Западноевропейское искусство

ЗАПАДНОЕВРОПЕЙСКОЕ ИСКУССТВО

От ХОГАРТА до САЛЬВАДОРА ДАЛИ

Пособие для изучающих английский язык

издание второе переработанное и дополненное

Москва – 1999

А.П. Миньяр-Белоручева

NOTES

A Rake's Progress - "Карьера мота"

A Harlot's Progress - "Жизнь куртизанки"

Marriage a la Mode - "Модный брак"

Signing the Contract - "Подписание контракта"

TASKS

I. Read the text. Make sure you understand it. Mark the fol­lowing statements true or false.

1. A strikingly original school of painting arose in fifteenth-century England.

2. In the main Hogarth painted colossal altarpieces.

3. Hogarth never tried his hand at mythological and his­torical subjects.

4. The story in the Marriage a la Mode will come to a happy end.

5. Hogarth was fond of the Palladian style.

6. Moralistic cycles were painted as bases for engravings.

II. How well have you read? Can you answer the following questions?

1. What did Hogarth found? What was he at his best?

2. What were Hogarth's most successful cycles?

3. What is the subject of the opening episode of the Mar­riage a la Mode? Where is the opening episode set? How are the figures arranged? What does the alderman do? How is the bride depicted? What does the earl do?

4. What is seen out the window? What lines the walls of the room?

5. What compositional style dominates in the Signing the Contract? Why is the scene set diagonally?

6. Were all Hogarth's devices original and witty?

III. i Give Russian equivalents of the following phrases:

a school of painting; a founder of the school; narrative can­dour; satiric wit; pictorial skill; moralistic cycles; theatrical effect; Old Masters; the robust handling of poses; the dowry; to owe to; to expatiate about; a family tree; to exhaust the fortune; to profess to hate; the betrothed; bold brushwork; bases for engravings; an opening episode.

ii. Give English equivalents of the following phrases:

смелые мазки; приданое; цикл нравоучительных картин; генеалогическое дерево; школа живописи; быть обязанным кому-либо; рассуждать на тему; основатель школы; театральный эф­фект; основы для гравюр; сатирический ум; растратить состоя­ние; искренность; суженая; живописное мастерство; открыто выражать свою неприязнь.

iii. Make up sentences ofyour own with the given phrases

iv. Arrange the following in the pairs of synonyms:

a) to line; to exhaust; alderman; dazzling; strikingly; expatiate; dowry; detest;

b) municipal legislator; to discuss; extremely; to cover; to waste; hate; marriage portion; brilliant.

IV. Translate the text into English.

Национальная живопись в Англии начинается с Уильяма Хогарта. Художник занимался исторической живописью, рели­гиозными сюжетами. Однако истинный Хогарт - это жанровые картины и гравюры. В своих произведениях, объединенных в повествовательные циклы, он обращался к разнообразным темам. Хогарт полагал, что его работы будут способствовать улучше­нию нравов. Для того, чтобы как можно больше людей могли познакомиться с его произведениями, художник делал с них гра­вюры, которые часто оказывались интереснее самих оригиналов. Всю свою творческую жизнь Хогарт писал портреты: групповые, парадные, автопортреты. Умение передать характер человека принесли художнику успех. Портрет всегда был в Анг­лии самым любимым жанром живописи.

V. Summarize the text.

VI. Topics for discussion.

1. Hogarth's moralistic cycles.

2. Hogarth's style and characters.

3. Satire in art.

UNIT II GAINSBOROUGH (1727-1788)

The most accomplished and the most influential English painter of the eighteenth century was Thomas Gainsborough. Until 1774 Gainsborough painted landscapes and portraits in various provincial centres before settling in London for the last fourteen years of his life. Although the elegant attenuation of his lords and ladies is indebted to his study of Van Dyck, Gainsborough achieved in his full-length portraits a freshness and lyric grace all his own. Occasional objections to the lack of structure in his weightless figures are swept away by the beauty of his colour and the delicacy of his touch. The figure in Mary Countess Howe, painted in the mid-1760s, is exquisitely posed in front of a land­scape background. Gainsborough has expended his ability on the soft shimmer of light over the embroidered organdy of her over­dress and cascades of lace at her elbows, sparkling in the soft Eng­lish air; the only solid accents in the picture are her penetrating eyes. Although Gainsborough was country-born, his landscape elements seem artificial, added like bits of scenery to establish a spatial environment for the exquisite play of colour in the figure.

In later life Gainsborough painted more freely and openly. Although his landscapes, which he preferred to his portraits, ex­hale a typically English freshness, they were painted in the studio on the basis of small models put together from moss and pebbles. Constructed in the grand manner of Hobbema, a seventeenth-century Dutch master, and painted with soft strokes of wash like those of Watteau, the Market Cart, of 1787, shows an almost rhapsodic abandonment to the mood of nature, which led to the great English landscapists of the early nineteenth century.

Constable said that Gainsborough's landscape moved him to tears, and contemplating the freedom and beauty of the paint­ing of the cart and a boy gathering brushwood, not to speak of the glow of light seeming to come from within the tree in the centre, one can understand why.

Make sure you know how to pronounce the following words:

Thomas Gainsborough [Ptom@s Pgeinzb@r@]; Van Dyck [v{n Pdaik]; embroidered [imbProid@d]; abandonment [@Pb{nd@nm@nt]; rhapsodic [r{pPsodik]; organdy [Pþg@ndi]; Howe [hjü]; aristocracy [{riPstokr@si]; Hobbema [Phobim@], Watteau [Pwot@u]

NOTES

Mary Countess Howe - "Графиня Мери Хью"

Market Cart - "Телега, едущая на рынок"

