Study the Vocabulary Notes and translate the illustrative examples into Russian. A. 1. See at what intervals the guard is relieved at that bridge

2. Translate the following sentences into Russian. Pay attention to the words and word combinations in bold type:

A. 1. See at what intervals the guard is relieved at that bridge. 2. The thief relieved him of his watch. 3. Ann was grateful*to him for relieving her of the other girl's presence. 4. Her husband was annoyed because nothing had been said to him before, and re­lieved his feelings by shouting back at Johnny. 5. It was rather a relief to have him out of the way. 6. Sooner than renounce their principles Kramskoi and twelve others resigned from the Academy of Arts. 7. From the beginning to the end of his life Turner's one paramount artistic aim was the representation of light and atmo­sphere. 8. You could tell that the flowers she was wearing were arti­ficial. 9. In those days conversation was still cultivated as an art. 10. This is a convenient tool for drawing nails out. 11. The snail draws in its horns when it is frightened. 12. Mr. Mcintosh has many interesting stories of his travels if you can draw him out. 13. Moths are drawn by a light. 14. Certainly his name would still be a great draw for bourgeois audiences. 15. Gainsborough is fa­mous for the elegance of his portraits and his pictures of women in particular have an extreme delicacy and refinement. 16. Going in and out of the court-room he was calm and courteous, the picture of rationality. 17. The picture was released three months later, and by that time they were back in New York. 18. Each of Gainsbor­ough's portraits is distinct and individual, even though taken as a whole they depict an entire society in its significant manifesta­tions. 19. In his "View Across the Thames" Turner has represented a scene looking directly into the rays of the afternoon sun, a condi­tion which the human eyes normally cannot tolerate. With scientif­ic precision he has portrayed the golden path of the reflection on the water and the sparkle of light on the wet lawn. 20. It was a strange situation, and very different from any romantic picture which his fancy might have painted.

B. 1. He stood watching the play of colours upon the water. 2. Before us, in this strange mountain world of grass, the colours were soft and delicate— fawns, pale greens, warm browns and golds. 3. The subject is neither pretty nor young, yet by subtle co­louring and a rhythmic flow of simple lines an extraordinary feel­ing of beauty is created. 4.1 have little doubt that he will be as pop­ular as he deserves here. 5. Doubtless, by this time, they are well on their way in quite another direction. 6. All this doubt and uncer­tainty made her very unhappy. 7.1 doubt if he is going to get away with it. 8. A series of Italian views decked the walls, a connoisseur had selected them, they were genuine and valuable. 9. The party was admirably selected. 10. Joan sat down at the piano in front of the platform to play a selection from a musical comedy. 11. They are both of a size. 12. "I don't want a life-sized portrait of myself," answered the lad, swinging round on the music-stool. 13. They met Edgar coming out of the house in a G. I. khaki shirt three sizes too big for him. 14. As a result the town remained the same size for a hundred years. 15. A fair-sized maple tree stood in front of the girl's private school. 16. With an almost visible effort the young man regained his control. 17. He made an effort to rise but his legs wouldn't support him. 18. With a strong mental effort Sir Lawrence tried to place himself in a like dilemma.

3. Paraphrase the following sentences using your active vocabulary:

A. 1. The doctor's treatment did not ease his pain. 2. It was a great comfort to know that the children were safe. 3. He felt himself somehow free of further responsibility. 4. I'm on duty until 2 p. m. And then Peter is coming to take my place. 5. The little boy said, "I can whistle with my mouth," and was eager to demonstrate his skill. 6. She has a kind of forced smile. 7. They know how to be pleasant. They've cultivated that accomplishment for centuries.

8. Her beauty attracted them as the moon the sea. 9. She crossed the room, pulled the curtains apart and opened those low windows. 10.1 could not obtain any information from him. 11. Well known as it is, this is a painting one can go back to again and again, without coming to the end of its fascination. 12. Constable managed to paint the English countryside in all its moods. 13. You look an em­bodiment of health. 14. This doctor is a mild-looking man, not what I'd imagined at all. 15. I want to execute a really good likeness of your father. 16. Dirk Stroeve had a taste for music and literature which gave depth and variety to his comprehension of pictorial art.

