ENGLISH LANGUAGE FOR TECHNICAL UNIVERSITY STUDENTS: ART AND GALLERIES IN LONDON

Transcription

1 TOMSK POLYTECHNIC UNIVERSITY ENGLISH LANGUAGE FOR TECHNICAL UNIVERSITY STUDENTS: ART AND GALLERIES IN LONDON CLASSBOOK Draftsmen A.E. Sentsov Recommended for publishing as a study aid by the Editorial Board of the Tomsk Polytechnic University Tomsk Polytechnic University Publishing House 2011

2 МИНИСТЕРСТВО ОБРАЗОВАНИЯ И НАУКИ РОССИЙСКОЙ ФЕДЕРАЦИИ Государственное образовательное учреждение высшего профессионального образования «НАЦИОНАЛЬНЫЙ ИССЛЕДОВАТЕЛЬСКИЙ ТОМСКИЙ ПОЛИТЕХНИЧЕСКИЙ УНИВЕСИТЕТ» АНГЛИЙСКИЙ ЯЗЫК ДЛЯ СТУДЕНТОВ ТЕХНИЧЕСКОГО ВУЗА: ИСКУССТВО И ГАЛЕРЕИ ЛОНДОНА Рекомендовано в качестве учебного пособия Редакционно-издательским советом Томского политехнического университета Автор-составитель A.Э. Сенцов Издательство Томского политехнического университета 2011

3 УДК :7(075.8) ББК Ш С47 С47 Английский язык для студентов технического вуза: искусство и галереи Лондона: учебно-методическое пособие / автор-составитель А.Э. Сенцов; Томский политехнический университет. Томск: Изд-во Томского политехнического университета, с. В основу пособия положены принципы коммуникативноориентированного обучения, предполагающие комплексную организацию учебного материала для взаимосвязанного обучения видам речевой деятельности на английском языке. Пособие содержит систему методических упражнений, обеспечивающих развитие умений студентов в различных видах чтения, аудирования, письменной коммуникации, а также овладение студентами необходимым объемом лексического запаса в рамках изучаемой темы. Предназначено для студентов младших курсов технического вуза, изучающих английский язык, а также для всех, изучающих английский язык на курсах. Рецензенты Кандидат филологических наук, доцент ТГПУ Я.А. Глухий Кандидат филологических наук, доцент ТГУ И.А. Черепанова Кандидат педагогических наук, доцент ТПУ Ю.Ю. Ковалева УДК :7(075.8) ББК Ш Составление. ГОУ ВПО НИ ТПУ, 2011 Сенцов А.Э., составление, 2011 Оформление. Издательство Томского политехнического университета, 2011

4 CONTENTS Art and Galleries in London 6 Listening 23 Vocabulary development 25 Grammar practice: Adjectives and adverbs 31 Quizzes and crosswords 47 Speaking 65 Writing 65 Supplementary reading 68 Word list 84 Visuals for speaking 85 References 101 4

5 ART AND GALLERIES IN LONDON Lead in 1 Look at the following words of painting vocabulary. Put them in the correct column. Painters and their craft Paintings. Genres Composition and drawing Colouring. Light and shade effects Impression. Judgement the colour scheme where, an oil painting, a fashionable artist, lyrical picture, a canvas, in the foreground / background, to develop one s own style of painting, to combine form and colour into harmonious unity, a landscape painter, to emphasize contours purposely, poetic in tone and atmosphere, a enduring masterpiece, to become famous overnight, distinguished by a marvellous sense of colour and composition, to paint from nature / memory / imagination, a battle piece, an exquisite piece of painting, to do / paint a selfportrait, to be in advance of one s time, to convey a sense of space, a watercolour / pastel picture, to specialize in portraiture / still life, to be posed / silhouetted against an open sky, a seascape, a family group / ceremonial / intimate portrait. 2 Read the article about the National Gallery and answer the questions. THE NATIONAL GALLERY The National Gallery in London takes up the entire north side of Trafalgar Square. It houses one of the finest collections of Western European paintings in the world from around 1250 onwards. Its masterpieces include artworks from Botticelli, Titian, Raphael, Michelangelo, Caravaggio, Rembrandt, Cezanne, Hogarth, and Gainsborough. 5

6 The neoclassical National Gallery is not based on a former royal collection which is why we do not call it the Royal Gallery. It started as late as 1824 when the British government agreed to buy 38 paintings belonging to the Russian banker, John Julius Angerstein for 57,000 (US$112,000 approx.). Initially the paintings were displayed in Angerstein's home on The Mall (the road between Trafalgar Square and Buckingham Palace) but a larger site was needed and Trafalgar Square was chosen. The National Gallery was established for the benefit of all, not just the privileged. It has always been committed to maintaining free admission as well as keeping a central London location with access for everyone, plus extended opening hours. The paintings belong to the public. Questions: 1) Where is the National Gallery situated? 2) Which painters are exhibited in the National Gallery? 3) How much does it cost to visit the Gallery? 3 You are going to read the article about the National Portrait Gallery. Some sentences have been removed from the article. Choose from the sentences A-G the one which fits each gap 1-6. There is one extra sentence which you do not need to use. A B C D Prior to 1969, subjects had to be deceased for ten years before their portraits could be included in order to allow time to contemplate their place in history. Upstairs George Frederic Handel (Room 12), near the end of his life, sits straight-backed and somber. Unlike many other art museums which focus primarily on preserving and documenting art history, the work displayed in the National Portrait Gallery focuses on history and its people. They are two of Britain s most influential females, both strong women illustrated in styles that complement 6

7 E F G their roles in society. It s an opportunity to study faces, postures, wardrobes and personal styles and ruminate on individuals roles in society. Portraits are displayed chronologically so it s a great way to brush up on British history. Royalty is a dominant theme and it is interesting to note how images have become more relaxed. MANY FACES OF LONDON'S NATIONAL PORTRAIT GALLERY The National Portrait Gallery is one of the best free things to do in London. A visit here is like attending a party with Britain's most influential citizens. Even people who think they don t like museums and galleries are likely to enjoy the National Portrait Gallery, one of the most fun places to visit in London. _1_ But this is not a dull rendition of historical events. Because rooms in which portraits are displayed are intimate, visitors have a chance to get up close to pictures of Britain s most famous citizens both past and present. _2_ And it s not just room after room of formal paintings. The ground floor is dedicated to contemporary figures including Kate Moss, Princess Diana, J.K. Rowling and Michael Caine. A Celebration of British Contributions to the World The National Portrait Gallery was established in 1856 to display portraits of the men and women who have made a significant contribution to British life. _3_ Perhaps to keep pace with our instant society, that rule has been abolished and the Gallery now commissions and acquires works of contemporary figures in a variety of media. That s why in the same building that houses a formal oil painting of King Henry VIII and his wives, there is also a black and white photograph of Princess Diana cavorting with her sons. An austere portrait of Queen Victoria in 1863 (Room 21), wearing heavy coronation robes and crown, is as 7

8 natural here as the bold depiction of Germaine Greer in 1995 (Room 35), who sits, knees apart, in a bright red dress with old battered shoes. _4_ Exploring the Changing Nature of Fame at the National Portrait Gallery While the earlier portraits in the Collection tend to be dominated by politicians, inventors, artists and royalty, more recent acquisitions have expanded to include sports and media stars. Portraits have become bolder and more innovative. The choreographer and dancer Akram Khan is shown in nine panels in which his flexibility and energy spark from the canvas (Room 37a). Here is Mo Mowlam (Room 35), a leader in trying to bring peace to Northern Ireland, on a background of flamboyant green brush strokes. Were her eyes really that sad or is it the viewer s projection in knowing of her tragic battle with cancer? _5_ The staid depictions of King George V at Buckingham Palace in 1913 (Room 22) contrast markedly with the current Prince of Wales 2004 Christmas card (Room 40) in which he is shown outdoors, relaxing with his sons. The Changing Face of Portraiture Technological and artistic advancements have broadened the meaning of portraiture. From the noble oil on panel of King Henry VII (the oldest portrait in the Collection, in the Tudor Galleries) to Julian Opie s self-portrait (Room 39) which is a continuous loop on an LCD screen that moves ever so slightly as the figure blinks and breathes, the changing expressions of portraiture reflect the technological advances of society. On the ground floor, Zaha Hadid, the architect who designed the Olympic Aquatic Centre for the London 2010 Olympics, is depicted on an LCD screen in ever-changing fluorescent colors. _6_ Both are striking portraits and both invite viewers to consider these individual s contributions to society as well as the expanded means of portrayal available today. 8