TASKS

I. Read the text. Make sure you understand it. Mark the fol­lowing statements true or false.

1. Until 1774 Gainsborough lived and worked in Italy.

2. Gainsborough's figures are abundant.

3. Gainsborough's portraits were influenced by Titian.

4. Gainsborough's brushwork was free and bold.

5. Gainsborough's landscapes were classical.

6. Gainsborough was abandoned to nature.

II. How well have you read? Can you answer the following questions?

1. What makes Gainsborough an outstanding painter?

2. Whose influence is felt in Gainsborough's portraits? What did Gainsborough achieve in his full-length portraits?

3. Where is the figure in Mary Countess Howe posed?

4. What do Gainsborough's landscapes exhale? What did Gainsborough prefer to paint in later life?

5. What does the Market Cart show?

6. What was said about Gainsborough's landscape?

III. i. Give Russian equivalents of the following phrases:

the most influential English painter; the elegant attenuation; a full-length portrait; to pose in front of a landscape background; the embroidered organdy of the overdress; the exquisite play of colour; to prefer landscapes to portraits; to paint landscapes in a studio; the grand manner; to move to tears; the painting of the cart; the shimmer of light; soft strokes; to gather brushwood.

ii. Give English equivalents of the following phrases:

трогать до слез; наиболее авторитетный художник; пози­ровать на фоне пейзажа; предпочитать пейзажи портретам; хруп­кость и изящество несколько удлиненных женских фигур; органди; портрет во весь рост; мягкие блики; писать пейзажи в студии; величественная манера; совершенная игра цвета; соби­рать хворост; изображение повозки; мягкие мазки.

iii. Make up sentences ofyour own with the given phrases.

iv. Arrange the following in the pairs of synonyms:

a) influential; occasional; exquisitely; environment; artificial;

b) unnatural; surroundings; infrequent; perfectly; important.

IV. Translate the text into English.

На формирование Томаса Гейнсборо - великого англий­ского портретиста XVIII века, значительное влияние оказали ра­боты Ван Дейка.

Пейзаж в портретах Гейнсборо имеет большое значение. В зрелом возрасте, когда Гейнсборо переселился в Лондон, он на­чал писать портреты во весь рост на фоне пейзажа. Модели Гейнсборо поэтичны. Художник придает особую хрупкость и изящество несколько удлиненным женским фигурам. Светлая колористическая гамма становится отличительной чертой его живописи. В портретах Гейнсборо отсутствуют аллегории. Гейнсборо прошел творческую эволюцию от детальной манеры, близкой "малым голландцам" к живописи широкой и свободной.

V. Summarize the text.

VI. Topics for discussion.

1. Gainsborough's portraits.

2. Gainsborough's style.

UNIT III REYNOLDS (1723-1792)

Sir Joshua Reynolds was in his own day a commanding figure, whose authority outlived him and who eventually became a target for Romantic attacks. In Reynolds's day society portraiture had become a monotonous repetition of the same theme. According to the formula, the sitter was to be posed centrally, with the background (curtain, pillar, chair, perhaps a hint of landscape) disposed like a back-drop behind; normally the head was done by the master, the body by a pu­pil or "drapery assistant", who might serve several painters. Pose and expression tended to be regulated to a standard of polite and inex­pressive elegance; the portrait told little about their subjects other than that they were that sort of people who had their portraits painted. They were effigies; life departed.

It was Reynolds who insisted in his practice that a portrait could and should be also full, complex work of art on many levels; he conceived his portraits in terms of history-painting. Each fresh sitter was not just a physical fact to be recorded, but rather a story to be told. His people are no longer static, but caught between one moment and the next. Reynolds was indeed a consummate producer of char­acter, and his production methods reward investigation. For them he called upon the full repertoire of the Old Masters.

Reynolds did the Grand Tour and remained in Rome spell­bound by the grandeur of Michelangelo, Raphael, Tintoretto and Ti­tian. He acquired a respectable knowledge of European painting of the preceding two centuries, and gave at the Royal Academy of Arts -which he helped to found in 1768 - the famous Discourses, which in published form, remain a formidable body of Classical doctrine. In his Discourses Reynolds outlined the essence of grandeur in art and sug­gested the means of achieving it through rigorous academic training and study of the Old Masters. From 1769 nearly all Reynolds's paintings appeared in the Academy. Reynolds's success as a portrait­ist was so great that he was employing studio assistants to lay out the canvases for him and to do much of the mechanical work. The artist's technique was sound, and many of his works of art suffered as a result. After his visit to the Netherlands where he studied the works of Rubens Reynolds's picture surface became far richer. This is particu­larly true of his portrait the Duchess of Devonshire and Her Daugh­ter. Reynolds's state portraits of the King and Queen were never suc­cessful, and he seldom painted for them. There is inevitably something artificial about the grandiloquence of the Classical or Ren­aissance poses in which he painted solid English men and women of his own day, investing them with qualities borrowed from a noble past. Nonetheless, we owe our impression of English aristocracy in the eighteenth century to his majestic portraits, with their contrived backgrounds of Classical architecture and landscape. Lady Sara Bun-bury Sacrificing to the Graces, of 1783, speaks eloquently for itself. Among Reynolds's best works are those in which he departs from the tradition of ceremonial portraiture and abandons himself to inspira­tion, as in The Portrait of Nelly O'Brien, which is aglow with light, warmth and feeling.

Make sure you know how to pronounce the following words:

Joshua Reynolds [PdÆoSw@ Pren@ldz]; Sarah ['se@r@]; grandeur [Pgr{ndÆ@]; inevitably [inPevit@bly]; majestic [m@PdÆ@stik]; grandilo­quence [gr{nPdil@kw@ns]; discourses [Pdiskþsiz]

TASKS

I. Read the text. Mark the following statements true or false.

1. Reynolds never travelled outside Britain.

2. The Royal Academy of Arts was founded in 1758.

3. Reynolds hired assistants to lay out the canvases for him.

4. Reynolds created state portraits of the King and Queen.

II. How well have you read? Answer the following questions:

1. Who became a target for Romantic attacks? Why?

2. What fascinated Reynolds during the Grand Tour?

3. What remains a formidable body of Classical doctrine?

4. How great was the success of Reynolds as a portraitist?

5. Whom did Reynolds portray? How did he depict them?

III. i. Give Russian equivalents of the following phrases:

a commanding figure; to speak eloquently; the preceding two centuries; to become a target for smb; the grandiloquence of the poses; the Royal Academy of Arts; to lay out the canvases.

ii. Give English equivalents of the following phrases:

Королевская Академия искусств; готовить холст для к-л; торжественные позы; великолепные портреты; авторитетная фи­гура; два предшествующих века; стать мишенью для к-л.

iii. Make up sentences of your own with the given phrases

IV. Here are names of the English painters and the titles of their works of art. Match them up. Describe the paintings.

1. Reynolds

2. Hogarth

3. Gainsborough

A. A Rake's Progress

B. Lady Sarah Bunbury

C. Market Cart

D. Mary Countess Howe

V. Translate the text into English.

Первым президентом Королевской Академии искусства, открытой в 1768, был Джошуа Рейнольдсс. Теоретически он выступал как сторонник классицизма, однако практически выхо­дил за рамки этого направления. В молодости Рейнольдсс посе­тил Италию, в старости - Голландию и Фландрию. Он восхищал­ся колоритом Тициана и Рубенса и многому научился как у них, так и у Рембрандта. После переезда в Лондон в 1753 г. Рей­нольдсс стал самым знаменитым портретистом Британии. Иногда он писал до 150 портретов в год. В форме парадного портрета Рейнольдсс сумел выразить веру в человека. С появлением Рейнольдсса английская живопись получила всеобщее признание.

VI. Summarize the text.

VII. Topics for discussion.

1. Reynolds's portraits.

2. Reynolds's Enlightenment activity.

UNIT IV INGRES (1780-1867)

Jean-Auguste-Dominique Ingres remained faithful to Neo-classic ideals to the end of his life, he formed the centre of the con­servative group that utilised the Principles of Neo-classicism, forged in the Revolution (1789-1799) as a weapon for reaction. Ingres was an infant prodigy, attending art school at eleven, and a capable performer on the violin. He entered the studio of David at seventeen, but as long as he lived he never accepted the cubic mass of David's mature style preferring curving forms flowing like vio­lin melody. Winner of the Grand Prix de Rome, he remained in that city from 1806 until 1820, and returned there from 1835 to 1841, absorbing not only ancient but also Renaissance art, espe­cially that of Raphael. Ingres stayed four years in Florence (1820-24) where he was one of the first to appreciate the Florentine Mannerists. The first pictures he exhibited at the Salon were al­most uniformly ridiculed, accused of being everything from Gothic to Chinese, and his special non-political Neo-classicism was worked out in isolation.

In 1808 Ingres did one of his finest paintings, whose pose he revived again and again in later works, the Valpincon Bather, named after the collection it first adorned. This lovely nude is drawn with a subtle contour line delicately flowing over shoul­ders, back and legs. The surface is modelled to porcelain smooth­ness, but is never hard; Ingres was always at his best with delicate flesh and soft fabrics.

Ingres fancied himself a history painter, although his narra­tive pictures are weakened by his inability to project a dramatic situation. A work that embodies his ideal programme of Neo-classicism is the huge Apotheosis of Homer, painted in 1827 and intended for the ceiling of a room of the Louvre. Ingres made no concessions to the principles of illusionistic ceiling perspective from below. He preferred the High Renaissance tradition, as ex­emplified by Michelangelo. Before an Ionic temple dedicated to Homer, the blind poet is enthroned, crowned with laurel by the muse of epic poetry. Below him sit two women figures, the one with a sword, representing the Iliad, another with a rudder the Odyssey. The geniuses from antiquity and later times whom Ingres considered truly Classical are grouped around. At the lower right are grouped three French Classical writers. Shakespeare and Corneille make the scene in the lower left-hand corner. The cool light of an ideal realm binds the figures together in the kind of artificial composition that became definitive for muralists even into the twentieth century.

Ingres was financially obliged to accept portrait commis­sions, which he considered a waste of time, although today his portraits are accepted as his greatest works. He even drew por­traits of visitors to Rome, who trooped to his studio. Such pencil studies as the Stamaty Family of 1818, show the exquisite quality of his line.

Ingres's paintings are perfect in colour. All the beauty of his colour and the perfection of his form are seen in the portrait of Comtesse d'Houssonville, painted in 1845. She is posed in a corner of her salon, in an attitude clearly derived from Classical art. No Dutch painter ever produced still lifes more convincing than the vases on the mantle. The reflection in the mirror, going back through Velazquez to van Eyck, reappears again and again in the nineteenth-century art, deeply concerned as it was with the optical phenomena.

Although many of his subjects are drawn from the medieval history and poetry, dear to the Romanticists, Ingres was resolutely opposed to their abandonment to emotion and to the artistic sources on which they drew. Yet, the influence of Ingres later in the nineteenth century was very great.

Make sure you know how to pronounce the foallowing words:

Dominique Ingres [domiPnÖk P{ngr]; Athens [P{ïinz]; Salon [Ps{lþn]; Delacroix [d@laPkrwþ]; Velazquez [viPl{skwiz]; Odyssey [Podisi]; Iliad [Pili@d]; Eyck [aik]; genius [PdÆÖni@s]; Romanticists [r@uPm{ntisists]; Louvre [Plüv@]; exquisite [Pekswizit]; Shakespeare [PSeikspi@]; Corneille [kþPnei]; Renaissance [r@Pneis@ns]; prodigy [PprodidÆi]; apotheosis [@Ppoïi@saiz]; Gothic [Pgoïik]; laurel [Plor@l]; Chinese [,tSaiPnÖz]; phenomena [f@Pnomin@]; violin [,vai@Plin]; per­spective [pýsPpektiv]

NOTES

Vcdpinqon Bather – "Купальщица Вальпинсон"

Apotheosis of Homer — "Апофеоз Гомеру"

Stamaty Family - "Семья Стамати"

Comtesse d'Houssonville - "Портрет графини Луизы д'Oссонвиль"

Iliad - 'Илиада"

Odyssey - "Одиссея"

rudder [Pröd@] - руль

TASKS

I. Read the text. Make sure you understand it. Mark the fol­lowing statements true or false.

1. Ingres remained faithful to Romantic ideals to the end of his life.

2. Ingres was a talented pianist.

3. The Grand Prix de Rome was won by Ingres.

4. Ingres fancied himself a mythological painter.

5. Ingres was fond of portrait painting.

6. Ingres drew subjects from contemporary poetry.

II. How well have you read? Can you answer the following questions?

1. What did Ingres form? Did Ingres accept the cubic mass of David's mature style? What forms did Ingres prefer?

2. What did Ingres study in Italy? How did the public accept Ingres's first paintings? What are the drawbacks of Ingres's nar­rative pictures? What is one of Ingres's finest paintings?

