DISCUSSING ART IN ENGLISH

МИНИСТЕРСТВО КУЛЬТУРЫ РОССИЙСКОЙ ФЕДЕРАЦИИ
ФЕДЕРАЛЬНОЕ ГОСУДАРСТВЕННОЕ БЮДЖЕТНОЕ
ОБРАЗОВАТЕЛЬНОЕ УЧРЕЖДЕНИЕ
ВЫСШЕГО ПРОФЕССИОНАЛЬНОГО ОБРАЗОВАНИЯ
«САНКТ-ПЕТЕРБУРГСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ КИНО И
ТЕЛЕВИДЕНИЯ»
Кафедра иностранных языков
DISCUSSING ART IN ENGLISH
Учебно-методическое пособие
по развитию устно-речевых умений на английском языке
по теме «Искусство»
для студентов старших курсов СПбГУКиТ
САНКТ-ПЕТЕРБУРГ
2013
Составители: доцент кафедры иностранных языков, кандидат педагогических наук, доцент
Н.Н.Мирошникова, старший преподаватель кафедры иностранных языков А.В.Карнаухов
Рецензент: кандидат педагогических наук,
Г.А.Циммерман
доцент, зав. кафедрой иностранных языков
Предлагаемое учебно-методическое пособие представляет собой сборник упражнений и
заданий по теме «Искусство», направленных на развитие англоязычных устно-речевых
умений. Пособие предназначено для студентов старших курсов СПбГУКиТ.
Пособие утверждено и рекомендовано к изданию на заседании методического совета ФМК
1 ноября 2013 г. протокол № 2.
© СПбГУКиТ, 2013
ОТ АВТОРОВ.
Учебно-методическое пособие «Discussing Art in English» предназначено для
широкого круга учащихся, владеющих английским языком на продвинутом
уровне.
Данное пособие предлагает к изучению основные реалии изобразительного
искусства и культуры англоязычных стран, в нескольких направлениях:
1. Текстовый материал, содержащий сведения об известных художниках
Великобритании и США, в частности, а также о произведениях
изобразительного искусства.
2. Система методически организованных упражнений и заданий,
обеспечивающих развитие устно-речевых и переводческих навыков
наравне с одновременным закреплением основных лексических единиц
по теме «Искусство».
3. Языковой материал для устных и письменных творческих заданий,
требующих специальной подготовки и тренировки.
4. Дополнительные инструкции для преподавателей по проведению ряда
творческих
проектов,
касающихся
описательного
анализа
изобразительных произведений с искусствоведческой точки зрения,
используя полученный во время выполнения языковых заданий учебный
материал.
5. Базовый словарь – тезаурус на русском и английском языках по
терминологии, относящейся к изобразительному искусству и некоторым
другим видам искусств, приводится в конце пособия.
Для наибольшей учебной эффективности и максимально конструктивной
проработки предлагаемого учебного материала по теме «Искусство», студентам
необходимо обратиться в картинные галереи и музеи города, а также к
библиографическим источникам и образовательным Интернет-ресурсам с
целью поиска репродукций произведений живописи, упомянутых в пособии.
Supplementary information for a teacher.
Telling a Painting's Story.
One of the greatest qualities of art is the way it "speaks" to each one of us: People
may share opinions about a work of art and even feel similar emotional responses, but
ultimately our reactions to art and our interpretations of it are as individual as we are.
In this activity your students can express their unique responses to art by writing
stories inspired by paintings in an art museum. Before they put their imaginations to
work, each person will have a chance to get to know a painting by observing it
closely, making a list of its details, and writing a description of it. Such an exercise
will help them understand the value of careful observation as a precursor to
descriptive and creative writing. It may also help them learn how to look at and truly
see a work of art for the first time.
Preparation.
Visit an art museum and become familiar with its paintings.
Take note of the locations of paintings that will lend themselves well to the activity,
i.e., realistic works portraying at least one human figure. Such paintings will facilitate
a student's sense of connection to the work and will provide plenty of visual stimulus
to pique students' imaginations. (Before going to the museum, you may want to
model the activity in class so the students will know what to expect. One way to do
this is to buy reproductions of paintings, in the form of slides or postcards, from the
museum.
At the Museum.
1. Have students choose paintings.
Take the students on a brief tour of the museum, pointing out several works of
art that you find appropriate for the activity. During the tour, tell the students to
note the names and locations of those works that interest them. Explain that
each person will be writing about one of the paintings. Then have each person
choose a painting for the assignment.
2. Have students make lists of the details in their paintings.
Give the students about fifteen minutes to get to know their paintings. To do
this, they should observe the work they've chosen and make a list of as many
details as possible describing its appearance. Explain that they should limit
their lists to physical aspects of the painting itself. For example, they might list
"orange flowers in background by stone fence" or "silver earring shaped like a
teardrop." But they should avoid listing any emotions that the painting evokes
or any judgments or assumptions they might have about the work. For
example, they could write something like "hands folded, eyes closed" but
should avoid such language as "lost in prayer" or "sad and downhearted."
Making judgments about the relationships between people in the pictures, e.g.,
"mother and son," is also inappropriate. Items that students can count ("three
trees on left" or "four waves to left of boat," for example) are good candidates
for listing. So are physical aspects of the painting that aren't visible, e.g., "left
hand behind back."
3. Have students write descriptions of their paintings.
Gather the students in the lesson area you identified during your preparation
for the activity. Give them several minutes to write descriptions of their
paintings, using the list of details they created in step 2 and their memory of
the work as a whole. Explain that they should describe their paintings in such a
way that a person reading their description could easily find the work in the
museum. Students should not try to list all of the details that they collected;
instead, they must decide which ones would be most important to include in a
description that gives readers a good idea of what the painting looked like.
Also tell students that they should avoid using language that makes
assumptions about what's happening in the painting (e.g., "sadly looking for
lost love") or that expresses their own opinions in any way (e.g., "ugly red
barn"). For now, the point is simply to describe what physically appears in the
painting.
4. Have volunteers read their descriptions aloud.
After each reading, ask the listeners to name whatever details they remember.
If two or more students write about the same painting, discuss the similarities
and differences in the two descriptions. Also discuss any judgmental language
that may have slipped into the descriptions, explaining that the subject here is
"just the facts." Ask students how judgmental language can portray more than
just facts. (It conveys the viewer's interpretation of the painting and possibly
his or her feelings about it.)
5. Give students time to find the paintings.
Give the students in each pair ten minutes or so to try to find the paintings their
partners described. (Partners can accompany those searching for the paintings,
but they mustn't give any hints.) Allow students to take the descriptions, as
well as their drawings, with them as they search.
6. Have students evaluate their descriptions.
After they have had time to find the paintings their partners described, gather
the students together to discuss the effectiveness of the descriptions. Start by
asking how many of them found the paintings their partners described. Have
volunteers discuss the aspects of the descriptions that helped them find the
correct painting. Then ask several of the students to re-read the descriptions
they wrote. Have their partners share the sketches they created. Based on the
sketches and the ease or difficulty the sketchers had in finding the correct
paintings, do the students who wrote these particular descriptions think the
descriptions "work"? How might they be improved? (Remind students that not
everyone is an artist, so they can't necessarily expect that their descriptions
would result in highly detailed drawings. Nevertheless, a good description
might lead the person doing the drawing to include some of the highlights of
the real painting.)
7. Give students time to write stories about their paintings.
To help the students combine the visible aspects of art with the feelings and
ideas art inspires, give them thirty minutes or more to write stories about their
paintings. Explain that the students should use their descriptions of the
paintings as a basis for creating their stories, but allow them to revisit the
paintings if they want to. Tell the students that, unlike their descriptions, the
stories need not be limited to physical facts. Any emotions or judgments the
students wish to incorporate into their stories, as well as any way they wish to
interpret what's happening in the paintings, is fine.
One way students might want to approach their stories is to concentrate on
what's currently happening in the painting. Explain that if they take this
approach, it might be helpful to treat the painting as if it were a frozen frame in
a movie. To set the painting into motion, they can mentally "unfreeze" the
frame.
Other approaches to telling the painting's story include writing about what has
just happened or about what is going to happen. Explain to the students that
whatever they write, they must not contradict any factual information about the
painting.
8. Have students share their stories.
If possible, have students read their stories to the group in front of the painting
they chose as their subject.
Study the ideas for Talking about Artworks:
Questions to prompt looking at an artwork: answers should point back to something
seen in the work. (How do you know? Or what do you see that makes you think this?)
1. What do you see in this (painting, sculpture, etc.)?
2. What else do you see in this painting?
3. Where do you think this is? What kind of place?
4. What are the people in this painting doing?
5. What kind of mood or feeling does this painting convey?
6. What colors are used? How does the color express a feeling or meaning?
7. Are there lines? What kind? How is line expressive in this painting?
8. What shapes are there? How is shape expressive in this painting?
9. How do the values of the colors express meaning?
10. Is there repetition of line or shape or color? What effect does this have?
11. How and where does your eye move around in this painting? What path does it
follow? Why? What is the effect?
12. What feeling do you have after looking carefully at this painting? What gives you
that feeling?
13. Have you ever seen anything similar to this painting? What was it? How was it
similar?
14. Have you experienced anything like what is going on in this painting? What?
Where? When? How did you feel about it? Does this painting have the same feeling?
15. What else do you see in this painting?
Activities to spin off from the conversation about an artwork:
1. Narrate the story that this artwork tells.
2. Write an advocacy statement (or design a poster with words) about the subject for
social change that appears in the artwork (if applicable).