B. 1. She was a dull, undistinguished-looking little thing. 2. Donald blushed violently and then looked away. 3. Monet pre­ferred transparent light tints. 4. She'd be pretty if her complexion weren't bad. 5. The flowers added freshness and brightness to the room. 6. It's quite certain. 7. I'm uncertain as to what we ought to do under the circumstances. 8. Harris's shirt was in a questionable taste. 9. I secretly distrusted the accuracy of both descriptions ap­plied to one girl. 10. Having looked through the catalogue the sci­entist carefully chose the books which he needed for his research work. 11. The choice of paintings for the exhibition was admirable.

12. The bump on the boy's forehead was as big as a duck's egg.

13. He noticed that Strickland's canvases were of different magni­tude. 14. I don't want to camp out and spend the night in a tent no bigger than a tablecloth. 15. She found it a strain to talk of anything else with Bart. 16. Please try and come. 17. The giant lift­ed up the big rock quite easily. 18. Pouring out the cod-liver-oil she wrinkled her nose in an attempt to keep her nostrils closed.

4. Explain or comment on the following sentences:

A. 1. He relieved Poirot deftly of his overcoat. 2. Mallory's chief reaction was one of relief: he would have hated to have to speak to him again. 3. But Hilary could not relieve himself of his own bur­dens in that way. 4. Have you heard the news? What a relief! 5. Your room is arranged very artistically. 6. The arts of the painter and sculptor had been employed to make the palace beautiful. 7. "Every portrait that is painted with feeling is a portrait of the artist, not of the sitter," said Basil Hallward. 8. It was not long before I found, to my own surprise, that the difficult art of fishing I was attempting had, indeed, a powerful fascination. 9. When it was over he drew a deep breath. 10. Beauty drew him irresistibly. 11. If the reporter could not get facts for his stories, he often drew on his imagination. 12. A considerate host always tries to draw a left-out guest into conversation. 13. Mr. Strickland has drawn the portrait of an excellent husband and father, a man of kindly tem­per, industrious habits, and moral disposition. 14. I haven't had my picture taken for years. 15. "Mousehold Heath" is a magnificent picture by John Crome. It depicts a shepherd-boy and his dog with a few sheep on a piece of broken, tufted ground. 16. He pictured the house half-way to Plyn hill, ivy-covered and with a view of the harbour, and Janet waiting for him when the day's work was done. 17. Leonardo da Vinci loved to portray the smile and used it to give life and reality and the illusion of spiritual depth to his characters. 18. The president wasted no words, yet managed to paint a detailed and vivid picture of the nation's strength. 19. The Russian art students were anxious to paint national themes and to choose the subjects of their paintings themselves. Classical subjects did not appeal to them, for their hearts lay in realism and 'purpose' painting. 20. Cezanne would never have painted his ex­quisite pictures if he had been able to draw as well as the academic Ingres. 21. She painted his ingratitude in the blackest colours.

B. 1. He met her challenge with a bitter smile though all colour had left his face. 2. Tristram's face went stern as death, and he bit his lips, while his bride became the colour of the red roses on the table in front of her. 3. His reputation was a trifle off colour. 4. These pages form the record of events that really happened. All that has been done is to colour them. 5. Mr. Gaitskill never for a moment doubted his divine right to do, within the accepted lim­its, exactly what he liked. 6. The weather looks very doubtful.

7. I shouldn't like to live in such a doubtful neighbourhood.8. Doris had now made it clear that she doubted the sincerity of Laura's deep affection for Conrad. 9. The whole art was to stay si­lent, to select one's time, and then pick off the enemies. 10. The boy's sailor-suit had been selected in the thrifty expectation of his "growing into it". 11. Books are often displayed on the counter to let the customers select what they like. 12. The man who had charge of the canoes was a tremendous fellow, brown all over, who had been selected for his strength. 13. He felt, as other men felt in her presence, a size larger than life. 14. Harris suggested that George never ought to come into an ordinary sized boat with feet that length. 15. We saw the ruins overgrown with creepers, half- buried in vegetation, but still gigantic in size. 16. I myself might have painted the portrait. The forlorn dark eyes gazed steadily back at me, sharing, or at least understanding, as it seemed, my foolish boyish dreams. 17. The "Young Man" seems to gaze at us with such an intense and soulful look that it is almost impossible to believe that these dreamy eyes are only a bit of coloured earth spread on a rough piece of canvas. 18. He made a gentle effort to introduce his friends into Bertolini society and the effort had failed. 19. Roy became aware that someone was approaching him, and pulled himself together with a strong effort. 20. He abandoned his fruitless efforts to sleep. 21. Lampton joined in the laughter but it was a considerable effort.

