IV. Соедините слова из правой и левой колонки так, чтобы получились пары синонимов.

Divinity common

to encompass earlier

movement to do

to execute theme

to reflect deity

subject to include

ordinary character

to portray well-known

to denote current

hero to mirror

famous to mean

previously to depict

V. Вставьте пропущенные в предложениях предлоги in, on, of, to, by, from, into, with, according to.

1. A «still life» typically comprises an arrangement … objects laid out … a table.

2. The characters should not be endowed … any heroic or dramatic attributes.

3. Academic portraiture is executed … certain conventions, concerning dress, the position of hands and other details.

4. Traditionally the most-respected of all the genres, history paintings are not limited … those depicting 'historic scenes'.

5. The Old Masters of the Northern Renaissance (Flanders, Holland, Germany and England) developed quite different painting traditions and methods … those in Italy.

6. Paintings are traditionally divided … five categories or 'genres'.

7. … the 20th century both European and American artists' most characteristic subject matter was still life.

8. In Italy most art was commissioned … the Church.

Грамматическое задание.

1.Выпишите из текста «Genres of Painting» все прилагательные в сравнительной и превосходной степени и переведите их.

2. Выпишите из текста «Genres of Painting» все предложения, содержащие грамматические конструкции с Passive Voice (7 предложений).

Контрольное задание 3.

I. Прочтите и устно переведите текст “Thomas Gainsborough”. Пользуясь словарём, выпишите значение и транскрипцию незнакомых слов.

Thomas Gainsborough

Thomas Gainsborough(1727-1788) was born in Sudbury, a village in Suffolk. His father was an unsuccessful cloth merchant; his mother was a woman of some cultivation and an amateur artist. Gainsborough came to London when he was fifteen. At first he was apprenticed to a silversmith, and soon after he worked with a French engraver. Gainsborough's first attempt at an artist's career was a failure. In 1746, at the age of nineteen, he was back at Sudbury after marrying in London a daughter of Duke of Beaufort who had a comfortable income. .

For the next three years he worked as a portrait and landscape painter at Ipswich. He then moved to Bath, where he had success as a portrait painter and sent his works from time to time to exhibitions in London. He remained for fourteen years in Bath, at the age of forty-seven he went back to London where he became ever more and more obviously a rival to Reynolds till he died at the age of sixty-one.

Gainsborough excelled himself in portraits (often with landscapes backgrounds) and in landscapes (generally with figures and livestock). We know from his letters that he looked on portrait painting as his trade and on landscape painting as a form of pleasure analogous to the pleasure he experienced in listening to music or in playing the viola da gamba; and in his studio when he died there were many landscapes and many drawings for landscape compositions which he could not or had not wished to sell.

As a portrait painter Gainsborough began in the tradition of the localised portrait: in Ipswich he painted country gentry surrounded by cottages and cornfields which they owned. He painted the landscapes, as noted, in the Dutch tradition, but the figures – with dainty elegance he learned from French masters. His later and more personal manner in portrait was developed at Bath when he had seen portraits by Van Dyck in neighbouring mansions. Although being a profound admirer of Van Dyck, the artist's admiration didn't detract him from his personal originality, which has a unique quality and power to invest a sitter with an air of delicate refinement.

Notes:

Gainsborough [`geinzb:rou]

Van Dyck [væn`daik]

Duke of Beaufort [dju:k ov bo`fo:r] – герцог де Бофор

an amateur [æn`æmətə] – любитель, дилетант

failure [`feiljər] – неуспех, неудача

obviously [`obviəsli] – очевидно, ясно, явно

unique quality [ju`ni:k `kwoləti] – уникальное качество, свойство, особенность

1. Переведите и запомните следующие словосочетания из текста:

to work with

an engraver

the first attempt at an artist's career

at the age of nineteen

from time to time

to become a rival to…

to excel oneself in smth

to learn from…

personal manner in portrait

to be a profound admirer of…

to detract from…

personal originality

a sitter

delicate refinement

1. Ответьте на следующие вопросы:

1.When and where was Thomas Gainsborough born?

2.What was Gainsborough’s first attempt at an artist's career?

3.Where did he have success as a portrait painter?

4.When did he become more and more obviously a rival to Reynolds?

5.How did he paint the landscapes?

6.What was his style in painting the figures?

7.How did his later and more personal manner in portrait develop?

