LEONARDO DA VINCI’S MONA LISA 3 страница
V. Match the adjectives with the nouns the way they are used in the text.
1. emotional A. body
2. delicate B. dignity
3. inert C. curve
4. furious D. plane
5. graceful E. turn
6. slanting F. contrast
7. distinctive G. force
8. telling H. energy
9. three-dimensional I. style
10. elaborate J. ceiling
11. immense K. problem
12. sharp L. vitality
13. tremendous M. painter
14. experienced N. painting
15. formidable O. dejection
16. thoughtful P. challenge
17. majestic Q. shoulders
18. hunched R. space
VI. Fill in the blanks with the corresponding non-final forms of the verb from the text.
| The Present Participle | The Past Participle | The Gerund | The Infinitive |
VII. Match the underlined verbals with their syntactical functions. Specify the verbals:
1. In 1494, he visited Venice and Bologna before going on to Rome to execute his Pietà for Saint Peter’s.
2. Michelangelo went on to Rome to execute his Pietà for Saint Peter’s.
3. Earlier Renaissance sculptors had added Saint John and Magdalene to the scene to help support the inert body and prevent it from seeming to crush the frail Madonna.
4. By exaggerating slightly the scale of the Virgin he created a compact and isolated monument of extraordinary emotional force.
5. She rests resignedly, her knees sloping forward, her body arching back.
6. Some northern visitors were overheard attributing it to one of their own countrymen.
7. He often slept in his clothes, grudging the time it took to take them off and put them on again.
8. This immense ceiling, almost an acre in area, is forty feet above the ground, curved in form and interrupted by window openings.
9. The bent shoulders and general downward movement symbolize the sadness of this great seer.
10. Jeremiah’s legs are drawn in under him.
11. Great care has been given to the anatomical structure of the figure.
12. He relied on the sharp turn of the neck to animate the profile.
A. The Adverbial Modifier of Cause;
B. Part of the Compound Nominal Predicate;
C. Part of the Simple Predicate (Present Simple, Passive Voice);
D. The Attribute;
E. Part of the Complex Subject;
F. Part of the Simple Predicate (Present Perfect, Passive Voice);
G. Part of the Absolute Participial Construction modifying the attending circumstances;
H. The Adverbial Modifier of Time;
I. Prepositional Object;
J. The Adverbial Modifier of Manner;
K. Part of the Complex Object;
L. The Adverbial Modifier of Purpose.
VIII. Translate the following words and their derivatives. Single out the root and the affixes of the words. Arrange the words after Pattern I to show their derivational relationship. Analyse the combinability and grammatical meaning of the affixes after Pattern II:
| Pattern I | Pattern II |
defin-e
defin-ite
   
in-definite definit-ive definite-ness definit-ion
| root: “defin-“ |
| root + “-ite” [-ɪt] = adjective¹ | |
| root + “-ive” [-ɪv] = adjective² | |
| “in-“ + adjective¹ = negative adjective | |
| adjective + “-ness” = noun |
to deliver, deliverance, delivery; to prefer, preference, preferable, preferably, preferability, preferential; to execute, execution, executable, executive, executory, executor, executrix, executioner; to exaggerate, exaggeration, exaggerative; to appear, to disappear, appearance, disappearance; to stall, to install, installation, installment; to suffice, sufficient, sufficiency, insufficient; scene, scenery, scenic; help, helpful, helpless; ordinary, extraordinary; count, contable, uncountable, countability, countless; grace, graceful, graceless, gracious; tribute, tributary, to attribute, attribution, attributive; memory, memorable, to memorize, to memoralize, to commemorate, commemoration, commemorative.
