parts of Russia even in Granovitaya Chamber of
the Moscow Kremlin. But it is lace-making that has made Balakhna known worldwide.
Special influence upon Balakhna craft was exerted by the Nizhny Novgorod
and Makariev Trade Fairs that supplied the town with threads and samples of laces
from Western Europe. By means of the fair the laces of Balakhna craftswomen got
to various towns of Russia and abroad. The peculiar feature of Balakhna lace is
multi-couple technique of lace-making, the most complicated and labour-intensive.
The masters use a great number of couples of bobbins, sometimes up to 500.
The unique character of Balakhna style consists in the lightness of tulle cells
covered with thick bunches of flowers and vine. The originated pattern is outlined
with a thick thread, and the inner space between the petals is filled with a
transparent lattice. Balakhna masters have always been proud with silk ‘vine’
kerchiefs. Another peculiar feature of Balakhna craft is making black laces, mainly
for kerchiefs. Besides, beige and white silk threads were used.
51
Now Balakhna Local Lore Museum possesses a big collection of Balakhna
laces of over 500 exhibits. The greatest attention is drown by such exhibits as
scarves, kerchiefs, blouses, which are utterly astonishing for their exquisite look
and beauty.
Thanks to the talent of contemporary lace-makers the tradition of lacemaking in Balakhna style has been kept.
Answer the questions:
1. When did people of Balakhna master the production of Dutch tiles?
2. How were the tiles decorated?
3. Thanks to the production of Dutch tiles the town of Balakhna became wellknown all over the world, didn’t it?
4. What is the technique of Balakhna lace-making?
5. Has the tradition of lace-making been kept in Balakhna?
6. Where can you buy scarves, blouses and kerchiefs decorated with Balakhna
laces?
Say if the following statements are true, false or not stated:
1. House ovens decorated with Balakhna tiles could be found in a lot of towns of
Russia.
2. Nizhny Novgorod Trade Fair supplied Balakhna masters with the parts of the
equipment foe lace-making looms.
3. The technique of Balakhna lace-making is of Dutch style.
4. Balakhna craftswomen have always been proud with their ornamental patterns
and labour-intensive technique.
5. The only peculiar feature of Balakhna lace is using of black and beige silk for
kerchiefs.
6. All the production of Balakhna lace-makers is astonishing for its exquisite look
and beauty.
52
Kazakovo Filigree
Filigree is one of the ancient methods of artistic metal processing. The word
‘filigree’ is derived from Italian ‘filigrana’, which in its turn is stemmed from Latin
‘filum’ (thread) and ‘granum’ (grain) as the pattern is frequently made not only of
woven wire but of tiny metal balls.
In Russia filigree has been known for quite a long time. Filigree objects are
found in the archeological digs of the tumuli of the 9 th century. In the Nizhny
Novgorod region the centre of filigree handicraft is in the village Kazakovo. The
first artel was organizes in 1959. Nowadays the artists constantly search for new
images and combinations of elements. Thus, they have started to use gilding,
natural stones, crystal, bone and enamel. All products are made manually, which
adds to the unique character of the filigree. Kazakovo produces various artistic
objects: decorated vases, cups, glass-holders, candy boxes, decorations, teaspoons,
bowls, medals, signs, orders, insignia for Russian armed forces. Lately the plant in
Kazakovo has initiated production of church objects: icon-lamps, icon frameworks,
crosses. Moreover, the company produces filigree objects with the heraldry and
symbols of state bodies and private companies. Also there is an astonishing showroom at the plant. While admiring the masterpieces of the filigree art, one can
plunge into the winter fairy-tale with its unique silver patterns of the frost lace
repeated by the artists. Tourists are offered excursions and master-classes.
Answer the questions:
1. What is the origin of the word ‘filigree’?
2. Where were the filigree objects found in Russia?
3. Where and when was the 1st artel of this artistic metal processing organized in
the Nizhny Novgorod region?
4. What objects does Kazakovo plant produce nowadays?
5. What elements besides metal are used in modern objects?
6. Where can you see the masterpieces of the filigree art?
53
Say if the following statements are true, false or not stated:
1. Filigree is a modern, innovative artistic metal processing.
2. The town Vorsma in the Nizhny Novgorod region is the centre of filigree.
3. All products of filigree are made manually.
4. The plant doesn’t produce filigree objects for church and private companies.
5. During World War II the artel masters wove shoulder straps, made insignia and
cigarette-cases.