9 4 Read the text and answer the questions. TATE BRITAIN Tate Britain is an art gallery situated on Millbank in London, and part of the Tate gallery network in Britain, with Tate Modern, Tate Liverpool and Tate St Ives. It is the oldest gallery in the network, opening in It houses a substantial collection of the works of J.M.W. Turner. It is housed in the Tate's original premises on Millbank on the site of Millbank Prison. The front part of the building was designed by Sidney R. J. Smith with a classical portico and dome behind. Construction, undertaken by Higgs and Hill, commenced in The gallery opened on 21 July 1897 as the National Gallery of British Art, but became commonly known as the Tate Gallery, after its founder Sir Henry Tate. There have been several extensions over the years. The central sculpture gallery was designed by John Russell Pope. Crises during its existence include flood damage to work from the River Thames and bomb damage during World War II, though most of the collection was in safe storage elsewhere, and a large Stanley Spencer painting, deemed too big to move, had a protective brick wall built in front of it. The gallery housed and displayed both British and Modern collections, but was renamed "Tate Britain" in March 2000, before the launch of Tate Modern, since which time it has been dedicated to the display of historical and contemporary British art only. Tate Britain includes the Clore Gallery of 1987, designed by James Stirling, which houses work by J.M.W. Turner. The front entrance is accessible by steps. A side entrance at a lower level has a ramp for wheelchair access. The gallery provides a restaurant and a cafe, as well as a Friends room, open only to members of the Tate. This membership is open to the public on payment of an annual subscription. As well as administration offices the building complex houses the Prints and Drawings Rooms (in the Clore galleries), as well as the Library and Archive in the Hyman Kreitman Reading Rooms. The restaurant features a mural by 9

10 Rex Whistler. Tate Britain and Tate Modern are now connected by a high speed boat along the River Thames, which runs from Millbank Millennium Pier immediately outside Tate Britain. The boat is decorated with spots, based on paintings of similar appearance by Damien Hirst. The lighting artwork incorporated in the pier's structure is by Angela Bulloch. The main display spaces show the permanent collection of historic British art, as well as contemporary work. It has rooms dedicated to works by one artist, such as: Tracey Emin, John Latham, Douglas Gordon, Sam Taylor-Wood, Marcus Gheeraerts II, though these, like the rest of the collection, are subject to rotation. The gallery also organises career retrospectives of British artists and temporary major exhibitions of British Art. Every three years the gallery stages a Triennial exhibition in which a guest curator provides an overview of contemporary British Art. The 2003 Tate Triennial was called Days Like These. Art Now is a small changing show of a contemporary artist's work in a dedicated room. Tate Britain hosts the annual and usually controversial Turner Prize exhibition, featuring four artists under the age of fifty, selected by a jury chaired by the director of Tate Britain. This is spread out over the year with the four nominees announced in May, the show of their work opened in October and the prize itself given in December. Each stage of the prize generates media coverage, and there have also been a number of demonstrations against the prize, notably since 2000 an annual picket by Stuckist artists. Tate Britain has attempted to reach out to a different and younger audience with Late at Tate Britain on the first Friday of every month, with half-price admission to exhibitions, live music and performance art. Other public involvement has included the display of visitors', as opposed to curators', interpretation of certain artworks. Questions: 1) Who designed the front part of the Tate building? 2) When was the gallery opened? 3) What does the gallery provide for members of the Tate? 4) Which exhibitions does the gallery organize? 10

11 5 You are going to read the article about The Victoria and Albert (V&A) Museum. Some sentences have been removed from the article. Choose from the sentences A-G the one which fits each gap 1-6. There is one extra sentence which you do not need to use. A B C To get to the museum take the Piccadilly, Circle or District Line Underground to the South Kensington tube stop and use the below ground walkway to the access the V&A. As the museum grew new buildings were erected when needed. The 145 of galleries cover ten acres and are spread over four floors. D The Victoria and Albert Museum was founded in 1852, its collection spans 5000 years of art, from ancient times to the present day. E F G In 2001 the restored British Galleries reopened to the public. The Museum holds over 3000 years worth of artefacts from many of the world's richest cultures. The V&A also offers changing exhibitions exploring various aspects of art and design. THE VICTORIA AND ALBERT (V&A) MUSEUM The V&A is the greatest museum of art and design, a world treasure house with collections of fabulous scope and diversity. _1_ There are over works and over 43,000 images in the permanent collections of ceramics, fashion, furniture, glass, metalwork, paintings, photographs, prints, sculpture, and textiles. Victoria and Albert Museum located in the South Kensington, London. It is the world s largest museum of the decorative arts and has 145 galleries, including national collections of sculpture, furniture, fashion and 11

12 photographs. The museum has a collection of more than 4 million objects, and also houses the National Art Library. The Victoria & Albert also manage the Bethnal Green Museum of Childhood, the Wellington Museum at Apsley House and the Theatre Museum in Covent Garden. _2_ Housed in magnificent Victorian buildings, these collections illustrate the artistic life of many different cultures, from Europe, North America, Asia and North Africa, over hundreds of generations. The Museum is renowned for the immense diversity of its collections, which embrace furniture, fashion, textiles, paintings, silver, glass, ceramics, jewelry, books, prints and photographs. The museum has been housed in Aston Webb s grand building since The building has an impressive facade and main entrance. _3_ Many of these buildings were intended to be semi-permanent exhibition halls but all have survived and represent one of the finest groups of Victorian buildings in the country. The Victoria & Albert has around four million exhibits from all periods and areas of the world. _4_ The Art and Design galleries are arranged by themes and by place and date, for example the Materials & Techniques galleries are arranged by the type of material. The six-storey Henry Cole Wing holds the Victoria & Albert s collection of paintings, drawings and prints. _5_ These cover British art and design from and include James II s wedding suit and the Great Bed of Ware. The Victoria & Albert, which held its first photographic exhibition in 1858, is also the home of the National Collection of Art of Photography. The Canon Photography Gallery has regularly changing displays. The fifteen galleries of the Victoria & Albert Museum tell the story of British design from the Tudor period to the Victorian era and display the Victoria & Albert s unrivalled collection of historic British furniture, textiles, dress, ceramics, glass, jewelry, silver, prints, paintings and sculpture. Every major name in the history of British design is represented, including Grinling Gibbons, Robert Adam, William Morris and Charles Rennie Mackintosh as well as workshops and manufacturers such as the Mortlake tapestry works, Spitalfields silks weaving workshops, Wedgwood, Doulton and Liberty. 12

13 _6_ For families there are lots of exciting free events and activities and a wide range of workshops for year olds. Admission to the V&A Museum at South Kensington is free. The V&A hours are from to Saturday through Thursday and from to on Fridays. 6 You are going to read the article about William Dobson. Some sentences have been removed from the article. Choose from the sentences A-F the one which fits each gap 1-5. There is one extra sentence which you do not need to use. A B C D E F His early training was in drawing. His father was considered a "Gentleman" of some means, but apparently lived a dissipated life and wasted his fortune. He painted the future Charles II at age twelve. Van Dyck arranged for a royal introduction, and soon Dobson was painting members of the royal family. Another record suggests he may have married Judeth Sander. Without patrons, he could make no money. WILLIAM DOBSON William Dobson was an early seventeenth-century English portraitist. Born in London to William Dobson and Alice Barnes, the younger William was one of eight children. _1_ A contemporary noted that the elder William died young after "spending his estate luxuriously upon women..." The one, clear advantage young William had during his early years was that he was born into an artistic family, who agreed that their artistic son should be apprenticed to artist William Peake. Part of his training included copying works by the old masters, including Titian and Anthony Van Dyck. Dobson's work also shows clear evidence of Venetian influence, particularly his use of color and interest in atmosphere, climate, and weather. It was Van Dyck himself (who was court painter to Charles I) who discovered the young Dobson, when he viewed the latter's works 13

14 displayed in a shop window. _2_ His was a very quick and early rise to artistic fame and fortune. While there is no certainty, it appears that Dobson married during the early 1630s, to a woman named Elizabeth. _3_ No definitive record has been discovered, but a Christening of a Katherin Dobson in 1639, born to William Dobson, and Judith is recorded at St. Bride s Church in Fleet Street, London. During the English Civil War, Dobson worked quietly at Oxford, painting portraits of prominent Cavaliers. _4_ Some art critics consider it his finest work. His earlier work demonstrates a thick, painterly style, which he forsook later in life in favor of a lighter touch. Art historians have suggested his change in approach may have more to do with the unavailability of paints during the war, rather than a professional decision. In 1646, Oxford fell to Cromwell's forces, and Dobson returned to London not long afterward. The interregnum was a disaster for Dobson. He had lost his patronage, from the executed Charles I, to the Cavaliers in exile. _5_ He quickly fell into debt and was imprisoned for nonpayment. Shortly after his release from prison he died. He was only thirty-six years old. 7 Read the article and choose the most suitable heading from the list A-I for each part 1-8. There is one extra heading which you do not need to use. A B C D E F G H I The six-footers For love of beauty Finding and defending his vocation Future generations Early education Fame and desolation Daring breakthrough Married love Stubborn struggle JOHN CONSTABLE John Constable was not a natural-born genius. His effort to make himself a painter would entail years of unrelenting work, the consummation of love, and a daring, breathtaking gesture. He created beauty and something else that was very rare. He showed the beauty and integrity and worth of 14