IX. Answer the following questions:
1. How was the subject of the Pietà treated by Renaissance sculptors before Michelangelo? 2. What solution did Michelangelo find for executing his Pietà? 3. How did Michelangelo achieve the difficult transition from normal scale to the colossal in his “David”? 4. What effect did Michelangelo achieve with the sharp turn of the neck? 5. How did Michelangelo and certain other painters of the High Renaissance convey emotions in the figures they painted? 6. Why did Michelangelo start to sign his paintings? 7. Why was the painting of the ceiling in the Sistine Chapel such a challenge to Michelangelo? 8. What means did Michelangelo use to convey the sad, reflective mood of the Prophet Jeremiah? 9. What were some of the devices he used for creating the illusion of volume and three-dimensional space? 10. What do you think the characteristic features of Michelangelo’s work are?
X. Work in groups. The class splits into two teams to advocate the contrary viewpoints as to the following statements. Each sensible argument wins a point. The team with the most points is the winner. Make use of the vocabulary phrases (p. 88).
1. Michelangelo should not have excluded the figures of Saint John and Magdalene from his Pietà, since the Virgin is too frail to support the inert body of Jesus all by herself. 2. The figures of Christ and the Madonna seem to contrast with each other, but the contrasts are too delicate and subtle for us to believe they were deliberate on the part of the master. 3. There was no need for Michelangelo to sign his works, as his style was distinctive enough to identify the master. 4. The furious energy with which Michelangelo worked upon the statue of David may be accounted for by his artistic excitement and all, but it might be just as well due to his want of money. 5. The colossal scale of David weakens the impression that David is real. 6. The painting on the ceiling of the Sistine Chapel could have hardly been such a formidable challenge for Michelangelo, now that he had already done a number of works.
XI. Speak on the following points:
1. Michelangelo’s most famous pieces of work. 2. Michelangelo’s style.
UNIT IV
PRE-TASKS:
I. Practice the pronunciation of the following words and word-combinations and learn them.
a cloth merchant [ə 'klɒθ 'mз:tʃənt] – торговец сукном
to evince smth [ɪ'vɪns] – проявлять, выказывать что-л.
a marked inclination for smth ['mɑ:kt ɪnklɪ'neɪʃn]
– ярко выраженная склонность к чему-л.
rococo [rə'kəʊkəʊ] – рококо (стиль)
to prize smth ['praɪz] – ценить что-л.
“genre painting” ['ʒɒŋrə / 'ʒɑ:nrə/ 'peɪntɪŋ] – “жанровая живопись (картина)”
to influence smb ['ɪnflʊəns] – влиять на кого-л.
sought-after ['sɔ:t 'ɑ:ftə] – востребованный, популярный
N.B.: “sought” – the Past Participle of “to seek” (“искать”)
self-taught ['self 'tɔ:t] – самоучка
N.B.: “taught” – the Past Participle of “to teach” (“учить”)
to rely upon smth / smb [rɪ'laɪ ə'pɒn] – полагаться на что-л / кого-л.
rival ['raɪvl] – соперник
sitter ['sɪtə] – натурщик
(to sit for a portrait – позировать для портрета)
a brush stroke ['brʌ∫ 'strəʊk] – мазок кисти
a colour scheme ['kʌlə 'ski:m] – цветовая гамма
rustic ['rʌstɪk] – сельский, деревенский
anxiety [æŋ'zaɪətɪ] – волнение, страх
a forerunner of smth ['fɔ:ˌrʌnə◡rəv …] – предтеча чего-л.