 

5. Choose the right word:

draw — paint

1. She placed the paper and pencil before me and told me I could... anything I liked. 2. The picture was... so that the eyes seem to follow you no matter where you are.

colours — paints

1. This possible picture she painted in glowing..., until the child's pathetic dark eyes glistened with pleasure. 2. If you want cornflower blue you'd better mix these two.... 3. The warm... are red, yellow and orange.

picture — portray — represent

1. Roerich's paintings for the Kazan railway station in Moscow... combats between Russians and Tatars. 2. I could hardly г.. Char­lie in this role. 3. The great tragic actress is... in her day dress. 4. The artist was concerned more with re-creating the radiance of Venice than with... the solid structure of its monuments.

choose — select

1. Meg had... her second daughter to accompany her to the wedding. 2. The books were specially... to attract and develop the youthful mind. 3. Members of the committee were... by elec­tion. ^

6. Give English equivalents for the following phrases:

снять напряжение; облегчить боль; усомниться в чём-л.; выбрать новогодний подарок; воплощение здоровья; отобрать лучших испол­нителей; разные по величине; иметь широкий ассортимент чего-л.; на номер больше, чем нужно; сделать большое усилие; сомневаться в чьей-л. искренности; сгущать краски; заставить кого-л. разгово­риться; успокоить, утешить кого-л.; фальшивая улыбка; заурядный человек; неясный ответ; дать выход своим чувствам; скрасить одно­образие; близиться к концу; выглядеть бледным; говорить с трудом; вздох облегчения; сделать вывод; представлять себе; сфотографиро­вать кого-л.; платье кремового цвета; самый большой, если не по ве­личине, то по значению; приложить все силы; черпать вдохновение; написать картину; писать с натуры; портрет в натуральную величи­ну; яркие, сочные краски; тусклые тона; учитель рисования; искусст­вовед; художник-любитель; артистическая личность; портретист; пейзажист; живописное место; цветная репродукция; формат карти­ны; художественная выставка; художественный вкус; изображать сцены из жизни простых людей

7. Translate the following sentences into English:

A. 1. Оливер с облегчением заметил, что человек напротив не уз­нал его. 2. Как часто меняются часовые у ворот? 3. Какое блажен­ство! Наконец я могу вытянуть ноги. 4. Молодая женщина вздохнула с облегчением, когда Шерлок Холмс согласился взяться за ее дело. 5. Новое лекарство не помогло ему. 6. Оскар Уайльд был представи­телем теории «искусство ради искусства». 7. Этот предмет скорее по­хож на чайник, чем на произведение искусства. 8. Никогда бы не по­верил, что эта картина написана художником-любителем. 9. Хотя Дирк Стрёв сам был плохим художником, он обладал тонким худо­жественным вкусом, и ходить с ним на выставки было одно удоволь­ствие (a rare treat). 10. Выставка прикладного искусства оказалась очень интересной, и мы бродили по залам час или два. 11. Старый негр не захотел раскрыть секреты своего искусства врачевания. 12. Рози отдернула занавеску и выглянула из окна. 13. Человек со шрамом вытащил платок и вытер лицо. 14. Чем больше сыщик ста­рался вызвать Джерри на откровенность, тем меньше ему это удава­лось. 15. Пьеса такого рода наверняка привлечет публику. 16. Маль­чик очень хорошо рисует, но родители не одобряют его решения стать художником. 17. Я люблю рассматривать старые семейные фо­тографии. 18. Что касается младенца, он воплощение здоровья. 19. Сюжет картины очень прост. На ней изображен мальчик-пастух на фоне вечернего неба. 20. Женщина изображена сидящей перед зеркалом. 21. Жизнь столицы изображена в этом романе в самых мрачных тонах. 22. Известно, что Мона Лиза слушала музыку, в то время как Леонардо да Винчи писал ее портрет.