15 people and scenes and things close to the earth. Born in 1776, Constable grew up exploring and sketching the Stour Valley, East Anglia, his boyhood home and the place now known as Constable Country. He was the fourth child (the number of famous Brits who would never have been born in two-child families is remarkable), and he dreamed he would become an artist. Pressed to become a clergyman, he resisted. _1_ But when he was sixteen, and it became clear his elder brother could not manage the family s corn and coal trade, Constable reluctantly signed on. For several years he studied the business side of the Stour s watermills, locks, barges, and towpaths. He sketched whenever he could. When he was 20 he met Sir George Beaumont, a painter and patron who would later establish the National Academy. Beaumont reignited Constable's passion for painting, but there seemed little Constable could do about it. At 22 he dejectedly faced the fact he was tied to his father s business. _2_ Two years later, in 1799, he was unexpectedly released. His younger brother joined the firm, and his parents gave Constable a small allowance to study art in London. With the help of Beaumont and a few friends, he entered the Royal Academy School and began to copy master paintings, drawings, and prints. By 1802, he was making artistic progress, but little in the way of income, and his parents urged him to make some money. Constable painted a few portraits, but stubbornly turned down a job teaching drawing at a military school. After ten years, his parents were increasingly worried. He had exhibited at the Royal Academy. He was exploring interesting techniques, but he had not been accepted as an associate of the Academy and he was not earning a living. About this time he fell in love. He was thirty-three. Maria Bicknell was twenty-one. Her family was implacably opposed to their marriage. Constable s mother advised him to pursue his goals with Christian fortitude, patience, and diligence, and for heaven s sake earn the money he needed to get married. Constable presented this drawing of the church to Maria s grandfather, who was rector. It did little to change the old man s mind about Constable's 15

16 suitability as a husband for his granddaughter. Constable loved the country and had always wanted to paint country life. Though this was the least profitable art form then available, he decided to stake his life and his love on it. It was an astonishing decision, but it made emotional sense. He wanted to praise what he loved. _3_ Constable began to paint outdoors. His studies intensified. His brushwork became urgent. Constable pushed on, always working, always trying to improve, but he got nowhere with the Royal Academy whose approval he needed in order to sell his paintings. The Academy regarded his small rural scenes as almost beneath notice. It mattered little to them that over years of dedicated work "he had amassed an almost encyclopaedic visual record of whatever caught his eye animals, men and women, trees, homes, churches, boats, clouds, rivers. _4_ He was still not earning much, but after seven years Constable persuaded Maria that they should defy her family, and marry. Aged forty, he had finally achieved a private happiness that would help to unleash all his artistic power and passion. In 1817 they had their first child, and he was seen almost as often in his father's arms as in his mother's: His fondness for children,' a friend wrote, 'exceeded, indeed, that of any man I ever knew _5_ The members of the Academy had not been interested in the natural truth and the marvellous movements of nature in Constable s paintings, but they were about to learn to care. In 1819, Constable made a daring gesture that transfixed them. Once again he painted a rural scene and brought it to the Academy, hoping it would be exhibited. The painting showed a white horse being ferried by three men across a river with a farm scene on the opposite shore, and cows standing in the water under a lowering sky. The energetic brushwork for which he was becoming known, his fidelity to humble country scenes, and the truthful affection that 16

17 suffused his paintings were all there. There was just one sublime difference. The painting was six feet by four feet. The Academy was staggered, and elected him an associate member. The White Horse was the first of Constable's six-footers, and was based on an original breakthrough in his working methods. He began as usual by sketching outdoors. Then, to work on the large canvas, he came indoors, creating an intermediary, full-scale, 6 x 4-foot oil sketch to test and rework composition, colours, and light before advancing to paint his canvas. _6_ The exhibition of his six-footers brought Constable new clients and recognition, particularly in France, where his paintings fascinated Gericault and influenced Delacroix. (Later they would inspire the painters of the Hudson River School and the Impressionists Monet and Pissarro.) Moving his family to Hampstead Heath so his wife could be more comfortable, Constable made numerous studies of the skies. (To his great friend Fisher he referred to this as skying.) He was aware of Luke Howard s scientific studies of clouds Howard had recently named all the clouds and their associated weather patterns. Uniquely, Constable painted by uniting his scientific understanding with the eye of his heart. _7_ For awhile, Constable was more famous in France than in England. The English wondered at his bold impasto, loose handling of paint, and unorthodox colours. The Academy still declined to make him a full member. His sales were barely keeping up with his 17

18 expenses. A seventh child was born to the Constables in Their marriage had given them the joy felt by true companions, but Maria became ill with TB. In 1828 Maria died, leaving Constable devastated, and with seven children under the age of eleven. Three days after Maria died he wrote, I shall never feel again as I have felt. The face of the world is totally changed to me. A few months later Constable was elected a full member of the Academy. It no longer mattered to him. In the next decade, supported by an inheritance, Constable cared for his children. He published mezzotints, explained his ideas and served as director of the Artists' General Benevolent Institution, which helped poor artists. He continued to paint, but he did not sell his paintings. Like the young man of 20, who had lugged a painting he loved into his bedroom, he preferred to keep his paintings around him. In 1837, returning from a charitable errand, Constable became ill, and died the next morning. The cause was not determined. _8_ Constable's children inherited much of his life s work. Because he had sold so little during his lifetime, they were able to bequeath his paintings and drawings to the Victoria and Albert Museum, the British Museum, the National Gallery, and the Royal Academy. Just as the boy Constable was inspired by a painting, his paintings have given profound pleasure to generations of young artists and arts appreciators. Wonderful as they are in reproduction, they are far more wonderful in person Saturday through Thursday and from to on Fridays. 8 You are going to read the article about Thomas Gainsborough. Some sentences have been removed from the article. Choose from the sentences A-J the one which fits each gap 1-9. There is one extra sentence which you do not need to use. A B C In particular he still didn't feel confident about composing figure groups and full-length portraits. When he was not in the studio, he wandered the banks of the River Orwell with his notebook, sketching. His paintings of rural life are a testimony to his concern 18

19 and his generosity to those in need. D Ann Ford combined musical ability with a captivating voice. E To promote the work of young painters, he asked four artists to paint roundels of London hospitals. F In 1768 Gainsborough became one of the original 36 members of the Royal Academy. G His couple looked absurdly stiff, and what he wanted to capture was a good likeness. H But an artist has to pay the bills, and Gainsborough decided to move to a town which attracted the richest clients in England but was not London. I Gainsborough was a generous and religious person. J His mother encouraged him when she realized he loved to sketch. THOMAS GAINSBOROUGH Born in 1727, Gainsborough was the fifth son and ninth child in his family. His father was a publican, a woollen crape-maker and an excellent fencer. _1_ She gave him pencils and paper. After studying at St Martin's, Gainsborough set up as an independent artist. He was 17. He was 21 when a major professional coup came his way. Hogarth had been helping the Foundling Hospital by decorating its walls, and had attracted the notice of London society. _2_ Gainsborough was one of the four. His view of Charterhouse was installed in the Foundling Hospital (where it remains today). Response was positive, and clients began to seek him out. Gainsborough had already shown "extraordinary powers of observation with an intense ability to interpret the play of light on the landscape". He had begun to display his signature energy and skill in handling paint. By the age of 19 he had married Margaret, the illegitimate daughter of Henry, third duke of Beaufort, and by 20 he had become a father. He was 21 when his daughter and his father died, and he moved back to his hometown of Sudbury. Here his two daughters, Mary and Margaret, were born, and he painted the double portrait of Mr and Mrs 19

20 Andrews. The painting showed both what he could do and what he had yet to learn. Gainsborough had created a compelling design and an accurate topographical view of the Stour Valley, but he wasn't satisfied. _3_ He considered a good likeness the principal beauty & intention of a portrait. To learn how to paint people well, he bundled up his family and moved them to Ipswich where there were more clients interested in commissioning portraits. _4_ Putting in hours of work indoors, he began to master portrait painting, inspired in part by his love of music. He had joined a club to play music - and he had discovered the joy of creating a Picture like the first part of a Tune...you can guess what follows, and that makes the second part of the Tune. His painting of his two daughters, created for his own pleasure when he was 29, is a perfect example of a visual song. _5_ As readers of Jane Austen will guess, the place was Bath. After testing the market in 1759, he rented a large house where he could paint and live, settled his family and began charging 8 guineas for a head-andshoulders portrait. Bath gave Gainsborough interesting companions, a changing source of clients, and access to remarkable collections of paintings, but he was nervous about his abilities. _6_ To tackle his fears and the challenge, he made countless sketches, and almost died from exhaustion. Gainsborough loved music, and he and his wife opened their house to musicians. Among the musicians who gathered was Ann Ford. Gainsborough shared Ann's love of music and admired her spirit - she was a heroine, really. One of his first full-length portraits was of Ann, who had shocked and thrilled society. _7_ In 1760 she decided to perform publicly. This outraged her father, who had her arrested. The Earl of Jersey, who had heard her sing privately, offered her 800 a year to give up her ambition and become his mistress. Ann firmly declined. She advertised five concerts at the Little Theatre in the Haymarket. Her father surrounded the theatre with runners to prevent concert-goers from attending. Charles Bennet, third earl of Tankerville, had the runners dispersed. Ann earned 1,500. Gainsborough's portrait dates from the years of her performances, a time when she also defended her honour from malicious slander (the Earl of Jersey causing trouble again) and published the first known instructions for Lessons and Instructions for Playing the Guitar. Her book included several 20