Stone-carving
The history of stone-carving craft is rooted in the remote past and is
connected with mysterious ‘marble’ cave on the bank of the Ryana-river at the
village of Bornukovo of Buturlino district. The cave has always been famous for
anhydrite stone called ‘Nizhny Novgorod marble’. It was of various colours – pink,
white, blue, brown, grey and green – and with different patterns. In the time of
Katherine the Great the stone from the cave was used to finish St. Petersburg
palaces. Now it is ‘Bornukovskaya Peshera’ enterprise that maintains the traditions
of stone-carving art. In stone processing turning is used in combination with bold
carving and engraving. The expressive silhouette, soft plasticity, lyrical mood and
unsophisticated images of the samples express the beauty and originality of the
fauna and the kindness of the Russian national soul. Besides sculptures of birds
and animals the craftsmen produce a wide range of various utensils: exquisite
candlesticks, vases, boxes, desks sets. Bornukovo craft is unique as it is. It is
believed that if a child is taught to work with stone he will become a good man
because the nature has put nobleness into stone and stone generously shares it with
people.
Answer the questions:
1. Is the stone-carving craft in Nizhny Novgorod region old or modern?
2. What is ‘Nizhny Novgorod marble’?
54
3. Where was the stone from Bornukovo used in the 18th century?
4. In what way do craftsmen maintain the traditions of stone-carving?
5. Why is it believed that only good people can work with stone?
6. Would you like to see the mysterious ‘marble’ cave?
Complete the sentences with highlighted words.
1. The singer has a beautiful and ………….. soprano voice.
2. He always gives …………… to the charity.
3. He took the lead and …………… it until the end of the race.
4. I’m afraid but your chances of success I see only in the …………… future.
5. The company tries to project an …………… of being innovative.
6. The …………… disappearance of that rare book was beyond our
understanding.
Artistic Metal processing
The ancient town of Pavlovo on the bank of the Oka-river has become one
of the centers of the blacksmith’s work and knife handicraft. At the end of the 17 th
century there were about 50 smithies. Among the most famous crafts there was a
weaponry one. In the Hermitage there are riftes with the inscription ‘Afanasy
Ovsyannikov. The village of Pavlovo’. Later the metal processing craft was
developed in production of the goods for practical purposes – knives, locks,
scissors. Pavlovo Plant of Metal work preserves the old traditions of metal
processing. It is the Russian leader in production of place setting of stainless steel –
spoons, forks, knives, samples for restaurants with artistic painting and chasing and
golden covering. The produce of the plant is characterized by elegance, fine
finishing and practicality. The forgotten craft of artistic forging has also been given
its new birth at the plant. Elegant mantel place settings, candlesticks, cornices,
window bars, doors have become the fashionable attributes of modern interiors.
Not far from Pavlovo there is a ‘knife capital’ of Russia – town Vorsma.
55
Preserving the best traditions of the local handicraftsmen the plant ‘SARO’
introduces the production of knives with the use of engraving and etching
techniques; the handles are made of beech, walnut, birch bark, and artistic casting
of brass and silver is used in the production. In continuation of the traditions as the
weapons centre Vorsma plant produces modern knives ‘Storm’ for the marines,
‘Varan’ for combat-engineers, ‘Comandos’ – assault knives, ‘Shark’ assault
knives, knives for privates and officers. As awards to the most merited privates and
officers of the Russian army there are modern daggers and hangers ‘Georgievsky’,
‘Andrew and Apostle’, ‘Admiral Kuznetsov’ and other hunting, sports, gift knives,
both clasp and fixed.
Answer the questions:
1. When did Pavlovo become one of the centers of blacksmith’s work?
2. Where can we see the old objects made by Pavlovo craftsmen?
3. Is the production of modern Pavlovo Plant of Metal work nice and practical?
Do you use it at your home?