3. What work embodies the ideal programme of Neo-classicism? Did Ingres make any concessions to the principles of illusionistic ceiling perspective from below? What tradition did Ingres prefer?

4. What is represented in the Apotheosis of Homer? How did Ingres arrange the figures? What binds the figures together? How are the Iliad and the Odyssey depicted?

5. What makes the portrait of Comtesse d'Houssonville world-known?

6. What was Ingres's attitude to other painters? What im­pact did Ingres make on other painters?

III. i. Give Russian equivalents of the following phrases:

to utilise the principles of Neo-classicism; an infant prodigy; to prefer curving form; a history painter; narrative pictures; an Ionic temple; to be crowned with laurel; the muse of epic poetry; geniuses from antiquity and later times; an artificial composition; muralists; pencil studies; perfect in colour; the perfection of the form; the artistic sources; to derive from Classical art; subjects drawn from medieval history; to bind the figures together; an ideal realm; a subtle contour line; an exquisite quality of the line; optical phenomena.

iii. Give English equivalents of the following phrases:

муза эпической поэзии; принципы неоклассицизма; вундеркинд; связать фигуры воедино; предпочитать изогну­тые линии; тематические картины; ионический храм; увенчать лавровым венком; гении античности и более поздних времен; идеальное царство; искусственная композиция; заимствовать из классического искусства; изысканность линии; карандаш­ные наброски; совершенные по цвету работы; изящество ли­нии; творческий источник; слегка намеченный контур; со­вершенство формы; сюжеты из средневековой истории.

iii. Make up sentences of your own with the given phrases.

iv. Arrange the following in the pairs of synonyms:

a) artificial; artistic; perfection; to derive; reflection; phe nomenon; subject; abandonment; laurel; brand;

b) excellence; to obtain; wreath; creative; image; cession; mark of ownership; event; theme; unnatural.

IV. Here are descriptions of some of Ingres's works of art. Match them up to the titles given below.

1. She is posed in a comer of her salon.

2. The surface is modelled to porcelain smoothness.

3. The cool light of an ideal realm binds the figures together in the kind of artificial composition.

a) Apotheosis of Homer

b) Comtesse d'Houssonville

c) Valpinson Bather

V. Translate the text into English.

Жан Огюст Доменик Энгр, превративший давидовский классицизм в академическое искусство и вступивший в противо­борство с романтиками, в семнадцатилетнем возрасте приехал в Париж в ателье Давида. Усвоив классическую систему с ее куль­том античного классицизма, Энгр отказался от революционности стиля своего учителя и стремился уйти от реальной жизни в мир идеального.

В картинах 1810-х годов, оставаясь преданным античным темам, Энгр обращался и к сюжетам из средневековья. Основным произведением художника в это время стал алтарный образ для церкви города Монтобана. Энгр решил образ мадонны близким к Сикстинской мадонне. Эта работа принесла художнику успех в Салоне в 1824 году. Однако некоторые произведения Энгра, та­кие как "Портрет художника Франсуа Мариуса Гране" и "Купальщица Вальпинсон", предвещают новое мироощущение романтиков.

Последние годы жизни Энгра были омрачены битвами сначала с романтиками во главе с Делакруа, затем с реалистами, которых возглавлял Курбе.

VI. Summarize the text.

VII. Topics for discussion.

1. The principles of Ingres's painting.

2. Ingres's style and characters.

UNIT V GOYA (1776-1828)

The greatest artistic genius of the turn of the eighteenth cen­tury was a Spaniard, Francisco Jose de Goya у Lucientes. He made a trip to Italy and was not impressed either by antiquity or by the Renaissance. Goya was a lifelong rebel against artistic or intellectual straitjackets. He managed to skip the Neo-classical phase entirely and passed directly from a personal version of the Rococo to Romantic stage.

In 1786 Goya was appointed painter to the king and in 1799 he became the first court painter. After 1792 Goya was totally deaf, and it liberated him from some of the trivialities of life for meditation on its deeper significance. Goya's brilliant portraits of the royal court may have been influenced by Gainsborough. But his characterisations are far more vivid, human and satiric. Goya's supreme achievement in portraiture is the Family of Charles IV, painted in 1800, an inspired parody of Velazquez's Las Meninas. Thirteen members of the royal family, representing three genera­tions, are assembled in a picture gallery of the palace, with Goya himself painting a large canvas in the shadows at the left. The king, with his red face and with his chest blazing with decorations, and the ugly ill-natured queen are painted as they were. Alfonce Daudet called them "the baker's family who have just won the big lottery prize". Goya's purpose is deeper than satire: he has un­masked these people as evil. Only some of the children escape his condemnation.

The Maja Desnuda is one of the most delightful paintings of the female nude in history. There exists a sketchier clothed version of the picture. The nude was formerly explained as an unconven­tional portrait of the duchess of Alba, a patron and a close friend of Goya's.

The frivolity of this picture contrasts with Goya's denuncia­tion of the inhumanity of warfare, of which the most monumental example is The Third of May, 1808, at Madrid: The Shooting on Principe Pio Mountain, depicting the execution of Madrid rebels by Napoleonic soldiery. The painting commissioned by the liberal government after the expulsion of the French in 1814 and 'done in the same year, is the earliest explicit example of "social protest" in art. Previously the warfare had been generally depicted as glori­ous, cruelties - as inevitable. Goya treats the firing squad as a many-legged, faceless monster, before whose level, bayoneted guns are pushed groups of helpless victims, the first already shattered by bullets and streaming with blood, the next gesticulating wildly in the last seconds of life, the third hiding the horror from their eyes with their hands. A paper lantern gives the only light; in the dimness the nearest houses and the church tower of the city almost blend with the earth against the night sky. Through the medium of broad brushstrokes, Goya communicates unbearable emotion with thick pigment, achieving at once a timeless universality and an immediacy of the reality of the event.