3. Write a fictional biography of one of the people (figures) that appear in the
painting.
4. Write down the fictional conversation that the people in the artwork are having.
5. Act out the scene with dialogue.
6. List the sounds and smells that you would experience in the setting of the painting.
7. Choose and play a piece of music that would be in harmony with this artwork.
8. Tell what you would experience if you walked through this painting.
9. Use historical resources to research things (food, homes, clothes, work, play,
transport, education) depicted in a painting. Does it accurately portray life in the era
of the painting? Why or why not? What does this mean? What is the artist trying to
say?
10. Write a fictional short story about the artwork (starting from the place, the
objects, the figures, the style, etc.)
UNIT I.
INTRODUCTORY ACTIVITIES
Answer the questions.
What is art? Is it or isn't it art?
Decide whether the following are examples of art or not. Write down the reasons for
your decision.
Examplesl
A child builds a ship with 22,000
matches.
A famous art professor places some
lard in a corner of the gallery.
Julio Iglesias sings a love song.
A young art student learns the
Sheffield telephone directory.
A gorilla paints a picture which is
unmistakably of a banana.
A gymnast performs a triple
somersault.
A computer produces a threedimensional drawing.
The chef of a 5 star hotel creates a
most delicious new dish.
An American designer creates the
shape of the Coca Cola bottle.
A jeweller designs a new ring.
A Spanish bullfighter performs like
a master.
An unknown painter makes a
perfect copy of a Goya.
Picasso sketches a drawing on a
tablecloth in 5 seconds.
Art?
Criteria
Read the instructions below before making your stories.
PICTURE DESCRIPTIONAL WRITING.
1.
2.
3.
4.
List every detail that you see in the work.
Include emotions that the work evokes.
Include reactions to the content of the work.
List countable things, such as all the red, blue, or black items in the work.
Write all the things that are NOT in the picture. For example, do you see all the
fingers on the subject’s right hand? Did the painter portray both the left and the
right side of the subject’s face?
5. Tell the “story” of the painting. Think of the painting as a frame of a movie.
“Unfreeze” the frame and set the painting into motion. Write the story of what
6. has just happened or what is just about to happen. Mentally push the painting’s
frame back and tell the enlarged story.
Here are some additional ideas for conversations to have with your students
about the paintings at the Illinois State Museum. Cast of Characters: Three
Chicago Painters. Identify and discuss several sensory elements, organizational
principles, and expressive qualities artists used in the images. Remember that you
see reproductions, not originals.
Suggestions:
1. Gertrude Abercrombie and Julia Thecla lived and worked in Chicago at the same
time. Look at their three works to see if you can find any similarities in subject
matter, style, or method of painting. Give possible explanations. Consider subject
matter, color palette, use of line, use of shape, and use of shading for each artist.
2. Emil Armin painted landscapes out in the open air. He may have changed things
around to compose his picture, but the subject matter is natural. On the other hand,
the landscapes of Julia Thecla and Gertrude Abercrombie are imaginary. Do you
think they ever painted in the open air? Why or why not? Do you think there is any
reason to draw out-of-doors from life if you are a fantasy painter?
3. The women in the paintings of Julia Thecla and Gertrude Abercrombie almost
never looked straight at the viewer. Why do you think they were painted that way?
What is the meaning of the figures looking away or gazing inward?
4. Each of the three artists had a different palette of colors they often used. Make a
list of each artist's major colors from the three paintings shown. Compare the lists.
Then think of several descriptive words for the mood or feeling you get when you
look at their paintings. Is there a correlation between their choice of colors and the
mood they project? Why or why not? Consider colors used, mood of the paintings
and possible causes for the mood for each artist.
5. Gertrude Abercrombie placed objects carefully in her landscapes, such as Reverie
and Queen and Owl. Queen and Owl can be described as symmetrical, since the tree
and the queen are placed on either side of center. In Reverie, Abercrombie places the
objects in the landscape asymmetrically and carefully balances them.
Make a line drawing of the landforms in Reverie on white paper. Draw and cut out
the brick box, a tree, a grove, a kerchief, and a moon in the same proportion.
Experiment by placing these objects in different places to create a balanced effect.
What happens to the mood and meaning of the painting when the placement of, the
objects changes?
6. Emil Armin's Open Bridge is about the hustle and bustle of Chicago. The one spot
of forward movement is the little speedboat at the bottom. Cover it with a fingertip
and tell what happens to the composition. What is thrown off? Why? What purposes
does the boat serve in the composition?
UNIT II
ENGLISH PAINTING
Study topical vocabulary and learn it by heart.
PAINTERS AND THEIR CRAFT. A fashionable/self-taught/ mature artist; a
portrait/landscape painter; to paint from nature/ memory/imagination; to paint
mythological/historical subjects; to specialize in portraiture/still life; to portray
people/emotions with moving sincerity/restraint; to depict a person/a scene of
common, life/the mood of...; to render/to interpret the personality of; to repeal-the
person’s nature; to capture the sitter’s vitality/ transient expression; to develop one’s
own style of painting; to conform to the taste of the period; to break with the
tradition; to be in advance of one’s time; to expose the dark sides of life; to become
famous overnight; to die forgotten and penniless.
PAINTINGS. GENRES. An oil painting; a canvas; a watercolour/a pastel picture; a
sketch; a study; a family group; a ceremonial/an intimate portrait; a self-portrait; a
shoulder/length/ half-length/knee-length/full-length portrait; a landscape; a seascape;
a genre/historical painting; a still life; a battle piece; a flower piece; a masterpiece.
COMPOSITION AND DRAWING. In the foreground/ background; in the
top/bottom/left-hand corner; to arrange symmetrically, asymmetrically/in a
pyramid/in a vertical format; to divide the picture space-diagonally; to define the
nearer figures more sharply; to emphasize contours purposely; to be scarcely
discernible; to convey a sense of space; to place the figures against the landscape
background; to merge into a single entity; to blend with the landscape; to indicate the
sitter’s profession; to be represented standing/sitting/talking; to be posed/silhouetted
against an open sky/a classic pillar/the snow; to accentuate something.
COLOURING. LIGHT AND SHADE EFFECTS. Subtle/gaudy colouring; to
combine form and colour into harmonious unity; brilliant/low-keyed colour scheme;
the colour scheme where ... predominates; muted in colour; the colours may be cool
and restful/ hot and agitated/soft and delicate/dull/oppressive/harsh; the delicacy of
tones may be lost in a reproduction.
IMPRESSION.
JUDGEMENT.
The
picture
may
be
moving/
lyrical/romantic/original/poetic in tone and atmosphere; an exquisite piece of
painting; an unsurpassed masterpiece; distinguished by a marvelous sense of colour
and composition; the picture may be dull/crude/chaotic/a colouress damb of paint;
obscure; unintelligible; gaudy; depressing; disappointing; cheap; vulgar.
Study topical vocabulary describing pictures. For additional references use
art glossary at the end of the book.
Air, appeal, arrangement, brilliance, light and shade, primary colours, riot of colours,
to convey, craftsmanship, delineation, effect (atmosphere-effects, colour effects), to
execute, exquisite, to produce impression, intensity, highlights, complete command
of colours, diffused light, relations of tone and colour, to render, to represent,
statement of form and colour, subject, subject matter, semi-tones, to treat, out of
value, to fade, design, poetic in tone and atmosphere, abundance, accuracy, to
acquire, to affect, affirmation, animation, apotheosis, life-asserting art, to attain,
austere, combination of colours, facial expression, to glorify, infinite, personification,
to render, pure/vivid/brilliant/intense/soft/delicate colours, to evoke, conception, to
radiate, spirituality, range of colours, to command attention, to penetrate, finished
technique, expressiveness, emotional impact, harmony of colours, individual traits,
skill, message, to radiate, immediacy, luminous, secondary colour, at one stroke,
subdued colours, to be silhouetted against, to catch/to capture/to seize, splashes of
colour, fluid/fluent, to anticipate, crystal-clear.
Read and study the following texts. Render them in English using key
vocabulary.
ENGLISH PAINTING
Painting in England in the 17th-l9th centuries is represented by a number of great
artists and during that period it was greatly influenced by foreign painters. The
Flemish painter Van Dyck was really the father of English portrait school. The
English king personally invited Van Dyck to London and during his first year in
England the painter spent most of his time painting the King and the Queen. Van
Dyck created the impressive, formal type of portrait and such masters as Reynolds,
Gainsborough, Lawrence and Raeburn owed much to their study of his works. He
created a genre of aristocratic and intellectual portrait which influenced much the
development of English painting. Van Dyck created the type of portrait which helped
him to convey the sitter’s individual psychology.
THE DESCRIPTION OF THE "FAMILY PORTRAIT"
The sitter’s individuality is vividly expressed in this portrait. One can easily follow
the gentle and even character of the young woman and the outstanding searching,
restless personality of her husband. The artist managed to create the impression of
spiritual relationship in spite of the difference of characters. The colour scheme of
this canvas is very beautiful. The prevailing tones are red, golden and brown.