4. Why is town Vorsma called ‘knife capital’?
5. How do masters nowadays decorate the handles of modern knives?
6. For what purposes does the Plant ‘SARO’ produce different knives?
Give Russian equivalents of the following words:
Metal processing, engraving, award, weapon, inscription, chasing, fashionable
attributes, stainless steel knives, assault knives, fixed knives, merited persons,
etching techniques
56
Supplementary reading
Hieronymous Bosch
Hieronymous Bosch remains an enigma. He was born c. 1453 in "s
Hertogenbosch, the small town in North Brabant, where he seems to have spent
most of his life, was registered as a painter, married, and died. The town of "s
Hertogenbosch lay far from the centres of art. It had nothing much to boast about
until Bosch appeared.
The new vision introduced by Bosch was serious, vast in scope and sure
of itself. However fantastic things he imagined, he was nothing else but heart
and soul a man of his time. His ghostly fancies were products of his age, visible
evidence of the fear of witchcraft that obsessed the decades immediately
preceding the Reformation. What Bosch invented was not very different from
what the folk in general took to be real. Nevertheless his was no more fairytale
world, though much in it took on the guise of fable. The picture he held before
men's eyes could easily be accused of exaggeration and distortion of facts, but
it was part and parcel of his single time, the fortune and misfortune of human
existence, a theme cloaked in enigmatic language piling riddle upon riddle
but whose basic meaning once decoded, proves clear as glass and anything
but ambiguous. He painted in riddles and fables. Bosch was always a realist.
He was not heralding an apocalyptic end of the world, nor did he portray a
desolate wildness of stinking swamp and barren scrubland as the inevitable
final destination of the traditions of his age. He was neither heretic nor
unquestioning follower of the age-old form of worship. Bosch challenged the old
values and foretold the Reformation, and his way was not the destruction of the
church, but its salvation. With Bosch sins and human sufferings began to be
depicted in a manner no longer dependent on the description in the Bible.
The painter of the poetic current (1445 – 1510)
Botticelli is an artist who crosses the dividing line between the hopeful
57
confidence of the fifteenth century and the dark fulfilment of the Savonarola
period, so that it is not out of character that he eventually developed the same
urgency and passionate desire to express the suffering involved in the Passion.
Botticelli was a pupil of Filippo Lippi, and is one of the most important
among the fifteenth-century painters. Botticelli fortune paralleled the
Medici's. The death of Lorenzo ended the world in which Botticelli had found
fame. Before him the old masters had drawn the inspiration for their works
from the Bible. Botticelli's nature was imaginative: he delighted in myths,
fables, and poetry. Botticelli was the first to make his painting a means for the
delight of the secular as well as the religious world. He was a leader in the
great movement in the history of art in Florence and became an ardent
disciple of Savonarola. When Savonarola demanded that bonfires should be
made of the works of art, Botticelii contributed many of his pictures to the
burning pile.
Botticelli pictured human feelings; it is seen in his sad-faced Madonnas
and in the sympathetic faces of those who surround her. He created a type of
face and figure that is most easily recognisable. His figures are attenuated,
often shown through transparent garments; the limbs are slender, the hands
long and nervous. His faces are long and thin. His representation of figures in
motion is far beyond anything that preceded him and has never been excelled.
Botticelli's greatest works are the Primavera and the Birth of Venus. In these
paintings he reconciled Christian tradition and Classical mythology. Thus, the
Primavera is a kind of allegory of civilised living, with Venus as a sort of
pagan Madonna who should lift up Man's mind to the observation of that
beauty which is Divine in origin. The Birth of Venus is a very long way away
from the Venus of classical antiquity. It may be argued that this is a rather
artificial interpretation, but it is an interpretation that made sense to the
fifteenth century. It can be seen how under the impact of Savonarola's
preaching Botticelli's imagery becomes more Christian. The best possible
example is the Mystic Nativity. The feature that links Botticelli most firmly
58
with the Florentine artistic heritage is his linear perspective.
Tintoretto
Tintoretto was the founder and the principal advocate of Venetian
Mannerism. It was through his work that Mannerism became established in Venice
from 1550 onwards. Tintoretto's motto written over the door to his studio was "the
draughtsmanship of Michelangelo and the colours of Titian", thus acknowledging
the two formative influences on his own new style. The combination of space
and figures, of movements and light, together with the FlorentineRoman sense of
form and the Venetian palette led in his mature years to highly original solutions
and gave his late pictures intellectual intensity and depth.
The largest of the canvases, more than forty feet long, is the
Crucifixion, painted in 1565, a work of such power that no reproduction can
do it justice. It stretches from wall to wall and from floor to ceiling, with the
foreground figures more than life-size. St. Jeremy, about 1575, is an example of
Tintoretto's effective distortion of form which appears in many of his pictures.