Goya's passionate humanity speaks uncensored through his engravings. Goya made several series of etching-aquatints, the earliest of which Los Caprichos (The Caprices), of 1796-98, is widely imaginative. The first section, dealing satirically with events from daily life, is surpassed by the second, devoted to fantastic events enacted by monsters, witches, and malevolent nocturnal beasts from the demonic tradition of Spanish folklore.

The introductory print of the second section shows the artist asleep at his table loaded with idle drawing instruments, before which is propped a tablet inscribed "El sueno de la razon produce monstruos"("the sleep of reason produces monsters"). Reason, the goddess of the 18-th century philosophers, once put to sleep, al­lows monsters to arise from the inner darkness of mind. Goya's menacing cat and the rising clouds of owls and bats glowing in light and dark are lineal descendants of the beasts of medieval art.

Instead of merely threatening human life, as in Los Ca­prichos, the monsters take over entirely in Goya's final series, Los Disparates (The Follies), engraved between 1813 and 1819. The ultimate horror of Goya's imagination seethes through the series of dark frescoes the artist painted with fierce strokes on the walls of his own house from 1820 to 1822, depicting a universe dominated by unreason and terror, and making cruel mock of human­ity.

One of Goya's rare references to Classical mythology illus­trates the most savage of Greek legends. Saturn Devouring one of his Sons is an allegory of Time which engulfs us all. The glaring, mindless deity holds with colossal hands the body of his helpless son, from which he has torn and is chewing the head and the right arm - all indicated with brushstrokes of an unimagined ferocity.

Now nearing eighty, the great painter was not to live long with these creatures of his despairing imagination. After the resto­ration of a reactionary monarchic government in 1823, he left for France and died in exile.

Make sure you know how to pronounce the following words:

Francisco Goya [fr{nPsÖskou Pgoj@]; duchess [Pdö¶is]; Alba [P{lb@]; Daudet [Pd@udei]; Saturn [Ps{týn]; parody [Pp{r@di]; bayonet [Pbei@nit]; malevolent [m@Plev@l@nt]; nocturnal [nokPtýnl]; demonic [dÖPmonik]; caprices [k@PprÖsiz]; lineal [Plini@l]

NOTES

Family of Charles IV - "Групповой портрет семьи короля Карла IV"

Maja Desnuda - "Маха обнаженная"

The Third of May, 1808, at Madrid: The Shooting on Prin­cipe Pio Mountain - "Расстрел испанских повстанцев францу­зами в ночь на 3 мая 1808 г."

Los Caprichos (The Caprices) - "Каприччос"

Los Disparates (The Follies) - "Диспаратес"

Saturn Devouring one of his Sons - "Сатурн, пожирающий одного из своих сыновей"

TASKS

I. Read the text. Make sure you understand it. Mark the fol­lowing statements true or false.

1. Goya's portraits of the royal court were influenced by Van Dyck.

2. The Family of Charles IV, painted in 1799, is an inspired parody of Velazquez's Las Meninas.

3. In 1786 Goya made several series of etching-aquatints.

4. In 1815 after the expulsion of the French from Spain the liberal government commissioned Goya a painting.

5. When Reason sleeps monsters arise from the inner dark­ness of mind.

6. The monarchy was restored in Spain in 1828.

II. How well have you read? Can you answer the following questions?

1. Was Goya a lifelong rebel against artistic and intellectual straitjackets? What artistic trend did Goya represent?

2. What is Goya's supreme achievement in portraiture? How many figures are portrayed in this portrait? How are the king and the queen depicted? How was this portrait characterised by Alfonce Daudet? What did Goya want to express by this portrait?

3. What is one of the most delightful paintings of the female nude in history? Is there any other version of this picture? How was the nude explained?

4. In what painting did Goya denounce the inhumanity of war? What does this work of art represent? How is the firing squad treated? How are the victims depicted?

5. What is represented in The Caprices? What is pictured in the first section? What does the introductory print of the second section show? What did Goya paint on the walls of his own house?

6. What does one of Goya's rare references to Classical my­thology illustrate? What does this work of art symbolise?

III. i. Give Russian equivalents of the following phrases:

the greatest artistic genius; at the turn of the century; the supreme achievement in portraiture; an inspired parody; a sketch­ier version of the picture; an unconventional portrait; to commis­sion a painting; a firing squad; helpless victims; brushstrokes of an unimagined ferocity; an example of "social protest" in art; etching-aquatints; denounce the inhumanity of war; lineal descendants; references to Classical mythology.

ii. Give English equivalents of the following phrases:

офорт с акватинтой; пример "социального протеста" в ис­кусстве; прямые потомки; ссылки на классическую мифологию; высшее достижение портретной живописи; беспомощные жерт­вы; на рубеже веков; нетрадиционный портрет; энергичные маз­ки; стрелковое подразделение; гениальный художник; осудить жестокость войны; заказать картину; рабочая версия картины.

iii. Make up sentences of your own with the given phrases.

iv. Arrange the following in the pairs of synonyms.

a) ferocity; lineal; parody; supreme; squad; commission; achievement; monster; evil;

b) satire; order; immoral; viciousness; hereditary; beast; exqui­site; unit; feat.

IV. Here are descriptions of some of Goya's works of art. Match them up to the titles given below.

1. This painting is the earliest explicit example of "social pro­test" in art.

2. Goya unmasked these people as evil.

3. The first section, dealing with events from daily life, is sur­passed by the second, devoted to fantastic events.

4. The monsters take over entirely.

5. This work of art is an allegory of Time which engulfs us all.

6. This picture is an unconventional portrait of the duchess of Alba.

A. Maja Desnuda

F. Family of Charles IV

V. Summarize the text.

VI. Translate the text into English.

Франсиско Гойя, величайший художник Испании, работал на рубеже XVIII и XIX вв. Придворный живописец испанского короля Гойя, чтобы скрыть истинный смысл своих произведений, был вынужден прибегать к аллегориям. В знаменитой серии офортов "Каприччос" художник изобразил кошмарный мир чу­довищ и уродов. "Каприччос" включает 80 листов. Это обвини­тельный акт церкви, дворянству, абсолютизму - миру зла, лице­мерия и фанатизма.