II. Practice the pronunciation of the following (a) toponyms and (b) proper names:
(a) Bath [bɑ:θ] – г. Бат
(в графстве Сомерсет, юго-западная Англия; курорт с мин. водами)
Ipswich ['ɪpswɪtʃ] – г. Ипсвич
(главный город графства Суффолк, восточная Англия)
Italy ['ɪtəlɪ] – Италия
London ['lʌnd(ə)n] – г. Лондон
Sudbury ['sʌdbərɪ] – г. Садбери (в графстве Суффолк, восточная Англия)
Suffolk ['sʌfək] – Суффолк (графство в восточной Англии)
(b) Constable ['kʌnstəbl] – Констебль, Джон (1776 – 1837)
Elizabeth [ɪ'lɪzəbəθ] – Элизабет
Geiorgione ['dʒɪəˌdʒɪənə] – Джорджоне,
Джорджо да Кастельфранко (1477 – 1510) (итальянский художник)
Gravelot [greɪv'lɒ] – Грейвло, Юбер (французский художник)
Hamilton Nisbet ['hæmɪltn 'nɪzbət] – Гамильтон Низбет, Фрэнсис
(жена адмирала Нельсона)
Mary ['meərɪ] – Мэри
Reinolds ['reɪnəldz] – Рейнольдс, Джошуа (1786 – 1788)
Renoir [rə'nwɑ:] – Ренуар, Пьер-Огюст (1841 – 1919)
Robert Andrews ['rɒbət 'ændru:z] – Роберт Эндрюс
Rubens ['ru:b(ə)nz] – Рубенс, Питер Пауэлл (1577 – 1640)
(фламандский художник-портретист)
Ruisdael ['raɪzdɑ:l] – Райсдаль, Якоб Ван (1628/29 – 1682)
(голландский художник)
Thomas Gainsborough ['tɒməs 'geɪnzb(ə)rə] – Томас Гейнсборо
Turner ['tз:nə] – Тёрнер, Уильям (1775 – 1851)
(английский художник-пейзажист)
Van Dyck [ˌvæn 'daɪk] – Ван Дейк, Антонис (1599 – 1641)
(фламандский художник-портретист)
III. Scan the text and single out the main points of each paragraph.
IV. Try to guess the meaning of the italicized words. Match them with the corresponding cognate words in Russian where possible. When translating the words, mind the so-called pseudo-international words.
1. Thomas Gainsborough was the son of John Gainsborough, a cloth merchant. 2. He became familiar with the Flemish tradition of painting. 3. The Flemish tradition of painting was highly prized by London art dealers at that time. 4. He executed a great many portraits. 5. He became a fashionable artist. 6. His pictures of women in particular have an extreme delicacy and refinement. 7. He used the colour scheme where blue and green predominate. 8. He emphasized that the natural background for his characters harmonious manifestations of nature. 9. In the portrait of “Robert Andrews and Mary, His Wife” 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. 10. Emphasis is placed on the season in both the landscapes and the portraits. 11. The landscapes anticipate the marine paintings of Turner.
V. Look through the text and write out all the unfamiliar words and phrases. Look them up in your English-Russian Dictionary. Single out the terms on the fine arts and learn them.
VI. Put the words with”-(e)s” from the text into appropriate columns. Pronounce the words minding that there are three ways of pronouncing “-(e)s”: [-z], [-s] and [-ɪz] (revise the rule if necessary).
| Noun in the Plural | Verb in the Present Simple, 3rd Person, Singular |
VII. Read and translate the text.
THOMAS GAINSBOROUGH (1727 – 1788)
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 Geiorgione, which Reinolds 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 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 nor 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 and the marine paintings of Turner. His output includes about eight hundred portraits and more than two hundred landscapes.
TASKS:
I. Give Russian equivalents of the following. Learn the words and phrases.
to evince an inclination for smth.; to work under smb.; to become familiar with smth.; in earnest; to execute a great many portraits; a sought-after artist; a man of letters; to turn to (a certain kind of activity); to divide one’s time between smth and smth else; to be inspired by smb.; to rely upon smth.; to be famous for smth.; an extreme delicacy and refinement; to have few rivals; a brush stroke; a colour scheme; smth. as well as smth. else; transparent; to merge into a single entity; a manifestation of nature; a fleeting moment; a slowly evolving season; a viewer; rustic; the ripe harvest throbs; to be enveloped by smth.; to be penetrated throughout by smth.; undergrowth; to fall within a system; a forerunner of smth.; to be confronted with smth.; to go beyond smth.; to anticipate smb.; an artist’s output.