During the 18th century the truly national school of painting was created, William
Hogarth was the first great English painter who raised British pictorial art on a high
level of importance. Hogarth (1697-1764) wasn’t a success as a portrait painter. But
his pictures of social life which he called "modern moral subjects" brought him fame
and position. Among his favourite works are six pictures united under the title
"Marriage 6 la Mode”. This famous series is really a novel in paint telling the story of
the marriage of an earl’s son and city merchant’s daughter, a marriage made for
reasons of vanity and money. Despite the satirical, often amusing details, the
painter’s purpose is serious. He expects his pictures to be read and they are perhaps
full of allusions. At the same time Hogarth remained an artist and passages especially
in "Shortly after the Marriage" show how attractively he could paint. The free
handing of the "Shrimp Girl” is combined with cockney vivacity. The girl is brushed
onto the canvas in a vigorous impressive style. As a painter Hogarth was harmonious
in his colouring, very capable and direct in his theme and composition. He painted
many pictures. He is well known as a humorist and satirist on canvas.
In the second half of the 18th century narrative and satirical themes lost their leading
role in the English art. The ruling classes tried to show in art a confirmation and
glorification of their social position. The most popular form of painting became
ceremonial portraits of representatives of the ruling class. Sir Joshua Reynolds was
the most outstanding portraitist of the period. In December 1768 the Royal Academy
was founded and Reynolds became its first president. He created a whole gallery of
portraits of the most famous of his contemporaries. He usually painted his characters
in heroic style and showed them as the best people of the nation. As a result his
paintings are not free of a certain idealization of the characters. Reynolds was greatly
influenced as a painter by the old masters. This influence can be seen in his "Cupid
Untying the Zone of Venus”. The picture is close to Titian’s style in the use of
colour, but it is typical of the 18th century English school of its approach to subjectmatter. He often included real personages in his mythological work (Venus-Lady
Hamilton). Reynolds did not want British art to be provincial and isolated. It was he
who insisted that artists should be brought up in line with European art and that they
should develop the Grand style of painting. As a president of the Royal Academy
Reynolds delivered lectures. These lectures were regarded as the most sensible
exposition of the Academic view that by well-directed work it was possible to learn
the rules of art and use discoveries and ideas of the old masters to create a new style
of one’s own. He recommended that a would-be painter should put his faith in old
masters from whom he should be ready to borrow. He advised that in portraits the
grace should consist more in taking the general air than in exact rendering of every
feature. He suggested that the proportions of a sitter’s figure should be altered in
accordance with a fixed ideal.
Reynold’s contemporary George Romney reflects Reynold’a style to some degree.
The portrait of Mrs. Greer shows a very attractive young woman1 whose beauty is
emphasized by a contrast between her white face and dark eyes and the severe
colouring of her toilette. He did not try to understand the psychology of the sitters. He
created only general impression.
John Hopper was one of the better-known portraitists at the turn of the 18th century.
He was famous for his ability to portray elegant ladies and children. His men are
simplier, especially in later paintings (portrait of Sheridan).
The works of the Scottish painter Henry Raeburn bear a certain resemblance to those
of Reynolds and his school. But Raeburn’s portraits are done with greater feeling and
he achieves this depth by the effective use of shadow and light (Portrait of Mrs.
Raeburn).
Thomas Gainsborough, one of the greatest masters of the English school,' was a
portraitist and a landscape painter. His portraits are painted in clear tones. Blue and
green are predominant colours.
One of the most famous works is the portrait of the Duchess of Beufort. He managed
to create a true impression of the sitter. Gainsborough greatly influenced the English
school of landscape painting. He was one of the first English artists to paint his native
land ("Sunset", "The Bridge") and others. He was the first English artist to paint his
native countryside so sincerely. His works contain much poetry and music. He is
sometimes considered the forerunner or the impressionists. Gainsborough was the
antithesis of the businesslike Reynolds. He was very poetic by his nature, he abhorred
rules and cares little about the old masters. By necessity a portraitist he was by
inclination a landscapist.
John Constable, an English landscape painter painted many well-known works ("A
Cottage in a Cornfield", "The Loch"). He is the first landscape painter who
considered that every painter should make his sketches direct from nature that is
working in the open air. His technique and colouring are very close to the
impressionists. Constable ignored the rules established by Reynolds. He insisted that
art should be based on observation of nature and feeling. He was the herald of
romanticism. But the realistic qualities of his art are sensed very strongly.
The furious apostle of the philosophy of romanticism was William Blake who was
strongly opposed to the rules of Reynolds proposing that the guiding force for
creative spirit should come from imagination not reason.
A complete expression of romantic ideal can find itself in the pictures of Turner.
Joseph Turner was an outstanding painter whose most favourite topic was to paint sea
("The Shipwreck"). He painted waves and storms, clouds and mists with a great skill.
Although his talent was recognized immediately he deliberately turned his back to the
glittering social world of London. Victorian England which found it more important
that a man be a gentleman in the first place and only in the second a genius, never
forgave him.
Find in the above texts English equivalents for:
художники
портретный
передавать (на холсте)
выражение индивидуальности
выдающийся
цветовая палитра
холст
преобладающие тона
изобразительное искусство
аллюзия (обращение к)
композиция
портреты официальных лиц
современники
идея
будущий художник
черта (особенность)
менять(ся)
подчеркивать (акцентировать)
изображать
цвет и тень
предшественник
портретист
набросок
Learn the following vocabulary and make sentences of your own using it.
Painter’s studio: easel, crayon, brush, paint-box, palette, charcoal, water-colour, oil,
stretcher, canvas, nude model, drapery.
Exhibitions: art exhibitions, special exhibitions, permanent exhibitions, one-man
exhibitions, travelling exhibitions.
Works of art: painting, graphic art, sculpture, applied art.
Colours: light, dark, vivid, brilliant, intense, warm, cool, strong, harsh, soft, subdued,
delicate.
Remember the primary colours: red, blue, yellow.
Painting: painting, picture, canvas.
The name of the artist can be used like a common noun to denote a work by him.
Picasso means a work by him.
Genres of painting:
A landscape is a picture representing a tract of country with the various objects it
contains. In the context of art landscape generally denotes a picture and not a view
depicted there. When speaking of the view use scenery, countryside.
A seascape is painting or other artistic representation of the sea.
A portrait is a painting, picture or representation of the person, especially of a face
generally drawn from life.
Sitter, subject, model is a person who is having his portrait painted.
A still life is a painting of such unanimated subjects as fruit, flowers and other
decorative things.
A fresco is a picture on a wall or ceiling where a plast is still wet or damp.
Genre painting is a painting which represents scenes from every day life in a more or
less realistic way.
A Scene is used in various expressions specifying the subject of the picture: street
scene; city scene; country scene; hunting scene; historical scene'; battle scene.
Scene is often followed by from ... life.
A piece is used as a general term meaning "work", ’'picture”.
To depict, to portray, to render, to catch, to capture.
Do you know how to appreciate a painting? Share your opinions using
information below.
One needs the ability to appreciate and share the vision of artists, lacking such ability
one may develop, it.
The best way to get understanding and greater enjoyment of art is to view many
paintings, looking at them thoughtfully, honestly.
Great works of art seem to look different every time one stands before them. Do you
agree with it?
Speak about Van Dyck’s influence on English painting. Make use of the
following word combinations: expressiveness, emotional impact, spirituality,
harmony of colours, magnificent features, elegancy, individual traits.
How do you understand the words which were engraved on Hogarth’s tomb?
"The Hand of Art here torfid lies
That traced the essential form of Grace;
Here Death has closed the curious eyes
That saw the manners in the face."
Comment upon Hogarth’s words.
"To nature and yourself appeal
Not learn of others what to feel".
Dickens and Thackeray worshiped greatly Hogarth’s works and learned much
from him. What could they learn from Hogarth?
Describe Hogarth’s paintings "Marriage a la Mode” according to a following
plan:
1)
Hogarth’s theatre on canvas.
2)
Insisting on characters. Satirical presentation of characters.
3)
The drama of society. Critical approach to life. Conveying the social
atmosphere of his time.
4)
Hogarth is the herald of satirical painting.
UNIT III
LEARN TO DESCRIBE THE PICTURES
Read and study the following texts. Render them in English using key
vocabulary.
"RAIN, STEAM AND SPEED - THE GREAT WESTERN RAILWAY”
BY W. TURNER
"The world has never seen anything like this picture," wrote a contemporary critic
when "Rain, Steam and Speed" was first exhibited at the Royal Academy in 1844. It
is not a pretty picture nor an easy one, but in its choice of subject and the task Turner
set himself in capturing this subject, it is a trailblazer. The power of Turner’s
evocation of motion (both of the speeding train and the passing squall) is equalled by
the intimations of momentous change contained in the picture. In the foreground a
hare desperately flees the advancing train. Below the bridge on the right a cowman
plods slowly homewards, while on the other side an excited group waves to the train
from the banks of the river. With these infinitely delicate touches Turner, a year short
of seventy when he painted the picture, catches the first reverberations of an impact
whose force we are still struggling to come to terms with - the collision between a
settled rural life and a new and threatening technology. Quite apart from the boldness
and vigour of his technique it is this visionary quality of the painting that I find so
exciting.
This is a dramatic painting, a canvas filled with restless energy. Only the cowman
and the couple drifting on a boat in the middle of the river suggest any kind of
stability and even that seems deliberate, as if they already represent the way things
were, helpless onlookers in this new age of speed. And the speed that Turner sought
to recapture was still thrilling and novel. Never before in history had anyone travelled
at 50 miles an hour. Turner uses thick dollops of pigment and subtle shades of white
and yellow smeared this way and that across the canvas to create a powerful
impression of that most familiar of English phenomena - the swift, swirling shower
that douses the countryside even at the height of summer. He contrasts the traditional
force of nature with the train, the new force created by man, moving doggedly and
powerfully towards us, unshaken by the elements. The colours here are dark and
bold, from the ramparts of the bridge (across the Thames at Maidenhead) to the pitch
black smokestack of the railway engine, rising sharp and clear, the only object in the
whole painting upon which the light is riot diffused. Blood-red ashes spill from the
boiler along with white and grey steam, a man-made replica of the activity in the
skies above.