The monumental figure of the saint appears life-size right in the foreground.
Tintoretto was an official state artist of the Venetian Republic from 1550.
Portraits of the Venetian dignitaries make up a considerable portion of his work.
Even in this field he went his own original way, away from the idealised concepts
of presentation of the High Renaissance and moved towards a more individual,
subjective standpoint.
Tintoretto became more radical in his late Portrait of a Man with a White
Beard, around 1570, where he ignored any sense of space or narrative detail. Tintoretto was able to develop a new type of portraiture. For some official
commissions Tintoretto put some outward signs of rank into the foreground,
such as those we see in the portrait of the (unknown) Man in Guilded Armour
(1555-1560) and that of Sebastian Venier (after 1570). However, even these
ceremonial portraits display Tintoretto's Mannerist tastes with their play of
contrasts.
59
American art
At the opening of the twentieth century, when the seeds of modernism
were germinating in Europe, American Art remained provincial, as it had been
throughout most of its history despite the original ideas of a few gifted artists.
Every current of European nineteenth-century painting continued to flow in
the United States, and the most vigorous American movement of the early
twentieth century, the Ash Can was a group of neorealists indebted largely to
Courbet and the early Manet. But in these same years, several American artists
were absorbing European modernism during trips to France and Germany, and
they returned to develop their newly acquired ideas in the United States, chiefly in
New York. There in 1908 two photographers began to show at the PhotoSecession Gallery, later renamed 291, works by Cezanne, Matisse, and
Picasso; American art, the art of children; and new American paintings and
sculptures, including works by John Mann, Marsden Hartly, and Georgia
O'Keffe.
A totally original American painter, unconnected with any European
movement was Georgia O'Keffe (1887-1986). Throughout her long
creative life, O'Keffe's imagery was derived from an infinite variety of
objects surrounding her, from the magnified forms of flowers to driftwood
and animals' skulls. Her Blue and Green Music, of 1919, is a complete
invention. The free flow of rhythmic shapes against the massive diagonals
moves, as the title suggests, with the quality of visual music, this kind of
melodic flow is never absent from her work.
A number of gifted American artists turned after World War I to new
forms of realism, focusing on, even glorifying the dreariness and banality
of much of American urban and rural life. One of the best of these so-called
American scene painters was Edward Hopper (1882-1967). He presents us
with a bleak world made up of dirty streets, gloomy houses, comfortless
rooms such as in the Automate, of 1927.
60
What has Delacroix to tell us? (1798 – 1863)
On August 13, 1863 died the French painter Eugene Delacroix,
one of the greatest
representatives of the 19 th
century
world
progressive art.
Delacroix stands alongside with the great masters of the
Renaissance in diversity of talent. He painted pic t u r e s o n d i f f e r e n t
c o n t e mp o r a r y s ub je c t s a s we l l a s historical pictures, portraits,
landscapes, still lives and hunting scenes. He did many illustrations
for works of his favourite writers Shakespeare, Byron, Goethe and
Walter Scott. Goethe spoke extremely enthusiastically of his illustrations
for Faust.
The innovatory spirit of Delacroix's work was not something
superficial but was deeply rooted in life. The artist came down from 1
the cold heights of classicist alienation to the living world of
human suffering and struggle. He was a true representative of his age,
an age full of turbulent events.
Delacroix went boldly into the very thick of events of his epoch.
He passionately supported the Greek patriots who revolted against the
Turkish rule. In his pictu res -Massacre at Chios 2 he expressed his
sympathy for the freedom-loving Greek people and his admiration for
their heroism.
It was Delacroix who created the unforgettable image of the
Revolution in Liberty Guiding the People. 3 For the first time in the
history of the world art a monumental painting depicted a mass
uprising of people defending their freedom with arms. And in the
front ranks of the rebels, alongside of a worker and an intellectual,
Delacroix painted a boy with a lively s parkle in his eyes, an ticipating
by four decades the immortal Gavroshe in Vic tor Hugo's novel Les
Miserables.4
All his life Delacroix was searching and experiment ing. His
61
quest was never an end in itself, but a means of giving the deepest
possible expression to his ideas. And his point of departure 5 was always
direct observation of life. During his journey to Algeria, Spain and
Morocco (1832) the artist-humanist discovered a new world which he
subsequently revealed to his contemporaries in his pictures, a world
that was picturesque and unusual.