II. Give English equivalents of the following:
художник-самоучка; цветовая палитра (комбинация цветов); жанровая живопись; проявить заметную склонность к рисованию; гравировщик; фон; проявления природы; времена года; сливаться в единое целое; зрелые хлеба; быть насквозь пронизанным чем-л.; подпадать под определённую классификацию; предвосхищать кого-л.; оказаться в прямом контакте с чем-л.; наследие художника; достоинство (человека); филигранные мазки кисти; определять что-л. как …; высоко цениться (кем-л.); портрет во весь рост / в натуральную величину.
III. Make up sentences of the following words:
1. evinced, he, drawing, marked, for, soon, a, inclination; 2. became, he, with, familiar, the, tradition, painting, Flemish, of; 3. landscapes, a, he, nature, great, small-sized, as well as, executed, many, a, portraits, of, decorative; 4. self-taught, a, relied, on, he, own, painting, as, remarkable, artist, his, instinct, in; 5. is, portraits, famous, the, Gainsborough, of, for, elegance, his; 6. an, Gainsborough, of, on, pleasure, resting, a, bench, in, the, shade, cool, of, oak, shows, rustic, tree, the; 7. is, emphasis, placed, the, portraits, always, on, season, in, both, the, and , nearly, the, landscapes; 8. romantic, his, of, movement, art, became, forerunner, the, a; 9. neither, pupils, nor, Gainsborough, had, desired; 10. considerable, school, on, his, had, art, a, influence, the, the, English, who, followed, artists, of, him.
IV. Find in the text synonyms of the following words and word combinations:
1. to show / to take (an) interest in smth./smb.; 2. to put / to lay / to set / great stress to smth.; to accentuate smth.; 3. to alternate smth. and smth else; 4. to determine; 5. to count on smth./smb.; 6. a writer; 7. to engage one’s attention with smth.; 8. rich; 9. to change one’s place of residence; 10. in the fashion of smb.; 11. to influence / to inspirit / smb; 12. to stand out for smth.; 13. to be in great demand; 14. to be combined into a unity (two variants); 15. by means of smth.; 16. subtle; 17. to prevail; 18. display; 19. in the most instances/ usually; 20. to disclose; 21. in the brief moment; 22.(adj.) countryside; 23. to forerun; 24. to face smth./smb.; 25. to be imbued / saturated / with smth. (two variants); 26. disquiet / apprehension / fear; 27. to exceed the limits; 28. smb’s heritage; 29. herald; 30. clear / glassy.
V. Fill in the blanks with the proper prepositions:
1. Thomas Gainsborough was born …. Sudbury, Suffolk, …. 1727, the son … John Gainsborough. 2. He soon evinced a marked inclination … drawing; his father sent him …. London. 3. He stayed …. London …. eight years, working …. the rococo portrait-engraver Gravelot. 4. He became familiar …. the Flemish tradition …. painting, which was highly prized …. London art dealers …. that time. 5. …. 1750 Gainsborough moved …. Ipswich where his professional career began … earnest. 6. He executed a great many small-sized portraits … well … landscapes … a decorative nature. 7. …. the manner …Van Dyck, he turned …. full-length, life-size portraits. 8. In London he divided his time ……… portraits …. pictorial compositions – the so-called “fancy pictures”. 9. …. a self-taught artist, he did not make the traditional grand tour or the ritual journey …. Italy, but relied …. his own remarkable instinct …. painting. 10. Gainsborough is famous … his exquisite portraits, especially those …. women. 11. In his pictures the sitters and the background merge ….. a single entity. 12. … the portrait …. “Robert Andrews and Mary, His Wife”, …. example, the beauty …. the green English summer is communicated …. the viewer …….. the sense …. well-being and delight which the atmosphere visibly creates …. the sitters. 13. His pictures render the feeling …. nature, and the emotions experienced …. sensitive men when confronted …. Nature.