21 pieces she almost certainly composed. Gainsborough's great love was landscape painting. For years he painted the country and sent his paintings to London, where they were exhibited, commended, and year after year returned to him, unsold. "They stood", wrote Sir William Beechey, "ranged in long lines from his hall to his painting-room." He loved these children of the country, but he could not sell them. His failure resembled Constable's long struggle. _8_ By 1770 he "had united in his portraiture the realism first seen in the head-and-shoulders likenesses painted during his Ipswich years with a bravura technique". The startling beauty of his portraits of his friends, his family and animals contrast with some of his commissioned portraits. If Gainsborough paints a man he does not know well (Edward, 2nd Viscount Ligonier) and his horse, it will be the horse that steals the painting. Gainsborough's society portraits can be subtly and disturbingly intuitive. Georgiana's huge, overshadowing black hat suggests her dependence on powerful men. Scattered among the world's great museums, Gainsborough's portraits are a historical record of Britain's 18th century rich and famous. He once remarked that he doubted they had hearts. Gainsborough loved the beauty and simplicity of country life while acutely aware that for many life in the country could be a grindingly hard place to live. _9_ Constable later wrote that Gainsborough was the most benevolent and kind-hearted man. Gainsborough never quit learning as an artist. In the 1770s, he painted the stunning Blue Boy, said to be a riposte to Reynolds' rule to use blue only as an accent in paintings. Gainsborough could work at high speed, sometimes using brushes on sticks 6 feet long. Close up, the effect is exuberant and impressionistic. The brushstrokes he used to paint the cottage child a year later are quite different. There he seems careful, gentle, almost on the edge of tears. Until the very end of his life in 1788, Gainsborough donated money to the poor, followed politics, and sketched and painted. 21

22 LISTENING 9 You will hear five short extracts in which the tour guide talks about paintings in the National Gallery. The tour guide answers tourists questions. For questions 1-5 choose from the list A-G the artist / painting which each tourist asks about. Use the letters once only. There are two extra letters which you do not need to use. The National Gallery, London Letter City Speaker Question A Jan Van Eyck Speaker 1 1 B The Arnolfini Marriage,1434 Rembrandt Speaker 2 2 Frederick Rihel on Horseback,

23 C Lorenzo Lotto Speaker 3 3 D A Lady as Lucretia, Jacques-Louis David Speaker 4 4 E Portrait of Jacobus Blauw, 1795 Titian Speaker 5 5 Noli Me Tangere,

24 F Cosimo Tura G An Allegorical Figure, 1460 Sir Joshua Reynolds Lord Heathfield, Governor of Gibraltar, 1787 VOCABULARY DEVELOPMENT Look at the following plan of a painting s description and the describe the painting given below. Describe it: What kinds of things do you see in this painting? What else do you see? What words would you use to describe this painting? What other words might we use? How would you describe the lines in this picture? The shapes? The colors? What does this painting show? Look at this painting for a moment. What observations can you make about it? How would you describe this painting to a person who could not see it? 24

25 How would you describe the people in this picture? Are they like you or different? How would you describe (the place depicted in) this painting? Relate it: What does this painting remind you of? What things do you recognize in this painting? What things seem new to you? How is this painting like the one we just saw? What are some important differences? What do these two paintings have in common? How is this picture different from real life? What interests you most about this work of art? Analyze it: Which objects seems closer to you? Further away? What can you tell me about the colors in this painting? What color is used the most in this painting? What makes this painting look crowded? What can you tell me about the person in this painting? What can you tell me about how this person lived? How did you arrive at that idea? What do you think is the most important part of this picture? How do you think the artist made this work? What questions would you ask the artist about this work, if s/he were here? Interpret it: What title would you give to this painting? What made you decide on that title? What other titles could we give it? What do you think is happening in this painting? What else could be happening? What sounds would this painting make (if it could)? What do you think is going on in this picture? How did you arrive at that idea? 25

26 What do you think this painting is about? How did you come up that idea? Pretend you are inside this painting. What does it feel like? What do you think this (object) was used for? How did you arrive at that idea? Why do you suppose the artist made this painting? What makes you think that? What do you think it would be like to live in this painting? What makes you think that? Evaluate it: What do you think is good about this painting? What is not so good? Do you think the person who painted this do a good or bad job? What makes you think so? Why do you think other people should see this work of art? What do you think other people would say about this work? Why do you think that? What grade would you give the artist for this work? How did you arrive at that grade? What would you do with this work if you owned it? What do you think is worth remembering about this painting? 10 Describe the painting. William Hogarth, British ( ) David Garrick and His Wife 1757, Royal Library, Windsor Castle 26

27 11 Match these Drawing and Painting Vocabulary terms with their definitions. 1 still life A art that uses two-dimensional geometric shapes to depict three-dimensional organic forms; a style of painting created by Pablo Picasso and Georges Braque in the early 20th century whereby the artist breaks down the natural forms of the subjects into geometric shapes and creates a new kind of pictorial space 2 subject matter B the drawing of objects, people or places in such a way that they can be recognized for what they are, with very little or no distortion or abstraction 3 portrait C post-world War I artistic movement, of German origin, that emphasized the expression of inner experience rather than solely realistic portrayal, seeking to depict not objective reality but the subjective emotions and responses that objects and events arouse in the artist 4 figure drawing D a style of drawing or painting that shows people, places or things in simplified arrangements of shape, line, texture and color. They are geometrical and at times even unidentifieable in their origin. this is known as NON- OBJECTIVE 5 landscape E an art style developed in Europe in the 1920's, characterized by using the 27

28 subconscious as a source of creativity to liberate pictorial subjects and ideas. Surrealist paintings often depict unexpected or irrational objects in an atmosphere of fantasy, creating a dreamlike scenario; An art movement in which one's dreams, nightmares, sub consciousness and fantasy inspired the final works 6 cityscape F refers to art of the present, today, now. the methods, styles and techniques of artists living in the present 7 seascape G a style of art in which the artist communicates what is known of the subject, a general idea or concept, not how the object actually looks. an african tribal mask is a conceptualized face 8 representational art H a type of drawing that uses the human figure as the main subject matter 9 abstract art I art that has no recognizable subject matter, such as trees, flowers, animals or people. the actual subject may be a color or the composition of the work 10 conceptualized art J a style of painting which depicts subject matter (form, color, space) as it appears in actuality or ordinary visual experience without distortion or stylization 11 non-objective art K art that rejects true visual representation. It has few recognizable images with great emphasis on line, color, 28

29 shape, texture, value; putting the expression of the feelings or emotions of the artist above all else 12 contemporary art L fine art made by any printing stamping process 13 impression M the leading edge or the most advanced and previously unseen style, trend setting, it is the newest form of visual expression and drastically different from traditional ways 14 cubism N the subject of a composition, what the artist wants to communicate as the theme of his or her work 15 surrealism O an artwork that features part of the city environment as it's subject 16 expressionism P a drawing, painting or photograph that features the natural outdoor environment such as trees, lakes, mountains etc. 17 abstract expressionism Q a work of art that features some part of the sea or coastal environment as the subject 18 realism R an arrangement of inanimate objects as the subject for a drawing or painting 19 avant garde art S an artwork featuring one or more people as the subjects of the composition. portraits are usually facial but may also include the figure of working 29

30 GRAMMAR PRACTICE COMPARISON OF ADJECTIVES AS + ADJECTIVE + AS To compare people, places, events or things, when there is no difference, use as + adjective + as: e.g. Peter is 24 years old. John is 24 years old. Peter is as old as John. Moscow is as cold as St. Petersburg in the winter. Ramona is as happy as Raphael. Thomas Gainsborough is as famous as Joshua Reynolds. A tiger is as dangerous as a lion. NOT AS + ADJECTIVE + AS Difference can also be shown by using not so/as...as: e.g. Mont Blanc is not as high as Mount Everest. Norway is not as sunny as Thailand A bicycle is not as expensive as a car. COMPARATIVE + THAN To compare the difference between two people, things or events. e.g. Mt. Everest is higher than Mt. Blanc. Thailand is sunnier than Norway. A car is more expensive than a bicycle. Albert is more intelligent than Arthur. COMPARISONS OF QUANTITY To show no difference: as much as, as many as, as few as, as little as, as many as / as few as countable nouns; as much as / as little as + uncountable nouns 30

31 With countable nouns: e.g. They have as many children as us. We have as many customers as them. Tom has as few books as Jane. With uncountable nouns: e.g. John eats as much food as Peter. Jim has as little food as Sam. You've heard as much news as I have. COMPARISONS OF QUANTITY To show difference: more, less, fewer + than To show no difference: as much as, as many as, as few as, as little as With countable nouns: more / fewer e.g. Eloise has more children than Chantal. Chantal has fewer children than Eloise. There are fewer dogs in Cardiff than in Bristol. With uncountable nouns: more / less e.g. Eloise has more money than Chantal. Chantal has less money than Eloise. I spend less time on homework than you do. So, the rule is: MORE + nouns that are countable or uncountable FEWER + countable nouns LESS + uncountable nouns 31