B. 1. О красках картин Рейнольдса, выдающегося английского жи­вописца, трудно судить в настоящее время, потому что многие его картины потрескались и поблекли. 2. Н. Рерих много путешествовал по Индии и Тибету, и краски, которые он там видел, оказали влияние на его палитру. 3. Современники ценили в Гейнсборо портретиста, а сам художник всю жизнь считал себя пейзажистом. 4. Импрессиони­сты пытались передать игру красок на поверхности предметов.

5. У ребенка не совсем здоровый вид сегодня. 6. Дженет улыбалась, ее глаза блестели, и на щеках был румянец. 7. Не может быть сомне­ния в том, что мы должны воспользоваться моментом. 8. Джемма со­мневалась, что листовки могут принести пользу. 9. У меня нет ни ма­лейшего сомнения, что он просто пытается выманить у вас эту ценную книгу. 10. Вы зашли слишком далеко, вы сомневаетесь в чес­тности вашего старого друга. 11. Не сомневаюсь, что она постарается устроить сцену. 12. У нас не хватит времени, чтобы выбрать хороший подарок к Новому году. 13. Товары были выставлены таким образом, чтобы покупатели могли выбирать то, что им нравится. 14. Он гово­рил медленно, останавливаясь время от времени, тщательно подби­рая нужные слова. 15. Вот пара ботинок вашего размера. 16. Мне нужны перчатки на размер меньше. 17. Незнакомец вытащил из кар­мана предмет величиной со спичечный коробок. 18. Усилием воли Эндрю взял себя в руки. 19. Не отчаивайтесь, ваши старания будут вознаграждены. 20. Мне стоило большого труда уговорить его со­трудничать в нашей газете.

8. Review the Essential Vocabulary and answer the following questions:

1. How is one likely to feel on learning that the danger is avert­ed? 2. What is the usual effect of a sedative? 3. What do we call a person with a university degree? 4. If the walls of the house are peeling off, what does the house want? 5. If a person deliberately emphasizes the gloomy aspects of the situation, what is he doing?

6. What do we say about a person who sticks at nothing to achieve his aim? 7. What is another way of saying that a person is pale?

8. How can we refer to a person who looks strong and healthy?

9. What often happens to the news in the tabloid press? 10. What do we call a person who is fond of the arts? 11. What do we call a person who practises one of the arts? 12. If an artist turns to na­ture for inspiration, what do we say about him? 13. Whom do we usually refer to as "Old Masters"? 14. What kinds of pictures ac­cording to execution do you know? 15. What do you value most in a picture? 16. Whom do we call a colourist? 17. Where are works of art displayed? 18. How do we usually refer to works of undisputed greatness in character and execution? 19. What do we call a paint­ing of inanimate objects, fruit and flowers in particular?

9. Respond to the following statements and questions using the Essential Vocabulary:

1. I'll make every effort to come. 2. They are both of a size. 3. It's her own selection. 4. What a relief! 5. It's doubtless a work of art. 6. How'd you like to take up art professionally? 7. I know, it's next to impossible to draw him out. 8. It's a great draw all right. 9. Why should you paint it in such dark colours? 10. There isn't the slight­est doubt about it. 11. Unfortunately, it's a size too large. 12. What a nice colour you have got!

10. Use the following words and word combinations in situations:

1. tubes of oils; a box of water-colours; crayons; palette; to paint a picture; to doubt if; no ordinary painting; to depict; colours; cost smb. much effort; to sigh with relief;

2. a lifetime dream; to exhibit smth. in a show; selection commit­tee; to be accepted for the show; to hang in an inconspicuous place; small in size; art critics; to be distinguished by a marvellous sense of colour and composition; a mature artist; to have no doubt; to excite some noticeable comment; to award a prize;

3. to have a painter for a neighbour; to display an insatiable curi­osity about one's studio; to take advantage of the opportunity; to sigh with relief; to draw a curtain aside; a life-sized portrait; to paint against the background of smth.; glowing colours; to be drawn with utmost care and precision; to be lost in admiration; to become aware of smb.'s presence; to blush to the top of one's ears.