The
Leningrad
Maroccan
Saddling
State
a
Hermitage
Museum
owns
Horse. 6 Here the painter
Delac roix
perceives
the
dynamics of life, he expresses the wild strength of a horse tamed by
his master's hand and the smoothness of the huntsman.
Delacroix's brief stay in the East influenced his entire output. It was in
the East that he found the practical solution of many problems
concerning the use of colour. He wrote, however: "Colour is nothing if it is
not related to the subject matter and does not increase the impression from the
picture by appealing to the imagination."
Delacroix is very dear to us as a humanistic artist who sang the
people in their struggle for freedom. His humanistic ideas were
reflected not only in his pictures and drawings but in all his letters
and his literary criticism. His articles on art and famous artists have
several times been published in the Soviet Union. His Diary, twice published in Russian, has become a favourite book of Soviet artists.
1
– отошел от
2
– резня в Хеосе (картина находится в Лувре, в Париже)
3
– свобода на баррикадах (картина находится в Лувре, в Париже)
4
– Отверженные
5
– отправная точка
6
– Марокканец, седлающий коня
Augustus John (1878-1961)
He studied at the Slade School from 1894 until 1898. When he left he was
62
acclaimed the best draughtsman in England. He has remained first and
foremost a draughtsman, and for many years his best painting drew its strength
from its drawing. John was a true bohemian, living with gypsies through
Wales and France. Yet there are two aspects to his character: one of them
has been grasped by Wyndham Lewis, who has written of John's "fits of
seeing" and has described him as "a great man of action into whose hand the fairies
stuck a brush instead of sword". The other aspect has rarely been touched
upon but is manifest in several of his landscapes. At the same time John is an
intellectual who has absorbed the influences of Cezanne, Puvis de
Chavannes 1 and the "Fauves". 2 He can organize words almost as well as the
materials of his art, as his autobiography clearly shows. His greatest portraits
show a visionary power allied to great intellectual force; his landscapes and
studies for large compositions show more of his intellectual nature. When he
is successful few other painters of modern times give such a sensation of pure
ecstasy and joy and effortless achievement. Long after his personality and wit
have ceased to have a direct effect on the public, his art will exercise its
great appeal, and his portraits, his gipsy types, his women and his
landscapes will outlast the work of some of his more fashionable
contemporaries.
1
– Pierre Puvis de Chavannes (1824 – 1898), French painter
2
– Fauves (from French fauve – wild beast) – nickname given to the artists
who grouped in 1905 round Matisse concentrated on the explosive force of
colour in their paintings
Collection of paintings in the Russian Museum
The Russian Museum of St. Petersburg is a world-famous repository
of Russian Art. It houses numerous samples of old Russian art and
handicrafts, paintings and sculptures, engravings, priceless works of
decorative and applied art. Its collection of paintings boasts magnificent
63
canvases by the most prominent Russian artists, reflecting the history of
Russian art from the 12 th century to the present day.
In March 1898 the 1 st state museum of Russian art was opened in the
Michailovsky Palace, one of the most illustrious architectural monuments
of the Russian Empire style, built in 1819-25 to the design of Carlo Rossi,
who was also responsible for the interior decoration of the palace.
The exposition begins with old icon-paintings of 12 th , 14 th and 15 th
centuries and so-called parsuna art (portrait icon) of the end of the 17 th
century. A typical example of parsuna is Portrait of Yakov Turgenev, Jester
of Peter I. in the 20s of the 18 th century emerged a new realistic type of
portraiture. Two of the most outstanding exponents of this style of the
Petrine epoch were I. Nikitin and A. Matveyev. Nikitin’s portraits of Peter I
faithfully recreate individual image of this forceful personality. A bit later
the best Russian painters F. Rokotov, D. Levitsky and V. Borovikovsky
managed to penetrate the inner world of their subjects, their feeling,
emotions to capture even nuances of feelings. – Portraits of A. Kokorinov,
of Ekaterina Nelidova.
