Ерус Е.С. All About Arts. Visual Art
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1. The substitution of a Simultaneous Vision that sees a scene as a whole in
place of Consecutive Vision that sees nature piece by piece.
2. The substitution of a Chiaroscuro based on the colours of the solar
spectrum for a Chiaroscuro based on Black an White.
This new technique, with all the research and experiment which it implies,
was not the invention of one man but the outcome of the life studies of a whole
group of men. Most prominent among those who brought Impressionist
painting to perfection in theory and practice were Camille Pissarro, Claude
Monet, and Auguste Renoir.
COMPREHENSION
1. Translate the words in bold and phrases from the texts. Give a back
translation without consulting the text.
2. Find the English equivalents for:
1. видеть природу фрагментарно;
2. широкая манера письма;
3. глаз воспринимает противоположный цвет;
4. краски, соответствующие цветам радуги;
5. смешивать краски;
6. писать небо маленькими мазками;
7. ближе к черному или белому.
3. Answer the following questions:
1. What is the essential difference in the treatment of detail in an Impressionist
picture as compared with a picture painted by an academic painter?
2. What is meant by simultaneous vision?
3. What is meant by consecutive vision?
4. What contribution did the Impressionists make to painting?
5. Why is Delacroix considered to be one of the pioneers in the analysis of
colour?
6. Explain the phenomenon of complementary colours. (How do
complementary colours act upon one another?)
7. What is meant by local colour, atmospheric colour, illumination colour?
8. What are the primary colours in pigment?
9. What are the primary colours in light?
10. Why did the Impressionist painters discard black?
11. Why did the Impressionists refrain from mixing colours on their palettes?
12. How was colour applied?
13. How did they secure the effect of the tint desired in a painting?
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14. What is meant by optical mixing?
15. How did they get the effect of a pearly grey?
16. How can one recognise an Impressionist painting?
4. Translate the texts into English:
A
Формирование импрессионистов началось вокруг Эдуарда Мане,
который получил образование в мастерской Кутюра, одного из столпов
академического искусства. Однако подлинными учителями Мане явились
Тициан, Веласкес, Гойя, Халс, Рубенс. Старые мастера, прежде всего,
были для него предметом восхищения. Мане отличало от
импрессионистов то, что он не отказался от широкого мазка, от
обобщенной реалистической характеристики и сохранил синтетичность
формы и цельность передаваемых характеров. Однако многое связывает
Мане с импрессионизмом. Наиболее «импрессионистическое»
произведение Мане – «Бар «Фоли-Бержер» (‘A Bar at the Folie-Bergère’). В
творчестве Эдуарда Мане, с одной стороны, нашли завершение
классические реалистические традиции французского искусства XIX в., с
другой – сделаны первые шаги в решении проблем, которые станут
основными в развитии западноевропейского реализма XX в.
B
Клод Моне является истинным главой школы импрессионистов. В его
произведениях воплотилась основная идея импрессионизма – идея света и
воздуха. Мир Моне с его растворяющимися предметами постепенно
лишается материальности и превращается в гармонию световых пятен.
Моне нередко писал один и тот же вид в разное время суток и в
разное время года. Такова его серия “Руанский собор”(‘Rouen Cathedral’).
Беглыми, как будто небрежными мазками Моне создавал улицы Парижа.
Он мог запечатлеть и знойное марево летнего дня, и влажный снег
французской зимы. Все схвачено как бы случайно, но увидено зорким
взглядом художника.
Моне прошел все этапы: он знал нищету, непризнание, насмешки,
затем приобрёл известность, переросшую в триумф. Моне пережил всею
славу. Он был свидетелем того, как устаревали его идею, которым он был
верен до конца жизни.
C
В картине “Бульвар Монмартр в Париже” Камиль Писсарро
запечатлел один из красивейших бульваров столицы Франции. Этот
пейзаж написан художником из верхних окон отеля. Зритель видит
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длинную улицу в день ранней весны. Деревья ещё без листьев, видимио,
только что прошёл дождь. Благодаря свободным и быстрым мазкам
художнику удалось передать живое ощущение улицы, заполненной
пешеходами и потоком катящихся экипажей.
D
Огюста Ренуара называли “певцом счастья”. Его искусство радостно и
лучезарно. Пейзажная живопись мало увлекала Ренуара, в центре
внимания живописца был человек. Художник оставил много портретов,
главным образом женских. В них нет психологических углублений.