Значительное место в творчестве Гойи занимают портреты. В них наиболее ярко проявился блестящий талант живописца. В одних портретах Гойя сумел показать красоту людей богатой духовной жизни. В других - мастер изобличил моральное паде­ние стоящих у власти людей. Таков "Групповой портрет короля Карла IV".

В период борьбы испанцев против наполеоновского втор­жения Гойя создал одно из наиболее выдающихся своих произ­ведений - "Расстрел испанских повстанцев французами в ночь на 3 мая 1808 г.", в котором изобразил трагическую развязку мадридского восстания и раскрыл могучий дух непокоренного народа.

Искусство Гойи предваряло романтизм - новое худо­жественное направление в западноевропейском искусстве.

VII. Topics for discussion.

1. Goya's portraits.

2. Goya's engravings.

3. Goya as a forerunner of Romanticism.

UNIT VI DELACROIX (1798-1863)

Eugene Delacroix was one of the leading French and Euro­pean painters for more than a generation. He was a real Roman­tic - solitary, moody, imaginative, profoundly emotional. Al­though Delacroix admired Italian art and wanted to go to Italy, he never went there; his journeys were to England, Belgium, Holland, Spain and North Africa. His life was marked by few external events. His real life, of great intensity, was lived on the canvas. "What is most real in me," he wrote, "are the illusions I create with my painting; the rest is shifting sand". In the course of his life he produced thousands of oil paintings and water-colours and innumerable drawings, and not long before his death he claimed that "in the matter of compositions I have enough for two human lifetimes; and as for projects of all kinds, I have enough for four hundred years." Delacroix wanted to paint scenes of emotional or physical violence. Often he drew his subjects from English poetry, especially Shakespeare and Byron, and from medieval history. He admired Beethoven, but his idol in music was "the divine Mozart". His lifelong loyalty to the sixteenth century Venetians and to Rubens constantly strengthened.

In the Bark of Dante, of 1822, Delacroix illustrates a mo­ment from the Divine Comedy in which the poet, accompanied by Virgil, is steered across the dark tides of the lake surrounding the city of Dis, attacked in the sulphurous dimness by damned souls rising from the waves against a background of towers and flames. In this painting Delacroix has broken up the pyramidal grouping, and is more concerned with effects of colour and of light and dark than with form. Some of the drops of water are painted in pure tones of red and green. Delacroix's basic compositional principle is a series of free curves, arising from the central area and always returning to it. This painting was highly praised.

Delacroix's next major work the Massacre at Chios, of 1824, was not easily accepted. The subject was an incident from the Greek wars of liberation against the Turks, which had excited the sympathies of Romantic spirit everywhere. The foreground is scattered with bodies. The neobaroque composition is diffused in De­lacroix's centrifugal curves, which part to display the distant slaughter and conflagration. The observer's sympathies are sup­posed to be with the sufferings of the Greeks, but their rendering is not convincing. The expressions tend to become standardised; the head of the young woman at the lower left almost repeats that of the dead mother at the lower right. This picture was called the "massacre of painting." The colour shows a richness and vibrancy not visible in French painting since the Rococo. He brought this huge picture to Paris for the Salon of 1824, and before the exhibi­tion opened he took it down and repainted it in tones emulating those, he found in Constable. From here on, Delacroix's interest in colour was great. He investigated colour contrasts on the canvas and in nature and derived a law - "the more contrast the greater the force."

With the Death of Sardanapalus as a manifesto of Romanti­cism, the artist drew down upon himself the disapproval of royal administrators. The legendary subject concerns the last of the Assyrian monarchs, besieged in his palace for two years by the Medes. On hearing that the enemy had at last breached his walls, the king had all his concubines, slaves, and horses slaughtered and his treasures destroyed before his eyes, as he lay upon a couch soon to become his funeral pyre. Lacking the pretext of humanitarianism that justified the Massacre at Chios and other pictures inspired by the Greek struggle for independence, the painting be­comes a feast of violence, spread out in glowing colours against the smoke of distant battle. The picture is a phantasmagoria in which no real cruelty is exerted. Faces are paralysed with fear but no blood flows. Quivering female flesh is heaped like flowers or fruit, among the glittering jewels and the fabrics of crimson. In his solitary fantasy the artist, identifying himself in imagination with the king and the executioners, discharges all his creative and de­structive energy in an explosion of tones.

The Revolution of 1830, which placed on the throne Louis Philippe, the "Citizen King" brought Delacroix relief from pov­erty. In 1832 he travelled through North Africa with the French delegation. He was the first major painter of modern times to visit the Islamic world. And this was the only real adventure of his life. Although he had no opportunity to paint, and found even drawing dangerous on account of Islamic hostility to representation, he brought back with him hundreds of sketches in pencil or pen. His memory of exotic sights and colours, his vivid imagination pro­vided him with endless material for paintings for the next thirty years.

Delacroix's memories of North Africa were realised in the Women of Algiers, a picture of exquisite intimacy and charm, painted and exhibited in 1834. This picture had an enormous in­fluence on the Impressionists of the late nineteenth century and on many paintings of the early twentieth century, especially Matisse.

Most of the pictures of North African subjects painted dur­ing Delacroix's later years were less tranquil. The Tiger Hunt, of 1854, is typical, with forms and poses born of the artist's imagina­tion. In 1847 Delacroix wrote, "When the colours are right, the lines draw themselves," and so they do, in the movements of the raging animals and furious huntsmen, flowing out from the centre and back again with passionate intensity and perfect logic. Almost weightless, liberated from matter, these late fantasies of violence carry the artist into a phase of free colouristic movement pointing directly toward the twentieth century.