32 Comparatives and Superlatives 1) One syllable adjectives or adverbs: Comparatives Simply add -er e.g. smart = smarter young = younger fast = faster Superlatives Use THE and add -est e.g. smart = the smartest young = the youngest fast = the fastest 2) One syllable adjectives with a Consonant-Vowel-Consonant Pattern: (Review Consonants and Vowels) Comparatives If the adjective has a CVC pattern, double the consonant and add er e.g. wet = wetter big = bigger sad = sadder Superlatives If the adjective has a CVC pattern, double the consonant and add -est. Don't forget THE! e.g. wet = the wettest big = the biggest sad = the saddest 3) Two syllable adjectives ending in Y Comparatives Change the Y to I and add -er e.g. pretty = prettier happy = happier busy = busier Superlatives Change the Y to I and add - est. Don't forget to use THE! e.g. pretty = the prettiest happy = the happiest busy = the busiest 32

33 4) Adjectives or adverbs with two or more syllables (not ending in Y): Comparatives Use MORE e.g. famous = more famous interesting = more interesting carefully = more carefully Superlatives Use THE MOST e.g. famous = the most famous interesting = the most interesting carefully = the most carefully 5) These are the irregular words. There is no system or pattern here, so you'll just have to remember them. Fortunately, there are only a few... Comparatives good = better bad = worse far = farther (further) well = better badly = worse little = less Superlatives good = the best bad = the worst far = the farthest (the furthest) well = the best badly = the worst little = the least 12 Write the correct comparative and superlative forms for the following adjectives. 1) happy 2) good 3) high 4) funny 5) sad 6) well 7) busy 8) fascinating 9) bad 10) enchanting 11) small 12) renowned 13) red 14) far 15) pink 16) large 33

34 17) fast 18) ugly 19) peppy 20) short 13 a) Read the text and complete the sentences. London lies on the river Thames and is the capital of the United Kingdom. With about 7 million inhabitants, it is one of the largest cities in the world. Lots of tourists visit London every year. There are plenty of museums, theatres and interesting sights, for example the Tower of London, Tower Bridge, Buckingham Palace and the Houses of Parliament with their clock tower, Big Ben. Positive, Comparative and Superlative Forms of Adjectives With the positive, comparative and superlative forms of adjectives you can express that something is for example as good as something else (positive form), better (comparative form) or best (superlative form). b) Fill in the correct form of the following adjectives. 1) London is the (large) city in Great Britain. 2) No other British city has as (many) inhabitants as London. 3) The London underground, the tube, is the (old) underground in the world. 4) The Tower of London is one of the (famous) London sights. 5) The National Gallery is one of (popular) galleries in London. 6) Another sight is the London Eye. With its 135 metres, it is (tall) than any other big wheel in the world. 14 Choose the correct answer. 1) Things are now than they used to be. a) BOTH ARE OK 34

35 b) busier c) more busy 2) He is about this than I am. a) more nervous b) nervouser c) BOTH ARE OK 3) I liked this movie, although I found it a bit than his last film. a) duller b) more dull c) BOTH ARE OK 4) Mary wears her white skirt than (she wears) her blue one. a) oftener b) more often c) BOTH ARE OK 5) This test is than the last one. a) simpler b) more simple c) BOTH ARE OK 6) Which one is? a) better b) more good c) BOTH ARE OK 7) This is much. a) more important b) importanter c) BOTH ARE OK 8) My brother is than I am. 35

36 a) more wealthy b) wealthier c) BOTH ARE OK 9) This sounds a bit. a) naturaler b) BOTH ARE OK c) more natural 10) This trip was than the last one. a) more fun b) funner c) BOTH ARE OK FORM AND COMPARISON OF ADVERBS Adverbs are used to express how something is done (adjectives express how someone or something is). Example: The dog sleeps quietly. The dog is absolutely quiet. FORM IN GENERAL: adjective + -ly adjective slow adverb slowly EXCEPTIONS IN SPELLING exception silent e is dropped in true, due, whole y becomes i le after a consonant is dropped after ll only add y example true truly happy happily sensible sensibly full fully Adjectives ending in -ic: adjective + -ally (exception: public-publicly) 36

37 adjective fantastic adverb fantastically Adjectives ending in -ly: use in a way / manner or another adverb with similar meaning EXCEPTIONS adjective adverb friendly in a friendly way in a friendly manner likely probably adjective adverb (meaning) adverb (meaning) good well difficult with difficulty public publicly deep deep (place) deeply (feeling) direct direct directly (=soon) hard hard hardly (=seldom) high high (place) highly (figurative) late late lately (=recently) most most mostly (=usually) near near nearly (=almost) pretty pretty (=rather) prettily short short shortly (=soon) The following adjectives are also used as adverbs (without modification): Comparison (-er/-est) daily, enough, early, far, fast, hourly, little, long, low, monthly, much, straight, weekly, yearly, COMPARISON Comparative ending in -er one-syllable adverbs (hard) harder Superlative ending in -est hardest 37

38 adverbs with the same form as adjectives (early) Comparison (more / most) earlier earliest adverbs ending in -ly (happily) Comparative formed with more more happily Superlative formed with most most happily Irregular comparisons positive form comparative superlative well better best badly worse worst ill worse worst little less least much more most far (place + time) further furthest far (place) farther farthest late (time) later latest 15 Write down the adverbs of the following adjectives. adjective adverb adjective adverb adjective adverb good honest silly early possible fast happy bad fantastic friendly much difficult 16 Adjective or adverb? 1) He speaks French pretty. a) bad b) badly 2) The movie we saw was pretty. 38

39 a) bad b) badly 3) Our cat was lying around a) lazy b) lazily 4) Robert is a very person. a) lazily b) lazy 5) Her room was a) bright b) brightly 6) Her room was decorated. a) beautiful b) beautifully 7) I love your apartment! It's so. a) colorful b) colorfully 8) He keeps his room. a) clean b) cleanly 9) Our neighbors are always. a) helpfully b) helpful 10) You can get there from here. a) easy b) easily 39

40 17 Complete the following sentences. 1) Sally is the (pretty) girl in my hometown. 2) You should drive (careful), otherwise you will cause an accident. 3) This is the (bad) film I've seen so far. 4) He was (bad) hurt in the accident. 5) Don't run around so (nervous). 6) This exercise was (easy) than I expected. 7) Sam didn't behave as (good) as Mike. 8) He works (hard) of all the pupils. 9) You should do your homework (careful). 10) My perfume smells (sweet) than yours. 18 Fill in the correct forms of adverbs and adjectives. 1) Sam's idea sounds (good) but I like Carol's idea even (good). 2) Every morning I get up 10 minutes (early) than my sister. 3) What are the (dangerous) animals in Australia? 4) I can run as (fast) as my elder brother. 5) You should buy the blue sweater. It suits you (good) than the red one and I think it fits (perfect) 6) If you worked (careful), you would make (few) mistakes. 7) Joy Fielding writes the (exciting) books I've ever read. 8) Caroline is the (pretty) dressed girl in this room. 9) Vienna is the (large) town in Austria. 10) Please, speak (clear), I (hard) understand the instructions. 11) Bob ran (slow) than his classmates. 12) Jo is the (good) footballer in my team and he plays very (fair). 19 Complete the sentences with Adjective or Adverb. 1) He is a boy. (clever) 2) He is tired because he has worked. (hard) 3) He isn t tired because he has worked. (hard) 4) She is a girl. (quiet) 5) She went to bed. (quiet) 40

41 6) He is not a good student but he writes. (good) 7) You should speak more. (soft) 8) The children behaved. (bad) 9) The brave men fought. (brave) 10) They lived together. (happy) 11) She looks. (pretty) 12) That milk tastes. (sour) 13) I don t know where they live. (exact) 14) She turned. (pale) 15) This brown fur feels. (soft) 16) The boys played so that they won the tournament. (good) 17) He was so busy with his new computer that he had time to help his mother. (hard) 18) "Go and have a rest. You shouldn t work so." (hard) 19) From the top of the mountain he could see across the countryside. (far) 20) What a picture! (beautiful) 21) Arthur fought and they won the battle. (good) 22) "I love you", Camilla said in a voice. (soft) 23) The maid shut the door. (quiet) 24) They could hear a cry. (terrible) 25) Suddenly he woke up because the phone rang. (loud) 26) Jane opened the door. (careful) 27) I like driving. (fast) 28) She spoke to me very. (soft) 29) Paul lay in bed. (quiet) 30) He tasted the various kinds of tea. (careful) 31) He didn't have an accident because he's an driver. (excellent) 32) Sam is good at sports. He always runs. (fast) 33) His father is a manager. He works very. (hard) 34) He won a prize. He is very. (happy) 35) She felt. So she stayed at home. (ill) 36) The weather was. It was cold all the time. (bad) 37) The exercise wasn't difficult. So we did it. (easy) 38) The soup is great. It tastes. (wonderful) 39) He always greets. (friendly) 40) Today she skates. (good) 41) The party was. (wonderful) 42) The house seems to be so without you. (empty) 43) Fish and chips taste. (fantastic) 44) 4. She drives. (careful) 41