In the 18 th century made its debut the genre of history painting in
Russia. The decisive factor here was the opening in St. Petersburg in 1757
the Academy of Arts. One of the 1 st pupils of the Academy and its 1 st
professor, Anton Losenko painted his picture Vladimir and Rogneda on a
subject from Russian history. This tendency went on in the 19 th century
when K. Brullov painted his gigantic canvas “The Last Day of Pompeii”. –
the tragedy of the city by the eruption of Vesuvius. Also we can see the
romantic motifs in the plates of A. Venetsianov – the author of the first
lyrical landscapes in Russia and in the works of seascape painter I.
Aivazovsky with his shipwrecks, storms and at the same time magic charm
of a moonlit sea.
1870 saw the formation of the Society for Circulating Art
Exhibitions. This was an event not only in the artistic, but also in the social
64
life of Russia. The movement of “Peredvizhniki” became synonymous with
all that was progressive in the fine arts of the country. The leader of the
movement I. Kramskoi produced a whole picture gallery of his
contemporaries. In the Russian Museum we can enjoy his portraits of I.
Shishkin. An important contribution to the development of Russian
landscape paintings was made by A. Savrasov. His canvases for example
“Rainbow” are amasing and touching. Emotional and romantic are
landscapes of F. Vasilyev – “Scene of the Volga”. We can see the finest
works of I. Shishkin: “Oaks”, “Mast-tree grove”. The heritage of A. Kuinji
occupied a place apart in Russian art. He is a unique master of lighting.
Vivid sunsets, cold moonlight, snow-covered wood – are the themes of his
paintings. The follower of Savrasov and Polenov I. Levitan was a creator of
so-called mood landscape, where the image of nature is animated with
human emotions. “Golden Autumn”, “The lake”, ” Wooden Hollow” are on
display. The Russian Museum is proud of such brilliant canvases of
I.
Repin: “The Zaporozhye Cossacks writing a Mocking letter to the Turkish
Sultan” and V. Surikov’s “Taking of a Snow Forests”. A pupil of I. Repin –
V. Serov created real masterpieces in all genres of pictorical art. The
collection contains several of his pictures and among them poetic and
beautiful “Portrait of Z. Yusupova” and “Children”. Symbolic, spiritual,
full of inner tension are the plates of M. Vrubel: “Six-winged Seraph”,
“The Bogatyr”, “Lady in Violet dress”.
While speaking of the early 20 th century artists whose works are on
show we should mention A. Arkhipov, Ph. Malyavin, N. Roerich, B.
Kustodiev, K. Yuon and others.
In the first years after revolution especially interesting and si gnificant
were works of K. Petrov-Vodkin. Later – of A. Samokhvalov, A. Deineka,
A. Plastov. Nowadays the works of outstanding Russian contemporary
artists are also notably represented in the Russian Museum.
65
Bone – carving
At the heart of Varnavino bone-carving there a peculiar artistic style
developed on the basis of the expressive pattern of Nizhny Novgorod woodcarving. Each product is carved by a craftsman from the very beginning up to the
end without any punches or models, which helps express individuality of the
author and artistic approach to the production of each sample.
Varco Ltd. Is the company that has revived the traditions of bone-carving in
the Nizhny Novgorod region. Now the company in engaged in production of the
goods of bone made in the technique of openwork, bold and volume carving. It
produces over 300 items of products for practical and decorative purposes. There
are decorations – combs, ear-rings, brooches, pendants, as well as boxes, desk sets,
chess, candlesticks, vases, glasses and needle-cases. The company is quite
experienced in developing and manufacturing of items with firm’s symbols.
Tanning craft
The tanning craft started developing in the Nizhny Novgorod region in the
second half of the 17th century. It was fairly profitable. The handicraftsmen
produced leather and then consumer goods of various finishing and decorating.
Now “Renessans” Association is the only enterprise in the Nizhny Novgorod
region which is engaged in artistic finishing and leather goods. It specializes in the
production of goods of natural leather with kinds of artistic finishing: burning out,
leather-carving, lighting out, whickering, stamping and etc. You can be fascinated
by various boxes, chests, photo albums with drawings (including the symbols of
the Nizhny Novgorod region) or inscriptions, exclusive leather cases for menu,
bills of wine. Also the Association developed new line – products for the Orthodox
church: book-covers, cases for censers, covers for wedding and christening
registration books.