11. Find in Text Five and copy out phrases in which the prepositions or ad­verbs 'from', 'to', *with' are used. Translate the phrases into Russian.

12. Fill in prepositions or adverbs:

This train starts... Plymouth and goes... London. 2. What country do you come...? 3. You must try to look... the matter... my point... view. 4. Stop that boy... spoiling the book. 5. Johnson nev­er made any provision... the future, he just lived... hand... mouth. 6.... time... time I will examine you on the work you have done. 7.1 know it... my own experience. 8. We must keep them... getting to know our plans. 9. The speaker never referred... his notes, he spoke... memory. 10. His arrival was a surprise... me. 11. Don't pay attention... what he is doing. 12. The guide drew our attention... an old church, which was a fine specimen of Renaissance archi­tecture. 13. It was rough... the Atlantic and the girl had to keep... her cabin. 14. The banquet drew... its close. 15. The fact is, it never occurred... me. 16. The chances are ten... one. 17. Turner's colours were true... nature. 18. The bus was filled... the bursting point. 19. Everybody was scared almost... death. 20. Mr. Wolfe took a great fancy... his niece. 21. Sybil's father and mother might possibly object... the marriage. 22. I am going... home... about three days. Of course, I shall take only the things I can't do.... 23. He is... exception the best pupil I have ever had. 24.1 know you will work hard, that goes... saying.

 

 

 

 

13. Translate the following sentences into English. Pay attention to the prep­ositions and adverbs:

1. Хлеб пекут (делают) из муки. 2. «Какая жалость, что вы вынуж­дены не пускать ребенка в школу», — сказал Эндрю. 3. Поэты и ху­дожники часто черпают вдохновение у природы. 4. Братья так похо­жи друг на друга, что я не могу отличить одного от другого. 5. Если я советую вам это сделать, то я говорю на основании собственного опыта. 6. Вот картина в моем вкусе. 7. Дверь захлопнулась. 8. Гвендо- лен сказала, что она помолвлена с Эрнестом. 9. Как можно быть та­ким безразличным к своей работе? 10. Такое упрямство любого мо­жет довести до отчаяния. 11. Вам следовало бы извиниться перед хозяйкой за ваше опоздание. 12. Друзья подняли тост за счастливое окончание путешествия. 13. Не принимайте это так близко к сердцу.

14. Луиза с нетерпением ждала того дня, когда она пойдет в школу.

15. Он приобрел привычку читать газету за едой. 16. За свою работу он почти ничего не получал. 17. Майкл несколько раз делал Флер предложение. 18. Визит дружбы способствовал взаимному понима­нию. 19. Это было сделано без моего согласия. 20. Он легко решает такие задачи. 21. Нет дыма без огня.

14. a) Give Russian equivalents for the following English proverbs and say­ings (or translate them into Russian), b) Explain in English the meaning of each proverb, c) Make up a dialogue to illustrate one of the proverbs:

1. When one loves his art no service seems too hard. 2. The devil is not so black as he is painted. 3. When in doubt leave it out. 4. Art is long, life is short. 5. That's a horse of another colour. 6. A thing of beauty is a joy forever. 7. Art lies in concealing art. 8. Art has no enemy except ignorance.

CONVERSATION AND DISCUSSION

^ PAINTING

Topical Vocabulary

1. Painters and their craft: a fashionable/self-taught/mature artist, a portrait/landscape painter, to paint from nature/memory/ imagination, to paint mythological/historical subjects, to special­ize in portraiture/still life, to portray people/emotions with mov­ing sincerity/with restraint, to depict a person/a scene of common life/the mood of..., to render/interpret the personality of..., to re­veal the person's nature, to capture the sitter's vitality/transient expression, to develop one's own style of painting; to conform to the taste of the period, to break with the tradition, to be in advance of one's time, to expose the dark sides of life, to become famous overnight, to die forgotten and penniless.