VI. Paraphrase the following statements after the given pattern so as to express unreal condition and consequence in the past.
Gainsborough evinced a marked inclination for drawing and in 1740 his father sent him to London to study art. – If Gainsborough had not evinced a marked inclination for drawing, his father would not have sent him to London to study art.
1. The Flemish tradition of painting was all the rage at that time in London and Gainsborough stuck to it in his early works. 2. Gainsborough, having become a much sought-after and fashionable artist, turned to full-length and life-size ceremonial portraits. 3. It is because Gainsborough was a self-taught artist and relied on his own remarkable instinct in painting that he made no traditional grand tour or the ritual journey to Italy. 4. Gainsborough treated the landscape not as a mere decorative background for his portraits but as their indispensable component, making the sitters and the background merge into a single entity. 5. In the portrait of “Robert Andrews and Mary, His Wife”, Gainsborough intended to show the pleasures of the country life, which seems to explain why he laid special emphasis on the harmonious manifestations of nature in the background. 6. It is because Gainsborough’s art does not fall within a clear-cut theoretical system that it became a forerunner of the Romantic Movement.
VII. Here are some actual translations by students. Choose the best translations and comment on the mistakes:
1. Gainsborough stayed in London for eight years, working under the rococo portrait-engraver Gravelot;
a) Гейнсборо оставался в Лондоне с восьми лет, работая под рококо гравировщиком-портретистом Гравелотом.
b) Гейнсборо остановился в Лондоне для восьми лет, работая над рококо гравировщика-портретиста Гравелота.
c) Гейнсборо гостил в Лондоне в течении восьми лет, работая под командованием гравировщика рококо и портретиста Гравелота.
d) Гейнсборо пребывал в Лондоне восемь лет и работал у Гравело, портретиста-гравировщика работающего в стиле рококо.
2. Gainsborough executed a great many small-sized portraits as well as landscapes of a decorative nature.
a) Гейнсборо исполнил великие большие и маленькие портреты так же хорошо, как и ландшафты декоративной природы.
b) Гейнсборо хорошо осуществил великие малоразмерные портреты как пейзажи-декорации.
c) Гейнсборо создал очень много небольших портретов, а также пейзажей для оформления интерьера.
d) Гейнсборо казнил великих с портретов маленького размера так же хорошо, как работал пейзажистом-декоратором.
3. In October 1759 Gainsborough moved to Bath.
a) В октябрь 1759 Гейнсборо пошёл в Баню.
b) В октябре 1759 года Гейнсборо передвинул Баню.
c) Октября 1759-го Гейнсборо поехал купаться.
d) В октябре 1759 года Гейнсборо переехал в город Бат.
4. There he became a much sought-after and fashionable artist, portraying the aristocracy, wealthy merchants, artists and men of letters.
a) Там он стал много искать фешенебельных артистов, портреты аристократии, богатых меценатов, просто артистов и письмоносцев.
b) Создавая портреты аристократов, богатых купцов, художников и писателей, он стал очень востребованным и модным художником.
c) Там он стал весьма востребованным и модным художником изображающим аристократию, зажиточных купцов, художников и авторов.
d) Там он стал пользоваться большим успехом как модный художник, рисуя портреты аристократов, богатых коммерсантов, художников и писателей.
5. From 1774 to 1788 Gainsborough lived in London where he divided his time between portraits and pictorial compositions, inspired by Geiorgione, which Reinolds defined as “fancy pictures”.
a) С 1774 по 1788 Гейнсборо проживал в Лондоне, где он делил его время между портретами и картинными композициями инспирированными Джиорджионе, которые Рейнольдс определил как «причудливые картины».
b) С 1774 по 1788 год Гейнсборо жил в Лондоне и поочерёдно работал над портретами и художественными композициями навеянными Джиорджионе, которые Рейнольдс называл «картинки-фантазии».