66
Словарь искусствоведческих терминов
А
абстрактное искусство – abstract art
Академия художеств – Academy of art
автопортрет – self-portrait
акварель – water-colour
анималист – animal painter
анималистическая живопись – animal painting
античный – antique
архитектура – architecture
Б
баталист – painter of battle-scenes (battle pieces)
богатство красок – a riot of colours = a wide colour-scheme
бытовой жанр в живописи – genre painting
бытовые сценки – everyday scenes = genre scenes
В
ваяние – sculpture
ваять, изваять – из камня, дерева, кости – chisel, carve
из глины – model
из бронзы – cast
великий художник – master
вид – view
вид сбоку – a side view
вид сзади – a back view
вид спереди – a front view
виды искусства – kinds of art
витраж – stained-glass window
67
воздух, воздушная среда в живописи – atmosphere
воздушный – atmospheric
воздушность – airiness
Возрождение –
Высокое возрождение – High Renaissance
Г
гамма (красок) – palettes colour-scheme (range)
гамма (цветов) – range of colours, colour-scale
гладкая (поверхность картины) – Gothic, Gothic style
городской пейзаж – town (city)-scape
гравер – engraver
граверное искусство – engraving
гравировать, выгравировать – to engrave
гравюра – engraving = print
график – graphic artist = black and white artist
графика – graphic art
грунт – foundation = ground
гуашь – gouache
Д
декоративно-прикладное искусство – decorative art
деревенские сценки – rustic scenes
деревенский пейзаж – rural landscape
диапазон (размах, масштаб) – range
доска для живописи – panel
Ж
жанр – genre
жанровая картина – genre scenes = domestic interior
68
живописец – painter
живописный – pictoral
живопись – painting
жизненный, реалистический – life-like = realistic
З
задний план – background
заказать (портрет) – commission (a portrait)
замысел – conception, concept, design
замышлять – conceive, design
запечетливать – set down
западно-европейское искусство – West-European art
знаток искусства – connoisseur
И
идейное содержание – message
излучать (свет, тепло) – to radiate
изображение – portrayal, depiction, representation
изобразительное искусство – visual arts, Fine arts
изобразительный – graphic
изогнутый – curved
изысканный – exquisite
инициалы – initials
импрессионизм – impressionism
индивидуальное (личное) восприятие – one’s personal style, vision
интенсивность (цвета красок) – brilliance, brilliancy
искаженный – contorted, distorted
искривленный – askew
искусный – masterly
искусство – art
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историческая живопись (жанр) – historical painting
К
карандаш – pencil
карандашный рисунок – pencil drawing
карикатура – caricature, cartoon
картина – picture, painting
картинная галерея – art gallery
кисть – brush
классический – classical
классицизм – classicism
колорит – colouring
композиция – composition
компактная композиция, группа – closely (tightly) knit composition, group
контраст тонов – contrasting tones
контур – outline
копировать – copy
краситель – pigment
краска – paint, pigment, colour
кривая – curve
круглая – circular
кубизм – cubism
Л
линейная перспектива – linear perspective
линейный (имеющий отношение к рисунку) – linear
линия – line
линия нисходящая – downward line
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М
мазок – touch, brush, stroke
манера (живописная) – brush-work
маринист – sea-scape painter
маринистская живопись – sea-scape (marine) painting
масло, масляная краска – oil
масляная живопись – oil painting
мастер линии – a master of line
мастерская – workshop
мастерски (искусно) – in a masterly way
мастерство – mastery, artistry, skill
миниатюра – miniature
мольберт – easel
мозаика – mosaic
монументальная живопись – monumental painting
музей – museum
Н
набросок – sketch
направление – trend, movement
народное искусство – popular (folk) art
натура – model
натурщик(ца) – model, sitter
натюрморт – still-life
неровная (поверхность картины) – rough (surface, finish)
нюанс – shade, nuance
О
образ (изображаемое лицо) – subject, character, personage
образец – model, pattern
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образное воплощение замысла – imagery
обращаться (к чему либо) – turn to smth, draw one’s subject from smth, paint,
treat a subject
объем – volume
одухотворенность – spirituality
орнамент – ornament
основной цвет – primary colour
отливать- mould
П
палитра – palette
парадный портрет – ceremonial portrait
пастель – pastel
пастельный – pastel
пейзаж – landscape
пейзажист – landscape painter
пейзажная живопись – landscape painting
передний план – foreground
первобытное искусство – primitive art
перспектива – perspective
писать (красками) – paint
плавный – fluid, fluent
пластика – plastic art
плакат – poster
пленэр – plein-air
плоскость – plane
поверхность картины – surface
подмастерье, ученик – apprentice
подлинный – authentic
подлинность – authenticity
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позолотить – to gild
позолоченный – gilt
полотно – canvas
портрет – portrait
портретист – portrait-painter, portraitist
портретная живопись – portrait painting, portraiture
предвосхищать – anticipate
предметное искусство – representational art
придворный художник – court painter
прикладное искусство – applied art
принимать (цвет, форму и т.д.) – to take on (a colour, form etc.)