1. Переведите на английский язык.

1.Томас Гейнсборо – художник с мировой известностью.

2.«Портрет герцогини де Бофор» является настоящим шедевром мировой живописи.

3.Гейнсборо, как и Рейнолдс, был мастером главным образом парадного, а не интимного портрета.

4.Пейзажи и портреты местных помещиков – основные темы картин Гейнсборо.

1. Выпишите из текста неправильные глаголы и дайте их три основные формы.

Контрольное задание 4.

I. Прочтите и устно переведите текст “Surrealism”. Пользуясь словарём, выпишите значение и транскрипцию незнакомых слов.

Surrealism

Surrealism was a movement in modern art born in 1924 out of the ashes of Dada. It was essentially a continuation of Dada, many of the Dadaists becoming members of the Surrealist group when it formed in Paris in October 1924. The official existence of the group was proclaimed by the publication of the Manifesto of Surrealism written by André Breton, Surrealism’s founder, its leader and until his death in 1966 the guardian of its doctrinal purity. Dada and Surrealism were both the result of a far-reaching and wide-spread revolt by artists of all kinds against the condition of western society as it was at the start of the twentieth century. This revolt was given a focus by the advent of the First World War (Dada began in Zurich in 1916). A civilization that could perpetrate such an atrocity on such a scale appeared totally discredited in the eyes of men of sensibility, as did the optimistic rationalist and materialist philosophies on which it was based.

This disgust with our civilization naturally extended to its art. However it is important to understand that Dada was not really anti-art as is often thought; quite the contrary, the Dadaists fervently believed in art as the repository and expression of humane and true civilized values. Believing this they naturally set out to purge existing art and create new and valid forms.

Change, however, was beginning to take place and, stated Breton: “All credit for this must go to the discoveries of Freud. On the evidence of these discoveries a current of opinion is at last developing which will enable the explorer of the human mind to extend his investigations much further…” This then was the Surrealist programme, to tap the creative and imaginative forces of the mind at their source in the unconscious and, it may be suggested, through the increase in self-knowledge achieved by confronting people with their real nature, to change society.

It may also be said that it is precisely the extent to which Surrealism, through its undoubtedly far-reaching influence on literature, theatre and the cinema in addition to the arts of painting, drawing and sculpture, has revealed and made familiar to us the world of the unconscious that constitutes the movement’s significance. Surrealism, in all its forms, it may be argued, has been the means by which the discoveries of psychoanalysis have been brought to a wide public and built into the very fabric of society. It may be added that bringing the public face to face with the unconscious for the first time was bound to produce a shock. The Surrealists tended to exploit this possibility as a revolutionary weapon, often stressing in their work particularly those aspects of instinctual behaviour, acknowledgment of which was most repressed in society at large: sexuality in all its manifestations and man’s addiction to violence and death. However, it should not be thought that the Surrealist ethos was in general negative and subversive. On the contrary, fundamental to Surrealism was the impulse to reveal and celebrate the potential magic of human existence.

Finally, the question of the interpretation of Surrealist painting must be briefly considered. It may be suggested that in general Surrealist art can be read on two main levels, the personal and the universal. Obviously much of the content of the unconscious is personal and interpretation of it must be largely dependent on our knowledge of the artist. In the case of Ernst, for example, or Salvador Dali, autobiography supplies a good number of clues to the personal element in their painting. On the other hand little is known of Magritte or Miró, and their paintings remain the most enigmatic of Surrealist works. (Furthermore, in the case of Miró and the other “automatic” Surrealists the imagery is itself more difficult to read.) However at another, perhaps deeper, level the unconscious contains material common to all human existence. This was very well summarized by Dali when he said, “The Subconscious has a symbolic language that is truly a universal language for it does not depend on education or culture or intelligence but speaks with the vocabulary of the great vital constants, sexual instinct, awareness of death, sense of the mystery of space – these vital constants are universally echoed in every human being.”