Make sure you know how to pronounce the following words:

Eugen Delacroix [ýPÆen d@laPkrwþ]; Mozart [Pm@utsþt]; Dante [Pd{nti]; Romanticism [r@uPm{ntisizm]; Venetian [v@PniSn]; Virgil [PvýdÆil]; massacre [Pm{s@k@]; Chios [Pkai@s]; Medes [mÖdz]; Sardanapalus [sþd@Pn{p@l@s]; Assyrian [@Psiri@n]; Matisse [maPtÖs]; Islamic [izPl{mik]; Beethoven [Pbeith@uvn]; Algiers [{lPdÆi@z]

NOTES

Bark of Dante - "Ладья Данте"

Divine Comedy - " Божественная комедия"

Massacre at Chios - "Хиосская резня"

Death of Sardanapalus - "Смерть Сарданапала"

Women of Algiers - "Алжирские женщины в своих покоях"

Tiger Hunt - "Охота на тигров"

Dis - Дит (у Данте имя Люцифера и название области нижнего Ада)

"Citizen King" – король-буржуа

TASKS

I. Read the text. Make sure you understand it. Mark the fol­lowing statements true or false.

1. Delacroix produced thousands of oil paintings.

2. Delacroix's idol in music was Chopin.

3. Delacroix painted scenes full of harmony.

4. Delacroix was loyal to Raphael and Rembrandt.

5. Colour was the major determinant in Delacroix's works.

6. Delacroix identified himself with the Assyrian monarch.

II. How well have you read? Can you answer the following questions?

1. What artistic movement did Delacroix embody? What did Delacroix write about illusions and reality?

2. What did Delacroix write about his projects?

3. What moment did Delacroix show in the Bark of Dante? What compositional principle did he use in this painting? How was this picture treated by the public?

4. What is the subject of the Massacre at Chios? How was this picture called? What did Delacroix do with the picture when it was brought to the Salon?

5. What painting became a manifesto of Romanticism? What is the subject of this work of art?

6. What was the only real adventure of Delacroix's life? What is realised in the Women of Algiers? What did Delacroix write about painting in 1854?

III. i. Give Russian equivalents of the following phrases:

to create the illusions; free colouristic movement; to produce water-colours; scenes of violence; to derive the subjects from poetry and from medieval history; sulphurous dimness; to break up the py­ramidal grouping; Romantic spirit; centrifugal curves; to display the distant slaughter and conflagration; the richness of colour; a feast of violence; sketches in pencil; to derive a law.

ii. Give English equivalents of the following phrases:

свободное движение цвета; карандашные наброски; изо­бразить резню и пожар вдали; дух романтизма; вывести закон; богатство красок; сцены насилия; создать иллюзии; разрушить пирамидальную группу; черпать сюжеты из поэзии и средневеко­вой истории; создавать акварели; основной композиционный принцип; центростремительные линии; разрушительная энергия.

iii. Make up sentences of your own with the given phrases.

iv. Arrange the following in the pairs of synonyms:

a) solitary; emotional; to admire; derive; conflagration

b) lonely; obtain; to praise; fire; passionate.

IV. Here are descriptions of some of Delacroix's works of art. Match them up to the titles given below.

1. This picture is a phantasmagoria with no real cruelty.

2. Delacroix illustrates a moment in which the poet is steered across the dark tides of the lake.

3. These fantasies point directly toward the twentieth century.

4. The subject was an incident from the Greek wars of libe-ration against the Turks.

5. This picture had a great influence on the Impressionists.

a) Massacre at Chios

b) Tiger Hunt

c) Women of Algiers

d) Bark of Dante

E) Death of Sardanapalus

V. Translate the text into English.

Выставленная в Салоне в 1824 г. картина "Резня в Хиосе" сделала Делакруа вождем романтизма. Картина получила неод­нозначную оценку. Одни ею восхищались, другие называли кар­тину резней живописи. Делакруа не признавал данное ему звание романтика. Романтизм противопоставлялся классицизму и имел расплывчатое определение. Однако, несмотря на отсутствие про­граммы, стал мощным художественным движением XIX в.

В Салоне в 1827 г. Делакруа выставил большое полотно "Смерть Сарданапала", которое стало манифестом романтизма. Картину оценили должным образом только в 1921 г., когда она была куплена Лувром.

Эжен Делакруа жил интенсивной духовной жизнью. Его кумирами были: в живописи - Гойя и Рубенс, в музыке - Моцарт. Первая работа Делакруа "Ладья Данте", вдохновленная "Божественной комедией" Данте, подверглась сильной критике.

Поездки Делакруа в конце 1831 - 1832 г. в мусульманские страны вдохновили художника на создание прекрасных картин, одной из которых является "Алжирские женщины в своих поко­ях" 1834).

VI. Summarize the text.

VII. Topics for discussion.

1. Romanticism in art.

2. Delacroix's style and characters.

3. Delacroix's artistic heritage.

UNIT VII CONSTABLE (1776-1837)

The mainstream of English painting in the first half of the nineteenth century was landscape. Constable and Turner, the greatest of the landscapists, approached nature with excitement. At that time nature was beginning to be swallowed up by the ex­panding cities of the Industrial Revolution.

John Constable, the son of a miller on the River Stour in Suffolk, honoured all that was natural and traditional, including the age-old occupation of farmer, miller, and carpenter, close to the land whose fruits and forces they turned to human use. He loved the poetic landscapes of Gainsborough, he studied the con­structed compositions of the Baroque, he admired Ruisdael's skies. Rebelling against the brown tonality then fashionable in landscape painting - actually the result of discoloured varnish darkening the Old Masters – he supplemented his observations of nature with a study of the vivacity of Rubens's colour and brushwork.

As early as 1802, Constable started to record the fleeing as­pects of the sky in the rapid oil sketches made outdoors. "It will be difficult to name a class of landscape in which sky is not the key­note, the standard of scale, and the chief organ of sentiment," he wrote. Constable systematically studied cloud formation in 1821-22. These studies show his surrender to the forces of nature, a passionate self-identification with sunlight, wind, and moisture.