пронизывать (пропитывать) – imbue, penetrate
просторность – spaciousness
просторный – spacious
пропорция – propotion
Р
разнообразие (форм, направлений) – diversity of forms (genres)
реализм – realism
рисовальщик – draughtsman
рисовать – draw
рисунок – drawing
С
сангина (карандаш) – sanguine (crayon)
свет (освещение) – light
светотень – light and shade
свободная (манера письма, техника) – broad (style, technique)
сельский – rural, rustic
синтез искусств – synthesis of art
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сливаться – blend, fuse
слияние – fusion
сложный, разработанный в деталях – elaborate
сложный цвет – secondary colour
слоновая кость – ivary
сочность (о цвете) – richness
сочный (о цвете) – rich
способность (дар к чему-л) – faculty (for smth)
средние века, средневековье – the middle ages
средневековый – medieval
станковая графика – easel graphic art
станковая живопись – easel painting
настенная живопись – moral (wall) painting
стенная роспись – mural(s), fresco(es)
стилизованный – stylised
стиль – style
строгий, суровый – austere, rigid
строгость, суровость – rigidity
схватить, передать – catch, capture, seize
схематичный – sketched
сходство – likeness
сюжет – subject
сюжетно-тематический – narrative
Т
творчество – art, creative powers(ability), creative work, painting
тема – subject matter, motif
тень – shadow
в полутени – in partial shadow
теория искусств – theory of art
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тон, цвет – tone
тональность – tonality, tonal effect, key
тушь – ink
У
уголь – charcoal
удлиненная форма – elongation
украшать – ornament, decorate, prettify
усиливать – heighten, enhance
ученик – apprentice
Ф
фактура – texture
фактура письма – pictorial texture
фигура – figure
фовизм – Fauvism
фовист – Fauve, Fauvist
фокус – focus
фон – background
фреска – fresco
фресковая живопись (техника) – fresco painting (technique)
Х
холст – canvas
художественное творчество – artistic endeavour
художественный – art, artistic
художник – artist, painter
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Ц
цвет – colour
цветочный – floral
Ч
чертить – draw
четкость – exactness of design
чувство меры – sense of moderation
чувство цвета – sense of colour, feeling for colour
Ш
шедевр – masterpiece
штрих – stroke
штриховать – to shade
Э
экспонат – exhibit
экспонировать (выставлять) – exhibit, hang
экспонироваться – be on display (exhibition, show, view, exhibit)
экспрессионизм – expressionism
эскиз (набросок) – sketch
эскизный (контур) – sketchy
эстамп – engraving, print
этюд – study
этюдник – paint-box
Ю
ювелир – goldsmith
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Я
языческий – pagan
яркость – brilliance
ясный – luminous, crystal, clear
ясность – luminosity
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Учебное издание
Arts and crafts
Учебно-методические материалы по английскому языку для студентов
неязыковых
вузов
очного
и
заочного
отделения,
обучающихся
по
специальности Изобразительное искусство и технология» и студентов очного
и очно-заочного отделения, обучающихся по специальности «Декоративноприкладное искусство и народные промыслы».
Авторы-составители: Ю. М. Борщевская, И. Л. Будцына, Ю. В. Клопова
Печатается в авторской редакции
Подписано в печать 15.06.2013г. Печать оперативная
Формат 60 × 84 1/16. Объем 4,8 п.л. Тираж 50 экз. Заказ
Нижегородский государственный педагогический университет имени
К. Минина
Отдел полиграфии НГПУ им. К Минина
603950, Нижний Новгород, ГСП-37, ул. Ульянова, 1
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