Высоким живописным мастерством также отмечены созданные Ренуаром
жанровые сцены и натюрморт с цветами.
E
До конца жизни Поль Сезанн подписывал свои произведения “ученик
Писсарро”, таким образом, подчеркивая свою связь с импрессионистами.
Сам Сезанн не принадлежал к этому направлению. У Сезанна нет картин
сложного содержания. Наиболее сильная сторона таланта Сезанна –
колорит. В передаче цветом реальности выявляются геометрические
фигуры природных форм. “Всё в природе лепится в форме шара, конуса,
цилиндра; надо научиться писать на этих простых фигурах, и, если вы
научитесь владеть этими формами, вы сделаете всё, что захотите”. Взамен
кажущейся случайности импрессионистов Сезанн принёс чувство массы,
выразительность образов.
Элементы абстрагирования, заложенные в искусстве Сезанна,
позволили его последователям считать его основоположником
абстракционизма.
SEARCHING
Trends of the world’s painting
a) prepare short reports on the world’s painting movements according to
the outline:
1) movement’s name;
2) time period of its existence;
3) historical background;
4) main representatives;
5) prevailing subject-matter;
6) peculiarities of technique (composition, colour-scheme, etc.);
7) famous masterpieces
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b) make a table on the world’s painting movements (Medieval Painting,
Renaissance, Classicism, Realism, Romanticism, Impressionism,
Expressionism, Cubism, Surrealism):
Trend
Time
period
Historical
background
Representatives
Subject-
matter
Technique
Masterpieces
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UNIT 4
GENRES OF PAINTING
Genre – a historical form of organization of a work of art.
READING 1
Read the text about the prehistory of painting in Britain and give titles to
its parts.
Prehistoric beginnings of British painting
1
When and why do you think people started to paint? When primitive
people reached north-west Europe, they gathered wood and hunted. It was
the Stone Age, as their greatest creative achievement was having produced
the stone tools and weapons. The history of art goes back to this time. In the
caves of Spain and France ancient hunters left the drawings of animals which
reveal their striving to support life. It was the art of hunters. The objects of
their drawing were bisons, mammoths, horses, bears, goats, bulls, lions and
other animals who ensured their existence. These drawings reflect the belief
of the man in something supernatural, a primitive religious instinct seems
to have motivated him to produce the drawings which were designed to
secure success in the hunt. But here are no such drawings in Britain. Perhaps
the struggle for existence in the arctic climate exhausted the energies of
northern hunters.
Shortly before 2000 ВС men of the New Stone Age bringing a
Mediterranean tradition arrived in Britain. They were the builders of the
great stone tombs. Stonehenge is the noblest monument of the Neolithic and
succeeding Early Bronze Age. Its construction lasted four centuries,
approximately 1800-1400 ВС. Nowhere else there is anything like it: an
outer circle of stones nearly eight and a half metres high, pillars that support
a lintel, and within it a horseshoe of ten even huger stones, set in pairs, each
pair with its lintel. These great blocks of sandstone, some of them weighing
fifty tons, were dragged more than twenty miles from the chalk downs.
Each was carefully dressed to fit for its function. Before it fell into ruin
Stonehenge must have had the grandeur of an Egyptian temple. There can
be little doubt that it was a temple. It stood quite isolated surrounded by a
ditch and Neolithic worshippers watched the procession of priests about the
ambulatory.
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2
From the first century AD for almost four hundred years Britain was the
province of the Roman Empire. Instead of wooden huts and villages the
Romans erected stone and brick buildings. One of the finest from the point of
view of its architecture was a small town Bath with the temple of the goddess of
the Waters and curative baths, some of them flanked with handsome
colonnades, as The Circular Roman Bath. Due to the Roman culture the British
got acquainted with the ideals of classical art - order, symmetry, balance,
simplicity, clarity, the parts subordinated to the whole.
By the beginning of the sixth century Anglo-Saxons had destroyed
Romano-British civilization. The towns were down, temples and theatres in
ruin, the statues fallen, columns broken. The Saxons were not architects if
builders. There were no aisles or arcades in their churches, they were not
decorated. Compare the fact with the Russian tradition to decorate churches
which contributed greatly to the development of painting. Interpreting the
relations between the man and the God various painters found new ways to
express them.