"THE MORNING WALK"
BY TH. GAINSBOROUGH
Gainsborough is famous for his brilliant sense of composition, harmony and form. In
the foreground of the picture you see a pretty slim young woman of about 25 and an
elegant young man. The woman has a very fashionable long dress on, her face is
attractive. She has dreamy blue eyes, and thick curly golden hair. As for the man, he
is tall and handsome, the features of his face are pleasant and expressive. His eyes are
dark, his look is proud, his mouth is rather large, his nose is straight, and he has a
classical strong figure. I am sure that the young people are happy because they are
young, they are in love, because the day is fine, and life is beautiful. It is an idyllic
scene in a romantic landscape. Thanks to the soft colour treatment the picture has a
lyrical and poetic atmosphere.
Find in the above texts English equivalents for:
сюжет
первооткрыватель
воплощение движения
передний план
влияние
противостояние
визуальный
замечательный
вызывать
тончайшие тени
противопоставлять
точная копия
композиция
цветовое решение
Describe the main subjects of any picture you’d like to. Make use of the
following words and word combinations:
1)
to evoke, intense, to capture the sitter's vitality, to paint from life, penetrating
studies of a character, special insight into the psychology, immediacy, spontaneity;
2)
conception, brilliant, to portray ...with moving sincerity, poetic in tone and
atmosphere, to anticipate, investigation of colour, range of colours, coloured patches;
3)
vivid, life-like, supreme mastery of technique, to achieve lightness of tone,
high artistic quality, to be impressed by, to retain freshness, to be fascinated by the
subject;
4)
pure, vivid, to break with the tradition, to place the figure against the landscape
background, to look natural, intensity, to emphasize;
5)
appeal, brilliance, primary colours, to convey, to produce impression, to
acquire, to affect, to glorify, to render;
6)
to render, soft, delicate colours, elegant gesture, spiritual face, a brilliant
colorist, the impression of, airiness and lightness;
7)
to radiate, spirituality, to combine form and colour, harmonious unity,
romantic, poetic in tone and atmosphere, to ignore the rules, the purest lyricist;
8)
emotion, natural and characteristic pose, sharp psychological expressiveness
feeling of air, to convey, finished technique, to produce impression, to penetrate.
Translate into English in the different ways. Give 2 or 3 ideas of
paraphrasing of the sentences where possible.
Портреты мало говорили о своих персонажах.
В картине присутствует карикатурный элемент.
Художник умело создал ощущение перспективы.
Уличная сценка на заднем плане оживляет картину и вызывает приятные
эмоции у зрителя.
5. Восхитительная нежность колорита в светлой цветовой гамме придает
портрету неожиданно аристократическую сдержанность.
6. Пейзажист неизменно употреблял холодные тона, отдавая особое
предпочтение голубому и белому оттенку цветовой палитры.
7. Непревзойдённые по размаху и силе воздействия шедевры не идут ни в
какое сравнение с его первой известной акварелью.
8. Он отказался от традиционной гладкой манеры письма, включив более
темные тона палитры.
9. Большая глубина и живость цветовой гаммы пейзажа говорит о
совершенстве всей композиции.
10. Задолго до импрессионистов, этот художник предвосхитил новый
поворот в развитии изобразительного искусства.
1.
2.
3.
4.
Discuss the chosen portrait painting according to the following plan.
1)
THE GENERAL EFFECT. (The title and the name of the artist. The period or
trend represented. Does it appear natural and spontaneous or contrived and artificial?)
2)
THE CONTENTS OF THE PICTURE. (Place, time and setting. The
accessories, the dress and environment. Any attempt to render the emotions of the
model. What does the artist accentuate in his subject? )
3)
THE COMPOSITION AND COLOURING. (How is the sitter represented?
Against what background? Any prevailing format? Is the picture bold or rigid? Do
the hands (head, body) look natural and informal? How do the eyes gaze? Does the
painter concentrate on the analysis of details? What tints predominate in the colour
scheme? Do the colours blend imperceptible? Are the brushstrokes left visible?).
4)
INTERPRETATION AND EVALUATION, (Does it exemplify a High degree
of artistic skill? What feelings or ideas does it evoke in the viewer?)
Explain your understanding of the following statements. Give some examples
if possible.
1)
"A picture is a poem without words.” (Horatio).
2)
"Art is long and life is fleeting". (Longfellow).
3)
"All art is but imitation of nature". (Seneka).
1)
2)
3)
4)
5)
Finish the sentences.
My preference lies with the genre of portrait because...
I personally like genre paintings. They are...
I prefer landscape to other genres. You see...
I care much for still lives... .
I prefer battle pieces...
1)
2)
3)
4)
What does it mean?
It’s hard to overestimate the role of art in one’s life.
..Art forms our outlook and enriches our inner world.
Art has a great educational significance.
Art brings people up - makes them more humane and kind.
5)
6)
Art holds up people’s spirits in the tragic moments of their lives.
The language of art is universal.
Have a talk about art. Share your opinion with others.
1)
What makes good art? Do you think art can be great if it is riot linked with the
people’s lives, their interests and ideals. Give your reasons.
2)
How does art help, us understand the outside world?
3)
What purposes does true art serve?
4)
Share your opinions: real art appeals to the heart and mind of man, to*his
feelings and ideals and it proclaims life. Art is life, pretense of art is death.
5) True art elevates the mind and the soul of the people.
UNIT IV
DISCUSSING ARTISTIC TECHNIQUES
Translate the following dialogue into English.
- Я знаю, что у вас есть репродукции картин английских художников. Не могли
бы вы показать их мне?
- С удовольствием. У меня с собой репродукций картин Тернера и Гейнсборо.
- Мне хотелось бы взглянуть на портреты г-жи Сиддонс и "голубого” мальчика.
- Вот портрет г-жи Сиддонс.
- Замечательно. Какой изящный портрет. Голубые тона великолепны.
- А это портрет "голубого” мальчика.
- Великолепный портрет.
- Да, это лучшие портреты Гейнсборо, я бы сказал, его шедевры.
Read and discuss the texts. Speak on the latest tendencies in art.
AT AN ART AUCTION
This is an art auction in Great Britain. A picture from a private collection has just
been sold for an enormous sum and its new owner is being congratulated. The picture
will be sent to his home in the USA and from now on it will only be seen by those
who will have a personal invitation from him. It may never be exhibited in museums
or picture galleries.
A lot of works of art are bought at auctions by private collectors. This is a disaster for
museums and picture galleries which can’t afford to pay such enormously high
prices. That may be the reason why many works of art will be lost to the public for
good unless the owner decides to exhibit them.
PICASSO
Picasso was the most prolific of all painters. During a career that lasted for 78 years,
it has been estimated that he produced about 13,500 paintings or designs, 100,000
prints or engravings, 34,000 book illustrations, and 300 sculptures and ceramics plus
drawings and tapestries.
Read, translate and paraphrase the text in English.
GAINSBOROUGH AND MUSIC
The famous English painter Gainsborough was passionately fond of music and he
filled his house with all kinds of musical instruments, which he could play rather
well. He considered them to be the most beautiful works of human skill and
sometimes even wished he were a professional musician.
Once Gainsborough saw a lute in a picture of Van Dyck’s and concluded that it must
be a fine instrument, because, perhaps, it was finely painted. He immediately decided
that it was absolutely necessary that he should have such an instrument in his
collection. He also wished he could play it. So Gainsborough hurried to a professor of
music famous for playing this instrument very well. He found the professor dining,
then smoking his pipe with his lute beside him. "I have come to buy your lute, and I
won’t leave your house until you sell it to me. Name your price," said the painter.
The professor was so astonished that he sold his lute. But on getting the lute
Gainsborough proposed that the professor should sell him his book of music as well.
The professor refused saying that he couldn’t really part with the book. But
Gainsborough insisted that the book should be sold to him. Finally Gainsborough
with the book of music and the lute left the house, but soon returned. This time he
insisted on the professor’s going with him and giving the first lesson. The professor
suggested that a lesson should be given some other time, as at the moment he
couldn’t go being in his dressing gown and without a wig. But Gainsbofough
wouldn’t listen to any reason. A minute later the professor without a wig, in a
dressing gown was walking with the painter. In the unusual and eccentric way he
acquired all kinds of musical instruments and made the acquaintance of professors of
music, many of whom became his best friends.
Develop the following idea:
It goes without saying that before looking at canvases you are supposed to know
something about the artist who created them, about the time in which they worked,
about the artist’s style and technique. You see...