42 45) She is a nice girl. She always answers. (polite) 20 Complete the following sentences. 1) The countries which haven't completed their economic progress are called (develop) countries. 2) I didn't like her at all. She was as as ice. 3) Samuel's grade is 85. Murat's grade is 60. Samuel is Murat. (hardworking). Murat studies Samuel. Samuel' grade is much from that of Murat's. 4) Although Yasemin is poor, she dresses than all her friends. (fashionabl..) 5) Of all the rivers in Turkey, the Kizilirmak is (long) one. 6) I am so sad that I can't sleep. (in other words :) I am. (too-to) 7) Emre is (rich) person I have ever met. 8) Today's movie wasn't as the one we saw last weekend. (thrilling) 9) Allan isn't determined. She can't continue her education. Allan isn't continue her education. 10) He really deserves the promotion. None of us has worked (competitive) as him. 11) She must be rich. She spends money in a day than I earn in a month. (use: much also) 12) Ali runs fairly faster than all the teenagers. means:> Ali runs off all the teenagers. 13) The question was very (confuse x 2) so we were quite. 14) Mr. Çaglar has been qualified to have a teaching certificate, so he works a teacher at our institution. (such as-like-as) 42

43 POSITION OF ADVERBS Adverbs should be placed as nearly as possible to the verbs they modify. Although some adverbs can occur only in fixed positions in a sentence, most adverbs can come at different places in a sentence. 1) When the verb intransitive (an intransitive verb has no object), place the adverb immediately after it. e.g. He laughed aloud. He worked hard. She smiled sweetly. They walked fast. She spoke fluently. They arrived late. She walked slowly. They sang beautifully. 2) When the verb is transitive with an object following, place the adverb immediately after the object. e.g. She combed her hair carefully. He drew the picture beautifully. She offered her help willingly. She suffered the pain bravely. He refuted the charge effectively. He gave his reply immediately. 3) Adverbs of time (e.g. always, before, never, often) are usually placed before the verb. e.g. He seldom comes to see me. They never admitted their fault. We always try to help him. 4) When the verb consists of an auxiliary verb and a principal verb, the modifying adverb is placed between the two. If there are two auxiliaries, the adverb is placed between them. e.g. He was greatly praised for his brave act. I have always wanted to write a novel. 43

44 I should never have thought it possible. One couldn t possibly have suspected her. I have not had the time to look into the matter. 5) An adverb is placed before an adjective or another adverb which it modifies. e.g. She is very beautiful. You are absolutely correct. She is rather careless. NOTE e.g. The adverb enough comes after the adjective which it modifies. He was foolish enough to trust her. She is old enough to take care of herself. The adverb only should be placed immediately before the word which it modifies. Note the change in the meaning of a sentence according to the change in the position of only. e.g. Only Alice helped me to finish the work. (Only Alice and no one else helped me to finish the work.) Alice only helped me to finish the work. (Alice helped me to finish the work, but she didn t actually do the work.) 21 Rewrite the sentences using the adverb in brackets in its correct position. 1) He listens to the radio. (often) 2) They read a book. (sometimes) 3) Pete gets angry. (never) 4) Tom is very friendly. (usually) 5) I take sugar in my coffee. (sometimes) 6) Ramon and Frank are hungry. (often) 7) My grandmother goes for a walk in the evening. (always) 8) Walter helps his father in the kitchen. (usually) 9) They watch TV in the afternoon. (never) 10) Christine smokes. (never) 44

45 22 Put the adverb in bracket in the correct position within the sentence. 1) He is tall. (very) 2) She looks tired to me. (rather) 3) This one is cheap. (enough) 4) The box is heavy for me to carry. (too) 5) This cord is strong. (quite) 6) Do you think he is old? (enough) 7) That pineapple is large. (unusually) 8) This tool is useful to a carpenter. (particularly) 9) The wind was not strong last night. (very) 10) That man does not work hard. (enough) 11) The announcer does not speak slowly. (enough) 12) The rope is not long. (enough) 13) Is the tea sweet? (enough) 14) Our school field is not flat. (perfectly) 15) We were sure we would win. (perfectly) 16) The problem was difficult to solve. (extremely) 17) Dinner is ready now. (nearly) 18) Ali's camera was cheap (surprisingly) 19) That wrestler has powerful arms. (extremely) 20) He looked exhausted after the race. (completely) 21) She always reaches school at half past seven. (punctually) 22) He picked up the jug and some water came out. (carelessly) 23) He picked up the wrong bag. (carelessly) 24) The car stopped outside our house. (abruptly) 25) He arrived home. (unexpectedly) 26) She stared at it. (as if she had never seen a snake before) 27) He pulled a rope. (with all his strength) 28) He told us that we should not speak., (angrily) 29) He did his work so he had to do it again. (badly) 30) I asked my father for some money. (hopefully) 31) She opened the parcel. (most carefully) 32) I arranged all the stamps. (in their right order) 33) She looked at the letter. (thoughtfully) 34) That boy has been behaving recently. (in a strange way) 35) Tom waited for the train to arrive. (impatiently) 36) My father likes to go for a walk in the evening. (often) 37) He has finished the job you gave him. (just) 38) She goes to that shop now. (seldom) 39) I am sure there is something wrong with it. (quite) 45

46 40) He prefers tea to coffee. (usually) 23 Choose the most suitable adverb in bold to fill each blank. angrily, enough, never, outside, yesterday 1) She left for the university where she is doing a degree course. 2) We are standing his house waiting for him. 3) He told us not to walk on the grass. 4) I am not strong to help him carry that box. 5) She will be happy in that job. down, last week, often, quickly, rarely 6), I saw him walking to the church. 7) My father is late for work. 8) He drove to avoid being late. 9) I play badminton with my sister. 10) This is the place where he fell. always, just, nearly, online, unusually 11) It took two hours to get here. 12) They were very friendly. 13) He has strong hands. 14) She has completed her degree course. 15) This dictionary went in QUIZZES AND CROSSWORDS 24 Do ART HISTORY Quiz. 1), for example, famously created a series of drawings to accompany his psychoanalytic sessions with his Jungian psychoanalyst, Dr. a) Jackson Pollock b) Abstract expressionism c) Lee Krasner d) Paul Cézanne 46

47 2) Art history has historically been understood as the study of objects of art in their historical development and stylistic contexts, i.e. a) Humanities b) University c) Academia d) Academic degree 3) Jung's approach to psychology emphasized understanding the psyche through exploring the worlds of, art, mythology, world religion and philosophy. a) Lucid dream b) Dream c) Sleep d) Rapid eye movement sleep 4) also applied psychoanalytic theory to art. a) Analytical psychology b) Carl Jung c) Sigmund Freud d) Jungian archetypes 5) ( ), one of the founders of art history, noted that Winckelmann was 'the first to distinguish between the periods of ancient art and to link the history of style with world history'. a) Jacob Burckhardt b) Basel c) Arthur Schopenhauer d) Friedrich Nietzsche 6) Firstly, he attempted to study art using psychology, particularly by applying the work of. a) Epistemology b) Relationship between religion and science c) Pseudoscience d) Wilhelm Wundt 7) Greenberg further claimed that and Modernist art was a means to 47

48 resist the leveling of culture produced by capitalist propaganda. a) Avant-garde b) Surrealism c) Dada d) Abstract expressionism 8) Today's understanding of the symbolic content of art comes from a group of scholars who gathered in in the 1920s. a) Hamburg b) London c) Cologne d) Bremen Saxl. 9) The most prominent among them were Erwin Panofsky,, and Fritz a) Aby Warburg b) Art history c) Puebloan peoples d) Ancient Pueblo Peoples 10) The most renowned of these was, and Vasari's account is enlightening, though biased in places. a) Sistine Chapel b) Michelangelo c) St. Peter's Basilica d) Sistine Chapel ceiling 25 Do ENGLISH ART Quiz. 1) English art is the body of visual arts originating from the nation of, in the form of a continuous tradition. a) Scotland b) Wales c) England 48

49 d) United Kingdom 2) Another important influence, from about 1890 until 1926, was the growing knowledge about the visual art of. a) Canada b) Cambodia c) United Kingdom d) Japan 3) built up a great royal collection of art. a) Charles I of England b) Charles II of England c) James II of England d) James I of England 4) William Morris is particularly associated with this latter trend, as were the a) Realism (visual arts) b) Romanticism c) Academic art d) Pre-Raphaelite Brotherhood 5) Being a nation of four distinct seasons, and changeable, weather effects have often been portrayed in English art. a) Climate b) Meteorology c) Weather d) Earth 6) This was mostly sold by the, but Charles II was able to recover much of it, by judicious pressure on English purchasers, although many of the finest works had been sold abroad and were lost. a) Commonwealth of England b) Oliver Cromwell c) Charles I of England d) Edward III of England 49