3
British churches are built according to the principles of the New Gothic
architecture. The weight of the roof is concentrated on the shafts from which t
he ribs spring. As a result the wall becomes a screen in which windows of
almost any size may be set. Many of them are supplied with stained glass. It
could be made in small pieces joined by strips of lead, a soft and heavy material
that had to be supported by iron bars (e.g. The Stained Glass with the Figure of
Edward the Confessor in Westminster Abbey).
At Westminster Abbey are the splendid bronze effigies of Henry III and his
daughter-in-law, Eleanor of Castile, made about 1290 by the London goldsmith
William Torel, the first life-size bronze figures in English art. There is no attempt
at portraiture, and idealized faces with regular features might equally well have
served for those of Christ and the Virgin. We can distinguish a male and a female,
but can not identify a personality. There is no realism in these effigies.
Nor is there much attempt at realism in The Wilton Diptych which is a
portable altarpiece. It is painted on the oak panels, commonly used in England
at the time. Richard II kneels in front of three-saints who present him to the
Virgin and the Child, surrounded by angels whose blue-tipped wings make a
heraldic pattern against the gold background. Two of the saints are kings, the
third is St. John the Baptist. He is dressed in animal skins and holds the Lamb
of God in his arms. St. John the Baptist was the young king's patron saint-
Richard was born on his feast-day. Furthest to the left is St. Edmund, King of
the East Angels, killed by Nordic invaders in 869 for refusing to renounce his
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Christian faith. He holds an arrow, the instrument of his martyrdom. Like
Richard, he came to leadership at a young age. St. Edward the Confessor ruled
England from 1042 to 1066 and was renowned for his piety. The two kings
symbolize Richard's ideals of the kingship. Richard seems to be claiming the
protection of the illustrious forebears upon his own coronation. The Virgin and
the Child return the herald, which represents England, to Richard II. It bears the
flag of St. George. The king was a known devotee of the cult of Mary; his
position, asserted here as ruler by divine right, gave him alone the power to
invoke her blessing for England.
4
For a long time England had no great native painter. The court and
aristocracy addressed foreigners to depict them not only because no prophet is
accepted in his country but because their level was incomparable. In the 16-18
centuries baroque style flourished in Europe. In Italian "baroque" means
"quaint", "whimsical", "unusual". Reflecting church and bourgeois culture it
was a style of grandeur. (e.g. The Main Staircase in the Winter Palace looks
solemn and pompous. It is wide enough for a line of people to ascend. Arches,
columns, vases are beautiful themselves; still they are decorated with ornament
and gold in addition.) In comparison with feudal strivings baroque style was
more progressive as it reflected the variety o! the world, its ability to change, it
combined illusions with I he reality.
Peter Paul Rubens is the prince of baroque. His pupil, Anthony Van Dyck,
the great painter of Flemish origin, spent about twenty years of his life in
London. In his half-length self-portrait we see a slender youth with an attractive
refined face. Our attention is attracted by his aristocratic hands. He is so pose-
conscious that you may say the painter flatters himself. Still we can't help
admiring his artistic nature. The freedom of his soul merges with the freedom of
the brush. The portrait reflects what people of that time thought about artists-
that they were people of beauty and harmony. To indicate the sitter's profession,
the painter depicts a piece of sculpture over his right shoulder. Van Dye к
combines form and colour into harmonious unity. The colours are dark but not
depressing. His white shirt is not snow-white, its grey shade accentuates the
solemn satin shirt and the velvet coat. Van Dyck had many pupils and followers
in Britain. He is considered the father of the British portrait school.
COMPREHENSION
1. Answer the questions according to the text:
1. What was the greatest creative achievement of the Stone Age?
2. Why did primitive people draw animals in the caves?
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3. Why aren't there such drawings in Britain?
4. When and on what purpose was Stonehenge built?
5. What did it originally look like?
6. What were the Celtic craftsmen known for?
7. In what way did the Romans enrich British culture?
8. What is remarkable about the architecture of Bath?
9. Why did the Anglo-Saxons destroy Romano-British civilization?
10. Why are British churches not decorated with icons?
11. What does their architecture encourage decorating them with?
12. To what extent are the bronze effigies in Westminster Abbey pieces of art?
13. What prevents from identifying personalities in the Wilton Diptych?
14. Who had the honour to depict the royal family and the nobility in the 16
century Britain? Why?