Give as many word combinations as possible with the following and translate
them into Russian.
a)
Supply attributes for the following nouns:
narrative, cartoon, imitator, sketch, insight, patch, exhibit, delineation, brush-work,
drawing, execution, gift
b)
Give “of-phrases" with the following:
caricature, to create the illusion (sense), a shaft, a study, great power, a range, a
streak, a combination, the only means, scenes, moments; a new exoticism, touches,
strong oppositions, dynamic», splashes, forerunners, construction
c)
Supply direct objects for the following verbs:
caricature, imitate, sketch, rival, catch, blend, recall; anticipate, exhibit, set down,
achieve, depict, reveal, parade, enhance, mar, reflect, reduce
d)
Supply prepositional objects for the following:
to teem with, to (make a) sketch from, to pose for, to have an innate genius for, to be
fused in, to blend with, insist into, to throb with, to be enveloped in, to be penetrated
throughout by, to innovate in, to place smb. among, one’s investigation into, one’s
absorption (concern) with, to be awash with, to be based on, to be unworthy of, to
advise on, to copy from, to be devoid of, to have nothing to do with, to be imbued
with
e)
Supply nouns to go with the following adjectives:
narrative, receding, crowded, earth-bound, ceremonial, sketchy, transient, subtle,
exquisite, rustic, vibrant, sombre, powerful, faithful, bigh-(low-)keyed, pictorial,
emotional, innate, supreme, magic, masterly
Translate the following in written form.
The “Portrait of Mrs. Graham” Is one of Gainsborough’s best known paintings; it was
completed in 1777 and exhibited in the Royal Academy in the same year. At about
this time Gains borough executed a half-length portrait of the same sitter, now in the
National Gallery, Washington. In connection with his full-length portrait of Mrs.
Graham a critic wrote: “Gainsborough’s gift for catching a likeness is unrivalled, but
his portraits become, essays in poetic moods.”
Read the following text and speak on the similarities and differences between
Constable’s and Turner’s painting.
Constable and Turner are so essentially different from each other that it is difficult to
compare their stature. Such comparisons are in any case except when they shed light
on the figures concerned.
If one wants to understand the essential difference between them, a comparison
between their water-colours will perhaps show it best. Yet in noting the difference
one is reminded too of the things they had in common. Both were acute observers of
nature and both shared the romantic passion for light. Where they differed was, not in
fundamental principles, but in their way of looking at things. With Constable it is the
sensation of the moment that counts supremely, and one feels, especially in the later
water-colours, that he deliberately puts imagination aside in order that the subject he
is painting may be freshly seen and the mind cleared of falsifying preconceptions. For
him light is the means by which a tree or cloud may take on some particular
significance in the ordinary scale of things. What he seeks to do is not to “improve”
nature not to rub off the bloom in the name of higher art, but to paint exactly what he
sees, in the clearest, freshest tones; so that even today the blues and greens on the
pages of his later sketchbooks flash out like pure colour rays reflected in a prism.
In Turner’s art the vision tends to be more inward, more consciously distilled, so to
speak, and even when he paints most closely to nature, one feels that the imagination
has at some point intervened and added an element of studied art. For him light is not
so much a means of heightening reality as of diminishing it, of dissolving away the
solid form and rendering it more mysterious and remote. And as he grew older he
became — unlike Constable — a painter of a private world, a world of mists and
nuances, like some vision of the earth itself before the primal vapours coalesced...
Even in his later topographical drawings Turner gives his subjects the filmy quality of
dreams, using sun-shaft and rainbow to dissolve away reality and transform a view of
town or river into a vision of engulfing light.
Describe the portrait of the Dutchess de Beaufort by Gainsborough. Use the
following words and phrase in your description:
colour-scale, palette, cool tones, light-keyed, prevailing colour, to be imbued with, to
be surrounded with an aura of, to render, to convey, to suggest spontaneity, reserve,
airiness, spirituality, gentle, exquisite subtle insight, to blend, to be enveloped, to
catch a transient mood
Translate the following into English:
1.
Созданные Хогартом образы высмеивают различные пороки, однако при
этом они не являются карикатурами. Сам художник неоднократно утверждал,
что в отличие от карикатуристов, допускающих искажения и преувеличения, он
пишет характеры. Он говорил, что произведения художника, изображающего
комическую сцену, отличаются от карикатур «точным воспроизведением»
жизни.
2.
Знаменитый
«Голубой
мальчик»
Гейнсборо
замечателен
непринуждённостью позы и естественностью выражения юного лица. Фигура
его рельефно выступает на фоне удаляющегося берега реки, пасмурного неба и
едва намеченного темного леса.
3.
Гейнсборо, с его способностью проникновения в образ, умел не только
внести даже в традиционный парадный портрет глубокую психологическую
характеристику, но и передать мимолетное настроение человека.
4.
Гейнсборо писал мелкими мазками, нередко свободно вкрапливая один
цвет в другой, и поэтому его картины очень близки к быстро меняющемуся
облику природы. Эго новаторство в области живописной техники во многом
предвосхитило будущие достижения импрессионистов.
5.
Великолепный акварелист, придававший особое значение свету, воздуху,
колористическим исканиями, и в этом во многом предвосхитивший
импрессионистов, Уильям Тернер был прежде всего романтиком. Его
привлекали необычные и фантастические сюжеты — дикие скалы, развалины,
грозы и прежде всего — море. Его «Мол в Кале» (1803) — типичный
романтический морской пейзаж. Здесь все — и хмурое небо, почти
сливающееся с бурными волнами, и парус на переднем плане, и гребешки волн
— создает атмосферу надвигающейся катастрофы.
6.
В 1838 году Тёрнер написал знаменитую картину «Последний рейс
«Отважного», в которой сказались результаты его колористических исканий.
Прозрачный чистый воздух, многоцветная гамма солнечного заката, штилевое
море — все это передает настроение спокойствия и некоторой грусти. Вся
картина кажется пропитанной золотистым светом заходящего солнца.
7.
Пейзажи Констебля — чаще всего спокойные, гармоничные картины
природы, залитые солнцем. Но в изображении природы художник пошел своим
подлинно новаторским путем. Главное содержание этого новаторства
заключается в отказе от какой-либо идеализации природы. Констебль писал
этюды с натуры. Он подходил к природе как исследователь, интересующийся
частностями — структурой почвы, формой и движением облаков, и как
живописец, для которого все эти частности сливаются в одно прекрасное целое.
Природа Констебля — это не идиллический сельский пейзаж, а живая
полнокровная среда, окружающая человека.
8.
Этюд 1825 года «Деревенская дорога» в галерее Тейта — один из лучших
образцов живописи, когда-либо вышедших из-под кисти Констебля. Ничего не
может быть изысканнее этой гаммы всевозможных и бесчисленных оттенков
светлой зелени, пронизанной солнцем!
Expand on the following sentences:
1. Hogarth was an artist with an edge to his brush.
2. If Reynolds was the solid prose of that age of prose, its incipient poetry was with
Thomas Gainsborough.
3. Constable audaciously and frankly introduced green into painting.
4. The spontaneity of such painters as Delacroix may be traced in pail to Constable.
5. Turner had been feeding his eye on waves and storms, upon clouds and vapour.
Extra Task:
Use one of the following subjects for oral or written composition:
1.
The contribution made by English painters to world art.
2.
Portraits and how they are related to the models (sitters).
3.
A painter’s theory of colours.
4.
Contribution to modern painting. Modern art.
5.
Pencil portraits.
6.
A critical summary of the works of a self-taught artist.
7.
Describe and discuss a picture you have seen in one of exhibition halls
(galleries), the Pushkin Museum, the Tretyakov Art Gallery, the State Hermitage, etc.
or any reproduction.
UNIT V
MUSEUMS AND ART GALERIES
Using the text example learn to speak about the outstanding museums.
THE WALLACE COLLECTION
The Wallace Collection displays superb works of art in probably the most sumptuous
interiors of any museum in London. Many people regard it as their favourite place in
the capital.
The Collection was bequeathed to the nation by Sir Richard’s widow in 1897 and is
displayed on the ground and the first floors of Hertford House, the family’s main
London residency.
There you can see unsurpassed collections of French eighteenth - century painting,
furniture and porcelain together with Old Master paintings by, among others, Titian,
Canaletto, Rembrandt, Hals, Rubens, Velazquez and Gainsborough. The finest
collection, of arms and armour in England outside the Tower of London is shown in
four galleries and further displays of gold boxes, miniatures, French and Italian
sculpture and medieval and Renaissance works of art including Limoges enamels,
majolica, glass, silver, cuttings from illuminated manuscripts and carvings in ivory,
rock crystal and boxwood.
The Wallace Collection owes its splendid display of eighteenth - century French
painting, particularly Watteau, Boucher and Fragonard and its important collection of
pictures by French and English artists of the early nineteenth century including
Delacroix and Bonington. The collection of miniatures numbers more than three
hundred.
The spectacular collection of eighteenth - century French furniture contains a number
of pieces made for royal residences including the chest of drawers made for Louis
XV’s bedroom at Versailles in 1739 and the secretaries made for Queen MarieAntoinette by the leading cabinet-maker of the period, Riesener. Among the best
loved objects in the entire Collection are the many beautiful clocks including a giltbronze musical clock which plays thirteen different tunes. At Hertford House you can
see the finest museum collection of Sevres in the world, including exquisite pieces
once owned by Louis XV and his mistress Madame de Pompadour.
The Wallace Collection is particularly strong in finely decorated pieces of armour for
parade, tournament and use in the field, and in the series of sixteenth and seventeenth
- century swords.
The Wallace Collection is a five-minutes’walk from Bond Street underground station
and Oxford Street. The admission is free.
Study information for visitors of the National Gallery in London and prepare
the same information about any museum you like.
INFORMATION FOR VISITORS
ADMISSION FREE.
SECURITY. For security reasons no large bags may be brought into the gallery. Only
coats and umbrellas may be left in the cloakroom and only small bags will be allowed
into the galleries. Visitors must keep these with them all the times.