2. Paintings. Genres: an oil painting, a canvas, a water-colour/ pastel picture; a sketch/study; a family group/ceremonial/inti- mate portrait, a self-portrait, a shoulder/length/half-length/knee- length/full-length portrait; a landscape, a seascape, a genre/his­torical painting, a still life, a battle piece, a flower piece, a masterpiece.

3. Composition and drawing: in the foreground/background, in the top/bottom/left-hand corner; to arrange symmetrically/asym­metrically/in a pyramid/in a vertical format; to divide the picture space diagonally, to define the nearer figures more sharply, to em­phasize contours purposely, to be scarcely discernible, to convey a sense of space, to place the figures against the landscape back­ground, to merge into a single entity, to blend with the landscape, to indicate the sitter's profession, to be represented standing.../sit­ting.../talking..., to be posed/ silhouetted against an open sky/a classic pillar/the snow; to accentuate smth.

4. Colouring. Light and shade effects: subtle/gaudy colouring, to combine form and colour into harmonious unity; brilliant/low- keyed colour scheme, the colour scheme where... predominate; muted in colour; the colours may be cool and restful/hot and agi­tated/soft and delicate/dull, oppressive, harsh; the delicacy of tones may be lost in a reproduction.

5. Impression. Judgement: the picture may be moving, lyrical, romantic, original, poetic in tone and atmosphere, an exquisite piece of painting, an unsurpassed masterpiece, distinguished by a marvellous sense of colour and composition.

The picture may be dull, crude, chaotic, a colourless daub of paint, obscure and unintelligible, gaudy, depressing, disappoint­ing, cheap and vulgar.

1. Read the following text for obtaining its information:

Thomas Gainsborough was born in Sudbury, Suffolk, in 1727, the son of John Gainsborough, a cloth merchant. He soon evinced a marked inclination for drawing and in 1740 his father sent him to London to study art. He stayed in London for eight years, working under the rococo portrait-engraver Gravelot; he also became famil­iar with the Flemish tradition of painting, which was highly prized by London art dealers at that time. "Road through Wood, with Boy Resting and Dog", 1747 is a typical 'genre painting', obviously in­fluenced by Ruisdael. In Many aspects this work recalls Constable's "Cornfield".

In 1750 Gainsborough moved to Ipswich where his professional career began in earnest. He executed a great many small-sized portraits as well as landscapes of a decorative nature. In October 1759 Gainsborough moved to Bath. In Bath he became a much sought-after and fashionable artist, portraying the aristocracy, wealthy merchants, artists and men of letters. He no longer pro­duced small paintings but, in the manner of Van Dyck, turned to full-length, life-size portraits. From 1774 to 1788 (the year of his death) Gainsborough lived in London where he divided his time between portraits and pictorial compositions, inspired by Geior- gione, which Reynolds defined as "fancy pictures" ("The Wood Gatherers", 1787). As a self-taught artist, he did not make the tradi­tional grand tour or the ritual journey to Italy, but relied on his own remarkable instinct in painting.

Gainsborough is famous for the elegance of his portraits and his pictures of women in particular have an extreme delicacy and re­finement. As a colourist he has had few rivals among English paint­ers. His best works have those delicate brush strokes which are found in Rubens and Renoir. They are painted in clear and trans­parent tone, in a colour scheme where blue and green predomi­nate.

The particular discovery of Gainsborough was the creation of a form of art in which the sitters and the background merge into a single entity. The landscape is not kept in the background, but in most cases man and nature are fused in a single whole through the atmospheric harmony of mood; he emphasized that the natural background for his characters neither was, nor ought to be, the drawing-room or a reconstruction of historical events, but the changeable and harmonious manifestations of nature, as revealed both in the fleeting moment and in the slowly evolving seasons. In the portrait of "Robert Andrews and Mary, His Wife", for example, the beauty of the green English summer is communicated to the viewer through the sense of well-being and delight which the at­mosphere visibly creates in the sitters. Gainsborough shows the pleasure of resting on a rustic bench in the cool shade of an oak tree, while all around the ripe harvest throbs in a hot atmosphere enveloped by a golden light.