15. What are the peculiarities of the baroque style?
16. What is known about Van Dyck's background?
17. What can one learn from his self-portrait?
2. Supply the following words with the suggested definitions:
aisle effigy piety reveal shade striving
succeeding
a) not merely mechanical skill;
b) something done successfully with effort and skill;
c) to display, coming next after, taking the place of;
d) a passage in a church that is divided by a row of columns from the nave;
e) devotion to God and good works;
f) representation of a person (in wood, stone, etc.); degree of depth of colour.
3. Choose the proper (mind the form):
(create – erect – produce)
1. They... consumer goods of good quality. 2. The Bible runs that God ... the
world. 3. The building ... in no time. 4. The temple ... centuries ago.
(beg – entreat – invoke)
l. The poor man's relatives ... the landlord to forgive John for having shot the
deer in his forest. 2. The old man ... vengeance on his enemies. 3. "I ... your
pardon" is equal to "Excuse me". 4. Parting with the son mother ... him not to
get into danger.
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4. Translate into English:
1. Далеко не каждый мастер имеет достойного преемника в лице своего
ученика.
2. Стремясь к оригинальности, художник может стать объектом
насмешек.
3. Стоя в проходе между рядами, туристы не могли оторвать взгляда от
сложной архитектуры сводчатого купола собора.
4. Наскальная живопись передает страх первобытных людей перед
стихией, дикими животными, перед всем непонятным.
5. Присядь, не стой как изваяние.
6. Ремесленник создает картины, зарабатывая на жизнь, а художник
творит потому, что не может этого не делать.
DISCUSSION
Chose the proper answer and give grounds in support:
1. Why did primitive people start drawing?
a) They taught the young to hunt while drawing animals.
b) They gave way to their emotions after an exciting hunting.
c) It was a magic.
d) It was a way of sending the message to the coming generations.
2. Did religion stimulate the development of art?
a) At the root of any artistic endeavour lay religion.
b) The church prohibited depicting true to life images in the icons.
c) A belief in the after-life offered vast sources of inspiration to the artists.
3. Why did Van Dyck leave Europe for London?
a) He was flattered by the king's invitation.
b) He could acquire a lot of sitters among the aristocracy who paid him well.
c) He was able to found a portrait school of his own teaching native painters.
READING 2
PORTRAIT PAINTING
A
Put it together: the sentences below are not in the correct order. Put a
number in front of each of the sentences so that you would have a text.
___ From 16 century England almost all the paintings that survive are portraits,
though other types of subject-matter, religious and secular, were almost
certainly more prevalent until the second half of the century.
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___ After Holbein's death in 1543, more foreign portraitists came to England:
Gerlach Flicke from Germany, and from the Low Countries Guillim Scrots,
Hans Eworth and Antonio Mora.
___ His vivid and masterly depictions were not easily imitated, and his status as
a foreigner prevented the establishment of a studio, though he influenced the
Fitzwilliam Master and John Bettes.
___ Holbein's work dominated the period until century 1550.
___ Very few portraits are known from before Holbein's first visit in 1526, and
those who wanted portraits of themselves rather than of the King probably had
to go abroad.
___ It is not, however, the sophisticated and monumental style of Habsburg
court portraiture, exemplified in the work of Moro and reflected in that of
Scrots, that is seen in English portraits from the mid-century, but a more
stylized, decorative manner, and more reticent characterization.
___ This is typified in the work of native painters like George Gower and
William Segar, who was also, significantly, a heraldic painter.
___ In a group portrait of Lord Cobham and his family (1567; Longleat),
attributed to the latter, the sitters' stiff isolation and precarious relation to the
background space is relieved by the charm of the still-life before them and the
tame animals with which the children play.
___ Though this formalized manner of painting is in some measure due to
England's isolation from Continental influence during the Queen's reign, the
emphasis on costume rather than facial individuality is also seen in some
contemporary European portraiture.
___ The most splendid expression of the Elizabethan style is found in the
portraits of Elizabeth herself, the most delicate and expressive in the portrait
"Miniatures of Nicholas" Hillard.
___ Family pride was also an important factor: collections of family portraits
were built up (or manufactured) to hang in long galleries beside other series like
Protestant reformers or the monarchs of England.
B
Look through the text given below and fill in the blanks. Use the words
from the list given below.