GUIDED TOURS OF THE COLLECTION. Tours begin at 11.30 am and 2.30 pm
Mondays to Fridays and 2 pm and'3.30 pm on Saturdays. These tours aim to
introduce some of the Gallery’s major works, which represents all the leading schools
of European painting from the 13th to the early 20th centuries. Meet in the Sainsbury
Wing foyer.
LUNCHTIME LECTURES. Many lectures are given in galleries; slide lectures anti
films are shown in the Sainsbury Wing Theatre". Talks and visits for schools may be
arranged through the Education Department. Tel: 071-389 1744.
GALLERY OPEN. Monday to Saturday 10 am to 6 pm, Sunday 2 pm to 6 pm. See
also extended hours for exhibitions.
SHOPS OPEN. Monday to Saturday 10 am to 5.40 pm, Sunday 2 pm to 5.40 pm.
UNDERGROUND STATIONS. Charing Cross, Embankment, Leicester Square,
Piccadilly Circus.
Buses. 3, 6, 9, 11, 12, 13, 15, 23, 24, 29, 88, 91.
Car Park. Public car park in Whitcomb Street.
The National Gallery, Trafalgar Square, London, WC2N 5DN, Tel: 071-839 3321.
Do you know that:
The world largest art gallery is the Winter Palace and the neighboring Hermitage in
Petersburg, Russia. One has to walk 15 miles to visit each of 322 galleries, which
house nearly 3 million works of art and objects of archeological interest.
Discuss the problems.
I.
Is the appreciation of pictures a special faculty which only a few can possess?
TALKING POINTS:
1)
The excellency of style is not on the surface, but lies deep. It is the florid style
which strikes at once. There is no need to be ashamed of one’s apparent dullness.
2)
The habit of looking at good pictures is in itself a means by which taste can be
formed and the scope of one’s enjoyment widened and developed.
3)
The acquisition of good taste is a matter of time. Painting in this respect
doesn’t differ from other arts.
II.
A great painting enriches our experience of life, just as a great poem does or a
great musical composition.
TALKING POINTS:
1)
Great painters make us see and think a great deal more than the objects before
us, they teach us to look at a scene through their eyes.
2)
The masterpieces of painting, like the masterpieces of music and poetry
transform experience; they are a source of beauty.
Discuss the problem. Are you for modern or for old art?
We know that many people today reject old art and protect new trends in art. But
what shall we do about the great works of Raphael and Leonardo da Vinci, or
Rembrandt and Rublev. Shall we reject them?
Comment upon the following statements. Share your opinions.
FOR OLD ART:
1)
Painting of old masters is one of the greatest treasures mankind has collected in
the history of its civilization.
2)
Old painting reflects the collective experience of human spiritual life of many
centuries.
FOR MODERN ART:
1)
New times call for new songs. Modern man is naturally interested in the art
reflecting his own time and his own experience.
2)
Worship of old masters is a drag on the development of new progressive art.
We should look forward instead of turning back all the time.
Act as Interpreter in the following dialogue:
A.
К сожалению, я должен признаться, что с современным изобразительным
искусством Америки я мало знаком. Откровенно говоря, после того как я
посетил выставку Современного американского искусства, я потерял тот
интерес к американскому искусству, который у меня был. Как, например,
можно считать искусством лужу черной краски, вылитой на белый холст?
Или…
B.
Or a number of squares placed one above the other. But I should say that
abstractionist painting is now declining in interest value. And that was to be expected,
because when form is regarded as an end in itself without the artist concerning
himself with the human appeal of his work, the kind of art it represents cannot but be
short-lived.
А.
Совершенно верно. Истинное искусство всегда человечно, и потому оно
вечно. Кто-то очень хорошо по этому поводу сказал, что чудо греческих статуй
заключаете в том, что они говорят языком, понятным нам до сих пор.
В.
That was very aptly put, indeed.
A.
Если я вас правильно понял, абстракционизм е США сейчас идет на
убыль. А какие сейчас наблюдаются новые направления в американском
искусстве?
B.
Art, to judge from some current developments, seems to moving towards a
theme, which is an attempt to establish a positive relationship between the artist and
his environment. There seems to be a new concern with figures. Of course, it takes
various forms and names such as New Real ism, Super Realism, Pop Art...
A.
Поп-арт? Какое странное название... Что оно значит?
B.
As you may have guessed it means Popular Art and the mar thing about it is
that things are once more recognizable. A tin of soup looks like a tin of soup. But
what a picture showing rows of soup tins means to say is anybody’s guess.
А.
Очевидно, название «популярное искусство» связано с модой, которая
тоже играет немалую роль в формировании вкусов?
В.
In a way, the name “pop art” is a calculated misnomer. Fashion does play a
part, but fashion is not the spontaneous thing many believe it to be. As in ladies’
clothes, certain trends are artificially promoted — and exploited, others suppressed as
unprofitable. Among those who exploit art today are the advertisers and the rich
collectors. In any case, “pop art” never was popular in the sense that “pop music” is.
A.
И эти коллекционеры — настоящие знатоки искусства?
B.
Not always. Most collectors buy pictures for two reasons: one, to possess for
their prestige value, as a status symbol, and two, to resell if and when the (money)
value goes up high enough. After all, a work of art can be resold like any other
commodity, after which one moves on to bigger fish, and finally, to the big “names”.
But for that one needs expert advice.
A.
Ну это наверно уже функция тех, кто торгует картинами.
B.
Right. Art dealers are very influential. They can manipulate the movement
(sale and resale) of art on the market in much the same way as brokers do on the
stock exchange. Whether a picture (or trend) has human appeal or not, it may well
have commercial appeal.
А.
Вы упомянули также название «новый реализм». А в чем заключается
это новое в реализме?
В.
New realign is an art movement that began in the US in the 1960’s and now
has a number of adherents in Europe too. Sometimes termed “photographic art”, it
tries to recreate real things with more realism and detail than the original.
A.
Мне представляется, что если этот «новый реализм» называют также
«фотографическим искусством», он скорее должен быть ближе к натурализму,
чем к реализму. С другой же стороны, вы говорите о том, что изображение
более реалистично, чем сам оригинал. Вы не поясните, что вы имели в виду?
B.
For example, if you look at the super-realist sculpture “Artist Seated” by
Duane Hanson of the USA, made out of painted plastic, polyester and fiberglass, you
will see that although it is a faithful representation of the model, it is too life-like,
right down to the minutest details of the sitter’s shoe-laces and buttons to be a work
of realist art. Because realism, as far as I can judge, presupposes some selection, with
emphasis on the most typical features. The artist’s own vision of the world should
dominate. I mean his personality should be a filtre for his impressions.
А.
Да, конечно. Реализм это обобщенное изображение наиболее типичных
черт. С позиций реализма отображение объективной действительности не
означает фотографически точного воспроизведения, а скорее создание образа,
который художественными средствами раскрыл бы основное в предмете или
явлении. А создание образа немыслимо, если художник не имеет своей
индивидуальности. Кроме того, искусство должно быть кому-то адресовано и
должно иметь содержание.
В.
That is an important point. Art, to quote Rockwell Kent, as a social force has
grave responsibilities and will be judged by its discharge of them. It can enliven or
depress us, foster our hopes or deepen our despairs, it can build our faith or destroy it.
Make a story around the pictures.
Give your view on the following topics:
Appreciating of painting can be cultivated in two ways:
1)
acquiring knowledge of different trends, schools and painters through
books and literature;
2)
visiting galleries and museums, looking at pictures; returning to the same
paintings again and again.
Of course both those ways are important, but which of them is - the major
one?
Use one of the following topics for oral or written composition.
1. An outstanding American painter or sculptor.
2. An exhibition of paintings.
3. Realist art versus abstract art.
4. Twenty first century art trends in the United States.
5. Select three reproductions of paintings which you favour, and indicate reasons for
your choices.
SUPPLEMENTARY INFORMATION
Appendix 1.
CRITICAL ANALYSIS OF AN ARTWORK
Here are some tips to assist you when examining or discussing artwork.
1. DESCRIBE (What do I see?)
2. ANALYSE (How is the work organized?)
• landscape, portrait, people, still, animals, religious, historic
• foreground / background
• time of day/season
• place or setting / inside or outside
• abstract / realistic
• horizontal / vertical
• old vs. modern/historic vs. contemporary
•action - what is going on?
• story?
• line: strong, dominant, thin, directional, broken, outline, structural, curved
• colour and value: warm. cool, light, dark, solid, transparent, bright, dull,
monochromatic, realistic or abstract
•texture: smooth, rough, coarse, soft
•space: perspective, foreground, middleground, background, point of view
•form: 2D vs 3D form on flat surface, sculptural form
•contrast, emphasis, rhythm, pattern, movement, balance, unity, repetition
•How do the elements and principles of design work together?
•How does the artist use the elements / principles to get your attention?
•composition
3. INTERPRET (What is happening?)
4. JUDGE (What do I think about the artwork?)
• The artwork is about...
• It makes me think about...
• The artist is saying...
• Mood and feeling: calm, violent, sad, joyful, angry, hopeful, scared etc •The artists
wants you to see...
• The artist wants you to think about... •The artwork reminds me of...
• I want to know...
• If I could ask the artist a question, I would ask...
• symbols
• metaphors
• meaning
• context
• relationships between all the individual parts of the work
• The best part of the work is...
• The strengths of the work are...
• The weaknesses of the work are...