50 7) As the population of England grew during the, a concern for privacy and smaller gardens becomes more notable in English art. a) Textile manufacture during the Industrial Revolution b) William Radcliffe c) Thomas Highs d) Industrial Revolution 8) From the Renaissance until the early 18th century the best painters working in England were imported, often from. a) Southern Netherlands b) Lille c) Belgium d) Flanders 9) These included, Van Dyck, Rubens, Orazio Gentileschi and his daughter Artemesia, Sir Peter Lely and Sir Godfrey Kneller. a) Protestant Reformation b) Hans Holbein the Younger c) Anne Boleyn d) Victoria and Albert Museum 10) Only now survive in good numbers. a) Medieval art b) Pigment c) Illuminated manuscript d) England 26 Do NATIONAL PORTRAIT GALLERY (LONDON) Quiz. 1) Some, such as the group portrait of the participants in the Conference of 1604, are important historical documents in their own right. a) British Museum b) Royal Academy c) Somerset House 50

51 d) Victoria and Albert Museum 2) Where is National Portrait Gallery (London)? a) 41 Martin Luther King, Jr. Blvd, Savannah, Georgia b) Hickory and S. 4th Sts., Martins Ferry, Ohio c) St Martin's Place, WC2, England d) Martin Lane, Williston, Maryland 3) When was National Portrait Gallery (London) established? a) 1970 b) 1856 c) 2008 d) ) It is unconnected to the Scottish National Portrait Gallery in, with which its remit overlaps. a) Edinburgh b) Glasgow c) Scotland d) New Town, Edinburgh 5) Not all of the portraits are exceptional artistically, although there are self-portraits by William Hogarth, Sir Joshua Reynolds and other of note. a) List of British artists b) England c) Royal Academy d) United Kingdom 6) The gallery moved in 1896 to its current site at St Martin's Place, off, and adjoining the National Gallery. a) United Kingdom b) England c) Trafalgar Square d) St Martin-in-the-Fields 7) The gallery houses portraits of historically important and famous 51

52 , selected on the basis of the significance of the sitter, not that of the artist. a) England b) United Kingdom c) British people d) Wales 8) As well as Stanhope and Macaulay, the founder Trustees included and Lord Ellesmere. a) Harold Macmillan b) Stanley Baldwin c) Bonar Law d) Benjamin Disraeli 9) At centre is, with his supporters on either side, Thomas Babington Macaulay, 1st Baron Macaulay (to Stanhope's left) and Thomas Carlyle (to Stanhope's right). a) Robert Peel b) Edward Stanhope c) James Stanhope, 1st Earl Stanhope d) Philip Stanhope, 5th Earl Stanhope 10) The National Portrait Gallery is an art gallery in London, England, housing a collection of portraits of historically important and famous. a) Wales b) United Kingdom c) British people d) Scotland 27 Do BAROQUE ART Quiz. 1) Caravaggio's "Amor Vincit Omnia" (c. 1601) features a nude adolescent in a pose that is a reference to which work of Renaissance art? a) St. Jerome by Lorenzo Lotto 52

53 b) Night by Michelangelo c) Victory by Michelangelo d) Transfiguration by Raphael 2) Though most people think of Caravaggio as the epitomy of the Italian Baroque style, another family of artists, the Carracci, had greater lasting influence. Which of these features decoration by the two brothers, Annibale and Agostino? a) Palazzo Pamphili b) Palazzo Pallavicini c) Palazzo Rospigliosi d) Palazzo Farnese 3) Gian Lorenzo Bernini, who was certainly one of the greatest sculptors who ever lived, created two nearly identical marble portrait busts of Cardinal Scipione Borghese (c. 1632). Why was the second one made? a) Flaw in the marble in the first not visible until nearly finished b) The Cardinal was so pleased with the first, he requested a second c) The Cardinal was not happy with the first version d) Bernini was not happy with his work and thought he could do better a) Jan Brueghel the Younger b) Anthony van Dyck c) Jacob Jordaens d) Frans Snyders 4) Peter Paul Rubens, the Flemish master, had a large studio of assistants, many of whom specialized in a particular field. Who was his most well-known animal painter? 5) Vermeer may be the most famous Dutch Genre painter of the Baroque period today, but this was not the case at the time. Name the Dutch painter whose name is synonymous with households in disarray. 53

54 a) Pieter de Hooch b) Gabriel Metsu c) Gerard ter Borch d) Jan Steen 6) Artemisia Gentileschi, the daughter of the Caravaggisti Orazio Gentileschi, began painting at a very young age. Her earliest work, dated 1610, depicted which Biblical subject? a) Judith Beheading Holofernes b) David and Bathsheba c) Joseph and Potiphar's Wife d) Susanna and the Elders 7) What makes Diego Velazquez's "Venus at Her Mirror" (usually known as the "Rokeby Venus" c. 1645) a very unique painting in Spanish Baroque art? a) It is a mythological subject b) It depicts a nude female c) The use of the color blue d) The pose of the model 8) What perspective device did Vermeer probably employ when executing his paintings? a) Camera Lucida b) Mirror Lense c) Spectroscope d) Camera Obscura 9) Which painting by Nicolas Poussin is one of the only paintings by a French artist to have hung in St. Peter's? a) The Assumption of the Virgin b) Adoration of the Magi c) The Martyrdom of St. Erasmus d) The Institution of the Eucharist 10) Which painting is Caravaggio's only signed work? 54

55 a) David with the Head of Goliath b) Entombment c) The Beheading of St. John the Baptist d) The Conversion of St. Paul 11) Which artist explored the darker aspects of life and death? a) Vermeer b) Massacio c) Caravaggio d) Machiavelli 12) What is the name of the work by Rembrandt that spotlights a little girl and a man in front through the technique of chiaroscuro? a) Jacob Blessing Son of Joseph b) Nightwatch c) The Polish Nobelman d) Nobel Slav 13) Which artist used the following characteristic in his artwork: blues, reds, and golds, diagonals, robust women, movement, and optical illusion? a) Rembrandt b) Velasquez c) Fragonard d) Rubens 14) Velasquez used optical illusion in this painting, translated into "Maids of Honor". Answer: (Spanish, two words) 15) Baroque is used to describe anything elaborate and fanciful from the 17th and early 18th centuries. a) True b) False 55

56 16) The early Baroque is considered to be a reaction against what period of art? a) The Renaissance b) Mannerism c) The High Renaissance d) International Gothic 17) Annibale Carracci ( ) is regarded by scholars as the foremost representative of the Carracci reform, which led to the Baroque period. What were the names of his brother and cousin? a) Achilleo and Loredano b) Agostino and Ludovico c) Alessandro and Luigi d) Alberto and Lorenzo 18) The famous "Galleria Farnese," frescoed by the Carracci brothers and their assistants between 1597 and 1608(?), depicts what subject? a) The Greek and Roman philosophers b) The history of the Farnese family c) The loves of the gods d) The battle of the gods and giants 19) Michelangelo Merisi da Caravaggio ( ) arrived in Rome in Who was his first important patron and admirer? a) The Cardinal Medici b) The Cardinal Mattei c) The Cardinal del Monte d) The Cardinal Montalto 20) Caravaggio's paintings for a family chapel in the Roman church of San Luigi dei Francesi depict scenes from the life of Saint Matthew. By what name is this chapel known? a) The Legros Chapel b) The Polet Chapel c) The Contarelli Chapel 56

57 d) The Cerasi Chapel 21) What artist, often later called "divine," painted the "Aurora" in the Casino Rospigliosi in Rome? a) Guido Reni b) Elisabetta Sirani c) Raffaello Sanzio d) Francesco Albani 22) In the early 1620's, the artist Giovanni Lanfranco ( ) accused a colleague of having plagiarized a painting called "The Last Communion of St. Jerome." Who was the colleague? a) Domenico Zampieri b) Cesare d'arpino c) Sisto Badalocchio d) Giovanni Passeri 23) The artist Guercino (Giovanni Francesco Barbieri, ) owed his brief Roman career to papal connections. Who was the Pope in question? a) Gregory XV Ludovisi b) Innocent X Pamphili c) Paul V Borghese d) Alexander VII Chigi 28 Do 20 TH CENTURY WESTERN PAINTING quiz. 1) The show sent shockwaves through the and reverberated worldwide. a) Abstract expressionism b) Surrealism c) New York School d) Modernism 57

58 2) George Bellows, 1924, a) Robert Henri b) Armory Show c) John French Sloan d) American realism 3), 1967, Shaped Canvas a) Color Field b) Abstract expressionism c) Frank Stella d) Modernism 4) Marcel Duchamp, 1912, and Futurism a) Fauvism b) Cubism c) Impressionism d) Expressionism 5) Ultimately became the yang to Picasso's yin in the 20th century. a) Henri Matisse b) Notre-Dame, une fin d'après-midi c) Fauvism d) Woman with a Hat 6), 1920, Neue Sachlichkeit a) Dada b) George Grosz c) New Objectivity d) Expressionism 7) Claes Oldenburg had his storefront, and the Green Gallery on 57th Street began to show and James Rosenquist. a) Tom Wesselmann b) Art museum c) Collage d) Pop art 58