Notes:

surrealism [sə'riəliz(ə)m]

manifesto [mæni'festəu]

II. Обратите внимание на следующие словосочетания, постарайтесь их запомнить:

to be born out of the ashes of smth.

to proclaim smth.

to appear totally discredited in the eyes of smb.

civilized values

to purge the art

to create new and valid forms

the explorer of the human mind

to extend investigations

creative and imaginative forces

the increase in self-knowledge

far-reaching influence on literature, theatre and the cinema

the question of the interpretation of Surrealist painting

vital constants

III. Ответьте на вопросы:

1. What was the continuation of Dada?
2. When was Surrealism born?
3. Who wrote the Manifesto of Surrealism?
4. Who were the leaders of Surrealism?
5. What was the Surrealist programme?
6. What influence did Surrealism have on literature, theatre and cinema?
7. What are two levels of Surrealism interpretation?
8. What are the great vital constants by Dali?

IV. Вставьте пропущенные предлоги: at, by (2), in, of, on (2), to (3)

1. The Dadaists fervently believed … art.
2. Surrealism has revealed and made familiar … us the world of the unconscious.
3. Surrealism has been the means … which the discoveries of psychoanalysis have been brought … a wide public.
4. In general Surrealist art can be read … two main levels.
5. Interpretation of the content of the unconscious must be largely dependent … our knowledge of the artist.
6. On the other hand little is known … Magritte or Miró.
7. … another level the unconscious contains material common … all human existence.
8. This was very well summarized … Dali.

V. Используйте выражения:

I agree, I agree completely (totally), I share this opinion – для согласия

I agree partly, I agree to some extent, I agree up to a point – для частичного согласия

I disagree, I disagree completely (totally), I can’t agree with it – для несогласия

со следующими утверждениями:

1. The Surrealist programme was to tap the creative and imaginative forces of the mind at their source in the conscious.
2. Surrealism, in all its forms, has been the means by which the discoveries of psychoanalysis have been brought to a wide public.
3. Bringing the public face to face with the unconscious for the first time was bound to produce a shock.
4. The Surrealist ethos was in general negative and subversive.
5. Surrealist art can be read on two main levels.

Контрольное задание 5.

Прочитайте и переведите устно текст разговорной темы «Our Institute». Постарайтесь пересказать текст.

Our Institute

The Academy of Arts was built by the architects A. Kokorinov and V. Delamoth in 1757. The Repin Art Institute is at the building at present.

There are five faculties at the Institute: the faculty of painting, sculpture, graphic arts, architecture and the history of art. All applicants must pass entrance exams in general and special subjects.

There are full-time and correspondence departments at the faculty of the history of art. At both students study the history of Russian and foreign art, philosophy, Russian history, world history, world literature, drawing, painting, foreign languages, the basics of history and theory of painting etc.

Art historian background implies not only advanced studying of general subjects but also studying of related subjects helping students to become professionals – the history of music, the history of mythology etc.

At the faculty of painting students paint and draw from living models and work at compositions. They study plastic anatomy and gain technical know-how. They study the best classical heritage of Russian and world art and copy the masterpieces of old masters. Apart from the special subjects the curriculum includes social sciences, philosophy, aesthetics, the history of art, foreign languages, anatomy, perspective, painting materials etc.

Drawing is fundamental to all fine arts because it requires from students the ability to perceive space and form and convey them by means of graphic media. Composition develops the creative imagination in students and helps them to build up pictures.

The key subject of the faculty of graphic arts is drawing with water-colour painting. Besides engravings and lithography students work on lettering and book design, book and magazine illustration and easel painting.

The faculty of sculpture produces sculptors well-skilled in monumental and decorative sculpture. The key subject is sculptural sketching and drawing. Sculptural composition is also fundamental and important.

There are both general and special subjects at the faculty of architecture. Its curriculum is wide. Architects study architectural design, the strength of materials, physics, philosophy, theoretical mechanics, the history of architecture, aesthetics, foreign languages etc.

The course takes 6 years at all the faculties except the full-time department of the faculty of the history of art where it takes 5 years.

Tuition fees vary from free to quite large amounts of money per year. Students get state grants, drawing and painting media: paints (oils and water-colours), clay, plasticine, pencils, brushes etc.

Every summer students spend a couple of months doing practical work in various parts of Russia.

Список рекомендованной литературы.

1.Голицынский Ю. Б. Грамматика. Сборник упражнений. СПб.: изд. Каро, 2010 (или более раннее издание).

2.Качалова К. Н. , Израилевич Е. Е. Практическая грамматика английского языка. СПб.: изд. Каро, 2006 (или издание другого года).

3.Миловидов В. А. Десять консультаций по английскому языку. – М.: Айрис Пресс, 2001.