• The artist communicates ideas by...
• I learned...
• I like…because...
•I dislike…because...
• I would(n’t) choose to hang this work in my room because...
• Other people should study this work because...
• This work has survived the test of time because...
• Why do different people see and understand artwork differently?
ANALYSING AN IMAGE.
When looking at an image, consider the following:
1.
Initial Reaction.
• What is your first impression?
• What captures your attention?
• What does this work bring to mind?
• How does this work make you feel?
• What does this work remind you of ?
2.
Description.
•What is happening in the work? What do you see (landscape, portrait, still, historic
etc)? What is in the foreground/background? What is the setting? Is the work realistic
or abstract? Old vs. Modern? Historic vs. Contemporary?
•What is the story?
•What do you see that makes you say that?
•What clues arc provided to tell you more about the subject?
•What clues tell you when and where this work was made?
•What do you see, smell, taste, touch and hear when you examine the work using
your senses?
3.
Analysis & Interpretation.
• What is the composition and how is it framed? (Balance, rule of thirds, golden mean
etc.)
• How does the work evoke feelings, ideas and images?
• How has the artist achieved this using the elements and principles of design?
Line: strong, dominant, thin, horizontal, vertical, diagonal, directional, broken,
structural, curved etc.
Colour & Value: warm, cool, light, dark, solid, transparent, bright, dull,
monochromatic, realistic or abstract?
Texture: smooth, rough, soft etc.
Space: perspective, foreground, middle ground, background, point of view
Contrast: colour, scale, shape, tone, positive/negative space
Emphasis: (how your eye is led)? Rhythm? fattem? Movement?
Balance: (symmetrical, asymmetrical, radial)? Unity? Repetition? Motifs?
• What do you think is the theme or subject of the work? Why?
• What message or meaning do you think the work communicates?
• What do you think is the purpose of this work? What does it mean?
• What is the function of the work? (Political, social, religious etc.)
• What is the focus in the work and how is it achieved?
• Were technical skills highlighted?
4.
Judge & Evaluate.
• Have your percept ions/feel ings towards the piece changed?
• Does the work possess a high technical or conceptual skill?
• Is this an effective piece of work? Why or why not?
A GLOSSARY OF USEFUL WORDS
FOR DESCRIBING A PIECE OF ART
Appendix 2.
LINE.
blurred
broken
controlled
curved
diagonal
freehand
horizontal
interrupted
geometric
meandering
ruled
short
straight
thick
thin
vertical
wide
SHAPE. FORM.
amorphous
biomorphic
closed
distorted
flat
free-form
full of spaces
geometric
heavy
light
linear
massive
nebulous
open
organic
TEXTURE
actual
bumpy
corrugated
flat
furry
gooey
leathery
prickly
rough
sandy
shiny
simulated
smooth
soft
sticky
tacky
velvet
wet
VALUE
dark
light
medium
COLORS
brash
bright
calm
clear
cool
dull
exciting
garish
grayed
multicolored
muted
pale
poly-chromed
primary
saccharine
secondary
subdued
sweet
warm
SPACE
ambiguous
deep
flat
negative/positive
open
shallow
PRINCIPLES
balance
contrast
emphasis
harmony
pattern
repetition
rhythm
unity
variety
THEMES
adoration
children
circus
cityscape
earth, air, fire, water
farming festivals
gardens
grief
history
hunting
landscape
love
music
mythology
of historic occasions
portraiture
processions
religion
seascape
storytelling
theater
war
2-DIMENSIONAL
chalk
charcoal
colored pencil
found materials
ink
oil
pastel
pencil
photograph
print
tempera
watercolor
3-DIMENSIONAL
bronze
clay
fibers
found materials
marble
metal
mixed media
papier-mache
plaster
stone
wood
TECHNIQUE / FORM
architecture
batik
carving
ceramics
collage
crafts
glassblowing
jewelry making
metalwork
modeling
mosaics
painting
photography
printmaking
sculpture
weaving
STYLE OR PERIOD
abstract
classical
genre
historical
literary
naive
narrative
nonobjective
primitive
realistic
romantic
Renaissance
ART GLOSSARY
A
абстрактное искусство — abstract art
антихудожественный — inartistic
абстракционизм — abstractionism
античный — antique
абстракционист — abstractionist
апсида — apse
автопортрет — self-portrait
арка — arch
ажурная каменная работа — tracery
аркада — arcade
акварель — water-colour
аркатурный фриз — blind arcading;
decorative band
алтарь — altar
архитектор — architect
алтарная часть церкви — sanctuary
архитектура — architecture
анималист — animal painter
архитектурный — architectural
анималистская живопись — animal
painting
Б
базилика — basilica
башня — tower
барабан — drum
безмятежный — serene
барбакан — barbican
бетон — concrete
барельеф — bas-relief
библейские эпизоды — iconographic scenes
баталист — painter of battle - scenes
(battle-pieces)
блик (световой) — highlight
батальная живопись — painting of
battle - scenes
богатство красок — a riot of colours,
a wide colour-scheme
башенка — turret
брэнза — bronze
бытовая живопись — genre painting
бытовые сценки — everyday scenes;
genre scenes
В
ваяние — sculpture
воздушность — airiness
ваятель — sculptor
Возрождение — Renaissance
ваять, изваять (из камня, дерева,
кости) — chisel, carve, (из глины) —
model, (из бронзы) — cast
волюта, завиток, спираль — volute
восьмерик, восьмигранник - octagon
великий художник — master
восьмигранный, восьмиугольный —
octagonal
весомость (фигур) — solidity (of
figures)
выделяться, выступать — stand out
вид — view
вызывание к жизни, воскрешение в
памяти — evocation
вид сбоку — a side view
вид спереди — a front view
вызывать (воспоминания, чувства)
— to evoke
вид сзади — a back view
выполнение - execution
видение (индивидуальное
восприятие) — vision
выполнять — execute
витраж — stained-glsss window
включать (как составную часть) —
incorporate
внутренний — interior
выражение лица — facial expression
вырезать — to carve
вырисовываться на фоне чего-л.—
to be silhouetted against
«вогнутый — concave
высекать, обрабатывать резцом — to
chisel
воздвигать, строить — erect
выставка — exhibition, exhibit
воздух, воздушная среда в живописи
— atmosphere
выставлять — to exhibit
воздушный — atmospheric
выставляться — to be on display
(show, view, exhibit)
Г
гамма (красок) — palette, colourscheme (range)
граверное искусство — engraving
гравировать, выгравировать — to
engrave
главка — cupola
гладкая (поверхность картины) —
smooth (surface, finish)
вытравить — to etch
гравюра — engraving; print
глухой серый — dull grey
Грановитая Палата — Palace of
Facets
глыба — block
гончарные изделия — pottery
график — graphic artist, black and
white artist
горгулья — gargoyle
графика — graphic art
горельеф — high relief
графический — graphic
городской пейзаж — town (city)scape
гробница — tomb
гравер — engraver
грунт — foundation, ground, loo
Д
дальний, удаленный (в картине) —
background
деревенский пейзаж — rural
landscape
деисус — deesis
диапазон (размах, масштаб) — range
декоративное искусство —
decorative art
гамма цветов — range of colours,
colour-scale
декоративный —
decorative;ornamental
диптих — diptych
деревенские сценки — rustic scenes
дорический ордер (стиль) — Doric
order (style)
оска для живописи — panel
Ж
жанр — genre
живописец — painter
жанрист — genre-painter
живописный — pictorial
жанровая картина — genre scenes,
domestic interior(s)
живопись — painting
жизненный, реалистичный — lifelike, realistic
желобчатый — fluted
З
завладевать вниманием — command
attention
замышлять — conceive, design
запечатлевать — set down
задний план — background
запрестольный образ — altar- piece
заказ (художнику)— commission
звонница — bell tower
заказать (портрет) — commission (a
portrait)
земной — earth-bound
знаток искусства — connoisseur
закомары — blind arches
зодчий — architect
законченность — finish
зодчество — architecture
залитый (солнцем, светом) —
charged (with), bathed (in), suffused
(with), flooded (with); awash (with)
золотых дел мастер — goldsmith
зубчатая стена — battlement,
battlemented wall
замысел —conception, concept, design
И
идейное содержание — message
иконостас — iconostasis
известняк — limestone
импрессионизм — impressionism
изгибаться — to curve
индивидуальное (личное)
восприятие — one’s personal (style),
vision
изгибающийся — curving
излучать (свет, тепло) — to radiate
интенсивность (цвета красок) —
brilliance, brilliancy
изображать — to represent, to depict,
to portray
интерьер — interior
изображение — portrayal, depiction,
representation
ионический ордер (стиль) — the
Ionic order (style)
изобразительное искусство — visual
arts, Fine Arts, Arts
искаженный — contorted, distorted
искривленный — askew
изобразительный — graphic
искусный — masterly
изогнутый — curved
искусство — art
изысканный — exquisite
исполнять, выполнять — to execute
икона — icon
историческая живопись — historical
painting
иконописец — icon-painter
иконопись — icon-painting, panelpainting
К
каменная (кирпичная) кладка —
masonry
капитель — capital
карандаш — pencil
карандашный рисунок — pencil
drawing
карикатура — caricature, cartoon
карниз — cornice