Constable never left England and made dutiful sketching tours through regions of acknowledged scenic beauty. His superb The Hay Wain, of 1821, sums up his ideals and his achievements. Composed as if accidentally - though on the basis of many pre­liminary outdoor studies - the picture, painted in the studio, shows Constable's beloved Stour with its trees, a mill, and distant fields. In his orchestra of natural colour the solo instrument and conductor at once is the sky. The clouds sweep by, full of light and colour, and their shadows and the sunlight spot the field with green and gold. As the stream ripples, it mirrors now the trees, now the sky. The trees are made up of many shades of green and patches of light reflect from their foliage. These white highlights were called "Constable's snow". The Hay Wain was triumphantly exhibited at the Salon of 1824, where Constable's broken colour and free brushwork set in motion a new current in French land­scape art, which later culminated in the Impressionist movement.

In 1829 Constable became member of the Royal Academy.

In later life, after the death of his wife, Constable entered a period of depression in which his passionate communion with na­ture reached a pitch of semi-mystical intensity. One of his late pic­tures is Stroke-by-Nayland, of 1836-37, a large canvas in which the distant church tower, the wagon, the plough, the horses, and the boy looking over the gate are instruments on which light plays. The symphonic breadth, of the picture, and its crushing chords of colour painted in a rapid technique, bring to the finished painting the immediacy of the colour sketch. Such pictures are equalled in earlier art only by certain landscape backgrounds in Titian or by the mythical reveries of the late Rembrandt.

Make sure you know how to pronounce the following words:

Constable ['könst{bl]; Turner ['týn@]; Ruisdael [PraizdÓl] Stour [stu@]; Suffolk [Psöf@k]; chords ['kýdz]; triumphantly [traiPömf@ntli]; varnish ['vÓniS]; palette [Pp{l@t]; plough [plau]; wain [wein]; flexible [Pfleks@bl]; culminated [Pkölmineitid]; plank [pl{nk]

NOTES

The Hay Wain - "Телега для сена"

Suffolk - Суффолк (графство)

Stour - р. Ст(а)ур

TASKS

I. Read the text. Make sure you understand it. Mark the fol­lowing statements true or false.

1. Constable was the greatest English portraitist.

2. In the first half of the eighteenth century nature was be­ginning to be swallowed up by the expanding cities of the Indus­trial Revolution.

3. Discoloured varnish darkened the Old Masters.

4. Constable often visited Italy, Belgium, Holland and Spain.

5. The Hay Wain was highly praised at the Salon of 1834.

6. In 1829 Constable became member of the Royal Acad­emy.

II. How well have you read? Can you answer the following questions?

1. What was the mainstream of English painting in the first half of the nineteenth century? What was the attitude of Constable and Turner to nature?

2. What did Constable honour? What did he love and ad­mire?

3. What did Constable start to record as early as 1802? Why? What do Constable's studies show? What tours did Con­stable make?

4. What does The Hay Wain sum up? What does this pic­ture show? What is the major element of the picture? How has Constable depicted the clouds, the stream and the trees? How were the white highlights called? What did Constable set in motion?

5. Was Constable happy in later life? Why?

6. What was one of Constable's late pictures? What is repre­sented in this work of art? What brings to the finished painting the immediacy of the colour sketch?

III. i. Give Russian equivalents of the following phrases:

the poetic landscape; the brown tonality; oil sketches made outdoors; a surrender to the forces of nature; self-identification with sunlight and wind; to make sketching tours; regions of sce­nic beauty; preliminary outdoor studies; patches of light; free brushwork; to set in motion; a flexible steel palette knife; a finished painting; a colour sketch.

ii. Give English equivalents of the following phrases:

законченная картина; цветной набросок; гибкий сталь­ной шпатель; подчиниться силам природы; пятна света; эски­зы маслом, написанные на пленэре; подвижные мазки; богат­ство цвета; олицетворение с солнечным светом и ветром; живо­писные места; романтический пейзаж; коричневый тон; ездить по стране и писать этюды.

iii. Make up sentences of your own with the given phrases.

iv. Arrange the following in the pairs of synonyms:

a) triumphant; dapple; preliminary; highlight; hue; ripple;

b) mark; preparatory; victorious; tone; accent; wave.

IV. Here are descriptions of some of Constable's works of art. Match them up to the titles given below.

1. The painting shows the Stour with its trees, a mill, and dis­tant fields.

2. The distant church tower, the wagon, the horses, and the boy looking over the gate are instruments on which light plays.

A. Stroke-by-Nayland

B. The Hay Wain

V. Translate the text into English.

Новое отношение к природе воплотил в своем творчестве Джон Констебл. Констебл никогда не покидал Англию. Он изу­чал только ту живопись, которую мог видеть на родине. Кон­стебл один из первых стал писать этюды на пленэре, опередив в непосредственности впечатления художников французской шко­лы. Важным нововведением Констебля явились его большие эс­кизы маслом. Констебл писал смелыми подвижными мазками.

Картины Констебля на парижских выставках 1824 и 1825 гг. явились истинным откровением для французских романтиков. Новаторская живопись Констебля оказала большое влияние на развитие французского пейзажа XIX века.

VI. Summarize the text.

VII. Topics for discussion.

1. Constable's style and colour.

2. Constable's artistic influence.

UNIT VIII TURNER (1775-1851)

Joseph Mallord William Turner was a Londoner. He had no mystical attachment to nature. He made frequent trips throughout the Continent, especially Germany, Switzerland and Italy, revelling in mountain landscapes, gorgeous cities (especially Venice), and the most extreme effects of storms, fires and sunsets. Once he even had himself tied to a mast during a storm at sea so that he could experience the full force of the wind, waves, and clouds swirling about him. Turner made beautiful and accurate colour notes on the spot in water-colour, and painted his pictures in the studio, in secrecy, living under an assumed name and accept­ing no pupils. He was the first to abandon pale brown in favour of white, against which his brilliant colour effects could sing with perfect clarity.

Turner often painted historical subjects, usually those of Delacroix, involving violence as well as shipwrecks and conflagra­tions, in which the individual figures appear as scarcely more than spots in a seething tide of humanity. He liked to accompany the labels with quotations from poetry, often his own. Nonetheless, at his death a great many unfinished canvases were found that had no identifiable subject or representation at all. Turner really en­joyed and painted the pure movement of masses of colour - a kind of