Западноевропейское искусство от Хогарта до Сальвадора Дали

Рецензенты:

Е.Б. Яковлева, доктор филологических наук, профессор

И.В. Шевлягина, кандидат филологических наук, доцент

РЕКОМЕНДОВАНО кафедрой иностранных языков историче­ского факультета МГУ им. М.В. Ломоносова

Гигиенический сертификат

№77.ЦС.04.952.П.01340.Г98. oт 03.03.98.,

выдан Центральным органом по гигиенической сертификации издательской продукции издательству "Московский Лицей" на учебные, художественные, научно-популярные издания. Действителен на издания, подписанные в печать до 03.03.2000 г.

Тексты насоящего пособия охватывают почти три века истории за­падноевропейского искусства от Хогарта до Сальвадора Дали. Это позволяет обучаемым наряду с усвоением обширного лексического материала, приобрести культурологические знания, поскольку тексты содержат информацию о жизни и творчесгве крупнейших западно-европейских художников XVIII — XX вв. Система упражнений направлена на усвоение лексического материала и разви­тие навыков устной речи.

Данная книга является второй частью цикла учебных пособий «Западноевропейское искусство (для изучающих английский язык)». В первую книгу вошли тексты, охватывающие пять веков западноевропейской живопи­си oт Джотто до Рембрандта. Данное пособие предназначено для студентов-искусствоведов, учащихся классических гимназий, лицеистов и всех изучающих англииский язык и интересующихся западноевропейским искусством.

© Миньяр-Белоручева А.П.

© Оформление "Московский Лицей". 1999

ISBN 5-7611-0182-3

Издательство "Московский Лицей"

Адрес: Москва, Ярославское ш., д. 2, корп 1

Телефон: (095) 188-59-71,Факс: (095) 188-33-10

ЛР № 063726 от 24.11.94. Подписано в печать 12.01.99. Формат 60х88 1/16

Печать офсетная. Бумага газетная. Печ. л. 6,0. Тираж 5000 экз. Зак. 25

Отпечатано в Производственно-издательском комбинате ВИНИТИ,

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ВВЕДЕНИЕ

Данная книга является второй частью цикла учебных пособий "Западноевропейское искусство (для изучающих анг­лийский язык)". В первую книгу этого цикла вошли тексты, охватывающие пять веков западноевропейской живописи от Джотто до Рембрандта.

Материалом настоящего пособия, состоящего из 19 уроков, послужили оригинальные тексты видных историков искусства. Тематика текстов охватывает почти три века за­падноевропейской живописи от Хогарта до Сальвадора Дали. Это дает возможность обучаемым наряду с усвоением об­ширного лексического материала, составить общее пред­ставление о направлениях развития западноевропейской жи­вописи за последние триста лет.

Объем пособия позволяет остановиться только на де­вятнадцати художниках. В представленных текстах, дается краткая биографическая справка и анализируются некоторые произведения искусства наиболее выдающихся художников нового времени.

Тексты в пособии расположены в хронологическом по­рядке и позволяют проследить революционный ход развития западноевропейской живописи, с начала XVIII века и почти до конца XX века. Каждый урок включает тексты и упраж­нения, позволяющие проверить как общее понимание прочитанного, так и закрепить только что усвоенный лек­сический материал. Все тексты аутентичны.

Пособие может быть использовано не только студента­ми-искусствоведами, но и самым широким кругом читателей, интересующихся историей западноевропейской живописи. В рамках издания готовятся учебные пособия по скульптуре и архитектуре для изучающих английский язык.

UNIT I HOGARTH (1697-1764)

A strikingly original school of painting arose in eighteenth-century England. The real founder of the modern British school was William Hogarth, a Londoner whose narrative candour and satiric wit are as effective as his dazzling pictorial skill. Although Hogarth tried his hand occasionally at mythological and historical subjects, he was at his best in portraits and moralistic cycles. The latter were painted as bases for engravings, which Hogarth sold widely and profitably. The most successful were A Rake's Prog­ress, A Harlot's Progress, and Marriage a la Mode, 1743-45, whose opening episode is Signing the Contract. The scene is set diagonally in depth for greater theatrical effect. In a room of his London house, lined with Old Masters (which Hogarth professed to hate), the gouty alderman, father of the bride, sits before a table spread with gold coins of the dowry and expatiates about his family tree, to which he proposes to add the earl. That gentleman, who has exhausted his fortune in building the Palladian mansion seen out the window (Hogarth detested the Palladian style) admires himself in a mirror. His betrothed, meanwhile, is listening to the compli­ments murmured in her ear by the attorney. Clearly, the story will come to a bad end. The energetic composition owes much to the Rococo, but Hogarth's robust handling of poses and his special variety of bold yet soft brushwork are as original as his wit.

Make sure you know how to pronounce the following words:

William Hogarth [Pwilj@m PhougÓï]; alderman [Pþld@m@n]; diagonally [daiP{ganli]; Rococo [r@Pk@uk@u]; Palladian [p@Pleidj@n]; mansion [Pm{nSn]; dowry [Pdau@ri]; earl [ýl]; betrothed [biPtr@uDd]; candour [Pk{nd@]; expatiate [iksPpeiSieit]; profess [pr@Pfes]

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