картина — picture, painting,canvas
картинная галерея — art gallery
керамика — pottery
кисть — brush
классический — classical
копировать — to copy
классицизм — classicism
копия — copy
колокольня — belfry
коринфский ордер — the Corinthian
order
колонна — pillar, column
краситель — pigment,
компактная (композиция, группа) —
closely (tightly) knit (composition,
group)
краска — paint, pigment, colour
кривая — curve, круглая (в плане)
circular
контрасты тонов — contrasting tones
контрфорс — buttress
круглая скульптура — sculpture in
the round
арочный контрфорс — flying buttress
кубизм — Cubism
контур — outline
купол — dome
контурное изображение — outline
drawing
Л
лак, фиксаж — varnish
лакировать, накладывать лак —
varnish
лемех (осиновая черепица) — aspen
shingles
лепить — mould, model, fashion
лепка, лепная работа — modelling
лепное украшение — moulding
лессировка — glaze
линейная перспектива — linear
perspective
линейный (имеющий отношение к
рисунку) — linear
линия (рисунок) — line
линия нисходящая — downward
movement
литье — casting
луковичный — bulbous, onion-shaped
лучистый — radiant
М
мазня — daub
мастерство — mastery; artistry, skill
мазок—touch, brush, stroke
мастихин — palette-knife
манера (живописная) — brush-work,
brushing
материал — medium
мел — chalk
маринист — sea-scape painter
моделировать — model
маринистская живопись — seascape
(marine) painting
модель (живая) — model
мольберт — easel
масло, масляная краска — oil
монументальная (живопись) —
monumental painting
мастер — craftsman, master
старые мастера — Old Masters
монументальный — monumental
мастер линии — a master of line,
linearist
мотив — motif
мрамор(-ный) — marble
мастерская — workshop
мастерски (искусно) — in a masterly
way
H
набросок — sketch,
наводить (на мысль) — suggest
надгробная плита — tombstone
наделять — endow
напоминать — be reminiscent of,
recall
направление — trend, movement;
school
накладывать (краски и т. п.) — lay on
народное искусство — popular (folk)
art
намечаться — be barely suggested
насыщать, пропитывать — imbue
натура — model
натурщик(-ца) — model, sitter
непосредственный — spontaneous
(писать, рисовать) с натуры — draw
(paint) from nature, paint from life
нервюра — rib
натюрморт — still-life
неровная (поверхность картины) —
rough (surface, finish)
негармонирующий — discordant
ниша — niche
непосредственность — immediacy,
spontaneity
нюанс - shade, nuance
О
обнаженный — nude
огораживать, окаймлять — enclose
Обработка (поверхности) — finish
огороженное пространство —
enclosure
образ (изображаемое лицо) —
subject, character, personage
одухотворенность — spirituality
образец — model, pattern
окно-роза — rose window
образное воплощение замысла—
imagery
окутывать — envelop
обращаться (к чему-л) — turn to
smth, draw one s subject from smth;
paint, treat a subject
объединять — bring (hold) together,
pull together, unite
объем — volume
объемный — well-rounded,
sculpturesque; three-dimensional
орнаментальный — ornamental
основной цвет — primary colour
отливать — mould, cast
отливка — moulding
оттенок — shade, hue, tinge
офорт — etching
П
палитра — palette
план — plan
парадный портрет — ceremonial
portrait
в плане — in plan
парапетная стенка с бойницами—
battlement
пастель — pastel,
на заднем (переднем, втором) плане
— in the background
плоскость — plane
пастельный — pastel
поверхность картины — surface
(texture)
пастозная живопись — impasto
подмастерье, ученик — apprentice
пейзаж — landscape
подклеть —- substructure
пейзажист — landscape painter
подлинный — authentic
пейзажная живопись — land-scape
painting
подлинность — authenticity
передавать — render, convey
передать (сходство) — to catch a
likeness
передний план — foreground
переплетение — interlacing
переплетающиеся — interlacing
перламутрово-серый — pearly-grey
перспектива — perspective
пилястр — pilaster
пирамида — pyramid
писать (красками) — paint
плавный — fluid, fluent, flowing
плакат — poster
плакатист — poster-painter
подмалёвок — undexpainting,
undercoat
подъемный мост — drawbridge
поза — posture, pose
позировать — to pose, to sit (for)
позирующий — sitter
позолота — gilding
позолотить — to gild
позолоченный — gilt
полоска, полоса — streak
полотно — canvas
портал — portal
портрет — portrait
портретист — portrait-painter,
portraitist
портретная живопись — portrait,
painting, portraiture
просторность — spaciousness
просторный — spacious
предвосхищать — anticipate
простой (без украшений) — austere
предметное искусство —
representational art
пространственный — spatial
пространство — space
придворный художник — court
painter
пуантилизм — pointillism, spot
technique
придел — chapel
прикладное искусство — applied art
пульсировать (трепетать,
вибрировать) — throb
принимать (цвет, форму и т. п.) — to
take on (a colour, form, etc.)
пучок (света) — shaft (of light)
пьедестал — base
проект — design
пышный, богатый — lavish
проектировать — to design
пышный (о фигуре) — voluptuous
прозрачный, светлый — luminous
пятно - patch, spot, splash
пронизывать (пропитывать,
насыщать) — imbue, penetrate
Р
размашистый (рисунок, линия) — a
sweeping (line)
размывка — wash
разнообразие (форм, направлений)
—diversity of form (genres, etc.)
разносторонний — versatile
расписывать (стены) — decor¬ate
распятие — Crucifix
ребристый (рубчатый) — ribbed
ребро — rib
резные украшения — embroidery
резчик — carver
резьба — carving
религиозный — ecclesiastical
рельеф — relief
рельефность — plasticity
подготовительный рисунок, этюд —
study
рельефный — relief (attr.), in relief,
rough, sculpturesque, plastic
ритм — rhythm
ремесленник — craftsman
ритмический — rhythmic(al)
ремесло — craft
рифленый — fluted
рефлекс — reflection,
роза (apxит.) — rose window
рисовальщик, мастер рисунка —
draughtsman
розовато-лиловый — mauve
рисование — drawing
роспись — decoration; wall painting;
murals, frescoes
рисовать — draw
рука (художника) — hand, brush
рисунок — drawing, design, pattern
С
сангина (карандаш) — sanguine
(crayon)
серебряных дел мастер —
silversmith,
свет (освещение) — light
сильный (по воздействию)—forceful,
powerful, vigorous
светотень — light and shade,
chiaroscuro
скульптор — sculptor
светский, гражданский — secular
скульптура — sculpture, statuary
свободная (манера письма, техника)
— broad (style, technique)
скульптурный — sculptural
свод — vault
сводчатое покрытие—vaulting
сводчатый — vaulted
сельский — rural; rustic
слепок — cast
сливать(ся) —blend, fuse
слияние — fusion
сложный, разработанный в деталях
— elaborate
сложный цвет — secondary colour
слой — layer, wash
стилизованный — stylised
слоновая кость — ivory
стиль — style; (apxит.) order
смещенный — off-centre(d)
столб — pillar, pier
собор — cathedral
стоять (высоко и т. п.) — rank (high,
etc.)
соперничать — rival
строгий, суровый — austere, rigid
сочность (о цвете) — richness
строгость, суровость — rigidity
сочный (о цвете) — rich
ступенчатый — terraced
сплетать(ся), переплетать(ся) —
interlace; intertwine
«сфумато» — “sfumato”
способность (дар к чему-л.) —
faculty (for smth)
схватить (передать) — catch, capture,
seize
средневековый — medieval
схематичный — sketched in
станковая живопись — easel painting
сходство — likeness,
становиться менее ясным — blur
сцен(к)а — scene
статуэтка — figurine, statuette
сюжет - subject, motif
(на)стенная живопись — mural (wall)
painting
сюжетно-тематический — narrative
стенная роспись - mural (s), fresco
(es)
T
творчество — art, creative powers
(ability), work(s), painting(s), artistic
endeavour
текстура (структура) поверхности —
surface, surface texture
телесный цвет — flesh-tints, fleshcolour
тема (содержание) — subject matter,
motif
тень — shadow, shade,
в полутени — in partial shadow
терраса — terrace
точное (правильное, правдивое)
изображение — faithful representation
(depiction, portrayal)
террасированный — terraced
техника (работы) — technique,
medium
трактовать (решать тему) — treat,
handl
техника (материал) — medium
трактовка — treatment, handling
тон, цвет — tone
трехмерный (объемный,круглый)—
three-dimensional, in the round
тональность — tonality, tonal effect,
key
триптих — triptych
тонкий слой (краски) - wash
тушь — ink
точечная техника — spot technique,
pointillism
У
увенчиваться — be surmounted,
topped, crowned (with)
увлекаться (быть привлеченным к ...)
— be drawn to...
уголь — charcoal
удлиненная форма — elongation
удлиненный — elongated
узор — design, pattern
украшать — ornament, decorate,
prettify
украшение — ornament, decoration
украшенный — ornamented
уравновешенный (саге- fully-(well) balanced
усеченный— truncated
усиливать — heighten, enhance
ученик — apprentice
ученичество — apprenticeship
Ф
фактура — texture
фигура — figure
фактура письма — pictorial texture,
brash work
фовизм — Fauvism
фактура поверхности — surface
texture, finish
фарфор — porcelain
фасад — facade
фовист — Fauve, Fauvist
фокус — focus
фон — background
фонарь — lantern
BIBLIOGRAPHY
INTERNET RESOURCES
1. How to speak about art in English. Пособие по развитию навыков устной
речи. – Издательство: М.: Международные отношения, 1976 г. – 216 стр.
2. Esflow.com