Emphasis is nearly always placed on the season in both the landscapes and the portraits, from the time of Gainsborough's ear­ly works until the years of his late maturity: from the burning sum­mer sun in "Robert Andrews and Mary, His Wife" to the early au­tumn scene in "The Market Cart", painted in 1786—1787, a work penetrated throughout by the richness and warmth of colour of the season, by its scents of drenched earth and marshy undergrowth.

It is because his art does not easily fall within a well-defined the­oretical system that it became a forerunner of the romantic move­ment, with its feeling for nature and the uncertainty and anxiety experienced by sensitive men when confronted with nature: "Mary, Countess Howe" (1765), "The Blue Boy" (1770), "Elizabeth and Mary Linley" (1772), "Mrs. Hamilton Nisbet" (1785).

The marriage portrait "The Morning Walk", painted in 1785, represents the perfection of Gainsborough's later style and goes beyond portraiture to an ideal conception of dignity and grace in the harmony of landscape and figures.

Gainsborough neither had not desired pupils, but his art — ideologically and technically entirely different from that of his ri­val Reynolds — had a considerable influence on the artists of the English school who followed him. The landscapes, especially those of his late manner, anticipate Constable, the marine paintings, Turner. His output includes about eight hundred portraits and more than two hundred landscapes.

2. Answer the following questions:

1. How did Gainsborough start his career? 2. What is known about the Ipswich period of his life? 3. What kind of practice did Gainsborough acquire in Bath? 4. What is a self-taught artist? 5. What do you know about the Flemish tradition (school) of paint­ing? 6. What contribution did Van Dyck make to the English school of painting? 7. What are Rubens and Renoir famous for? 8. Why did Gainsborough place the sitter in direct contact with the landscape? 9. How is his conception of the relationship between man and nature reflected in the portrait of "Robert Andrews and Mary, His Wife"? 10. What distinguishes "The Market Cart"? 11. What do you know about the portrait of Jonathan Buttall ("The Blue Boy")? 12. Who was Sir Joshua Reynolds? What role did he play in the history of English art? 13. How did Constable and Turn­er distinguish themselves?

3. Summarize the text in three paragraphs specifying the contribution Gains­borough made to the English arts.

4. Use the Topical Vocabulary in answering the questions:

1. What service do you think the artist performs for mankind? 2. Historically there have been various reasons for the making of pictures, apart from the artist's desire to create a work of visual beauty. Can you point out some of them? 3. How does pictorial art serve as a valuable historical record? What can it preserve for the posterity? 4. There are certain rules of composition tending to give unity and coherence to the work of art as a whole. Have you ever observed that triangular or pyramidal composition gives the effect of stability and repose, while a division of the picture space diago­nally tends to give breadth and vigour? Be specific. 5. The painter who knows his own craft and nothing else will turn out to be a very superficial artist. What are some of the qualities a true artist must possess? 6. Why does it sometimes happen that an artist is not ap­preciated in his lifetime and yet highly prized by the succeeding generations? 7. The heyday of the Renaissance is to be placed be­tween the 15th and 16th centuries. Artists began to study anatomy and the effects of light and shadow, which made their work more life-like. Which great representatives of the period do yoy know? 8. What national schools of painting are usually distinguished in European art? 9. Classicism attached the main importance to com­position and figure painting while romanticism laid stress on per­sonal and emotional expression, especially in colour and dramatic effect. What is typical of realism/impressionism/cubism/expres­sionism/surrealism? 10. What kinds of pictures are there accord­ing to the artist's theme? 11. Artists can give psychological truth to portraiture not simply by stressing certain main physical features, but by the subtlety of light and shade. In this respect Rokotov, Lev- itsky and Borovikovsky stand out as unique. Isn't it surprising that they n/anaged to impart an air of dignity and good breeding to so many of their portraits? 12. Is the figure painter justified in resort­ing to exaggeration and distortion if the effect he has in mind re­quires it? 13. Landscape is one of the principal means by which art­ists express their delight in the visible world. Do we expect topographical accuracy from the landscape painter? 14. What kind of painting do you prefer? Why?

 

5. Give a brief talk about an outstanding portrait painter. Choose one you re­ally have a liking for.

You are an expert on an outstanding landscape painter. Note down about five pieces of factual information and five pieces of personal information. Your fellow-students will ask you questions to find out what you know about it.