59 8) Henri Matisse, 1909, late a) Fauvism b) Impressionism c) Cubism d) Expressionism 9) Wassily Kandinsky, 1913, birth of a) Late modernism b) Modern art c) Western painting d) Abstract art 10) During the 1920s André Masson's work was enormously influential in helping the young artist Joan Miró find his roots in the new painting. a) Surrealism b) Abstract expressionism c) Dada d) Color Field 29 Do ART TECHNIQUES quiz. 1) What are the three primary colors? a) Yellow, orange, blue b) Yellow, blue, red c) Orange, red, green d) Grey, black, white 2) What are the six tertiary colors? a) Yellow-green, Blue-green, Blue-violet, Red-Violet, Red-orange, Yellow-orange b) Red-violet, Orange, Orange-red, Blue, Green, Blue-green c) Yellow, Orange, Red, Violet, Blue, Green d) Green-yellow, Green-blue, Violet-blue, Violet-red, Orange-red, 59

60 Orange-yellow 3) What is/are the secondary color(s)? a) blue b) blue, grey, black c) red, violet, orange d) orange, violet, green 4) How do you make neutral grey? a) You can't make grey... it's physically impossible b) Take as many colors as you want until it turns grey c) Mix two complementary colors together d) Buy grey at the store and that's neutral grey 5) What are the cool colors? a) All the colors are cool b) Red, Blue, Orange, Green, Yellow c) Yellow-Green, Green, Blue-Green, Blue, Blue-Violet, Violet d) Red, Blue,Green 6) What are the warm colors? a) Blue, Red, Yellow b) Yellow, Yellow-Orange, Orange, Red-Orange, Red, Red-Violet c) Yellow-green, Green, Blue-green, Blue d) All the colors are warm 7) No matter how hard you try, you can't mix different paint to make white. a) True b) False grey? 8) How many colors are on the color wheel total... including neutral a) 2 b) 13 60

61 c) 19 d) ) Sir Isaac Newton developed the first circular diagram of colors in a) True b) False 10) When you mix complementary colors, what color do you get? a) Brown b) Green c) Blue d) Red 30 Do the crossword

62 Across: 5 La Gioconde 8 The Night Watch 9 Guernica 11 The Fighting Temeraire 13 L'Acrobat 14 and 6 down The Hay Wain 15 The Scream 16 The Laughing Cavalier Down: 1 The Birth of Venus 2 and 3 down The Sunflowers 3 see 2 down 4 see 16 across 62

63 5 The Schoolyard 6 see 14 across 7 The Raft of the Medusa 10 Femmes Tahitiennes aux Mangues 12 Les Parapluies 63

64 SPEAKING Role-Playing. 1) Get your fellow-student to give you information about his / her favourite gallery. Try to get as many details as you can. 2) Persuade your partner to agree with your opinion that life is made much more colourful if you regularly visit art exhibitions. 3) One of you has recently returned from England. The other is questioning him / her on the impressions of the National Portrait Gallery / The Tate Gallery. WRITING Writing a Critical Analysis of a Painting If you are assigned to write about a painting remember that it is not necessary to write a highly technical analysis. You only need to look carefully at the painting then analyze and classify what you see. If you have never written about a painting before, it may be helpful for you to consider the following list when studying the painting. How old is the painting you are writing about? What is its size and proportions? Is it a landscape, a portrait, or a still life? Look at the artist's use of space. - Is there a center of interest? Look at the artist's use of color and shape. Look at the movement of the forms. Write down your impression of the mood. Does the painting have narrative content (tell a story)? - How do you know? - What do you think the story is? Who is the artist? 64

65 Do you think the artist used symbols? Look at the brushwork. - Is the paint applied thickly or thinly? - Is it transparent or opaque? Is it mixed media? If the work you are studying is an abstraction you will need to focus on: Paint handling Direction and flow Color use Mood Researching the artist BEGIN THE ESSAY Introduction: Just like all other essays, your first paragraph serves as your introduction. This section should identify the title of the painting, the artist, what year the painting was created, and where the painting is located. You should also introduce your thesis in this paragraph. Your thesis could be about one specific aspect of the painting, or it could be a broad statement about the painting as a whole. Analysis: Your next several paragraphs should analyze the painting. For example, if your thesis is that the painting is a "startling piece of work," then the body of your paper should describe why you find it to be startling. Within your analysis you should include specific descriptions of the piece itself. However, do not focus only on describing the painting; presumably your audience is familiar with the work. You should describe aspects of the painting only as they relate to your thesis. For example, if your thesis is that the painting is "startling," perhaps it is the subject's body language that makes it startling. You may want to include a description of that figure's body language and explain the impact the body language has on the audience. In an informal essay about art it is acceptable to include your own feelings and behavior as you looked at the painting. You can include information like how long you studied the painting, whether you compared it to other paintings in the gallery, whether or not you made a sketch of the 65

66 work, how the painting made you feel, etc. If the painting makes you feel sad, then explain what evokes that feeling. Is it the colors the artist used? Is it the figure's pose, or the facial expression, etc.? Drawing Conclusions: It is then important for you to make some conclusions about why you think the artist made the decisions that he/she did. If the painting looks startling or sad, why do you think the artist chose to paint it that way? Is part of the painting dark or dull simply to draw the audience's attention to another part of the canvas? You may also want to research what was happening during that time of the artist's life. Often there will be a correlation between the mood of the painting and the events in the artist's life during that time. Conclusion: The end of your essay should reiterate the important points that you made, yet leave the reader with something more to think about. WRITE a Critical Analysis of this painting. John Constable Salisbury Cathedral from the Meadows 1831 National Gallery, London 66

67 SUPPLEMENTARY READING "RENAISSANCE FACES" AT THE NATIONAL GALLERY I had rather see a portrait of a dog that I know, Samuel Johnson once exclaimed, than all the allegorical paintings they can show me in the world. The portrait, in his view, was one of the few solid, no-nonsense forms of visual art, a genre with its feet preferably all four of them firmly on the ground. The National Gallery s entrancing new exhibition, Renaissance Faces, furnishes conclusive proof that portraiture always was more complicated than the good doctor liked to think. The show traces the portrait, in post-classical western European art, back to its early fifteenth-century origins in the work of the Flemish master Jan Van Eyck and his followers. It follows the genre s development and migration, to Burgundian France, to England and by way of a culmination to Italy in the sixteenth century. The assembled portraits, of princes and soldiers, popes and bankers, are endlessly fascinating but by no means straightforward. Allegories abound. Skulls lurk, status symbols gleam. The mood, enhanced by restrained lighting and the sombre battleship grey chosen for the walls of the Sainsbury Wing s basement galleries, is touchingly intimate. To walk through the seven rooms of the exhibition is to move through a vivid crowd of the dead, to meet the solemn gaze of the men and women of the Renaissance and experience that same, startling illusion of living presence that beguiled them into having their portraits painted in the first place. As the architect, theorist and humanist scholar Leonbattista Alberti remarked, Painting contains a divine force which not only makes the absent present, as friendship is said to do, but moreover makes the dead seem almost alive. The faces revealed, in Renaissance Faces, often seem uncannily contemporary. The women of sixteenth-century Venice, immortalised by Titian and Palma Vecchio, exude filmstar glamour and poise. Intellectual types, such as the humanists Andrea Navagero and Agostino Beazzano, who were painted together in a dark room by Raphael one day in about 1516, stare out at posterity with the same expressions of self-conscious seriousness that modern-day authors assume when photographed for their book-jackets. More down-to-earth Renaissance men and women exemplified by Giovanni Battista Moroni s The Tailor, of 1575,or Domenico Ghirlandaio s wizened old man, embracing his grandson, of nearly a century earlier have all the actuality of people 67

68 encountered on the bus, or in the dentist s waiting room. Depicted warts and all (and some of their warts are fairly spectacular) they keep their counsel and hold their breath forever. There is a strong and simple pathos about the exhibition, which stems from the fact that every one of its works is inevitably, among other things, a stark memento mori. These were all people who once moved and breathed, whose feelings were once stirred like those of anyone alive today. But to press up against the glass of history and look into the eyes of its inhabitants is also to be reminded that, in the end, the past really is another country. People who seem at first sight to be just like us, turn out to be nothing of the kind. The withdrawn, impassive young man depicted in Jan van Eyck s Portrait of a Man of 1432 the so-called Leal Souvenir has been posed above a cracked stone ledge inscribed with various phrases including the ancient Greek words Tum. Theos, which may be translated as then God. He might appear as though gazing into the middle distance but what he is really looking to is the future of his soul. Time will pass, stone will crack, but his piety, to which this small tablet of painted wood bears witness, may gain him eternal life and a place among the blessed. An inscription on another fifteenth-century Flemish portrait plays on the double meaning, to the Renaissance mind, of the word representation, signifying both an image and an act of intercession with God. In the case of van Eyck s picture, image and act are one and the same. The picture is a painted prayer. Renaissance works of art are rarely innocent of implied meanings and most of the assembled portraits are painted in one kind of code or another. Justus of Ghent portrayed the most successful Italian mercenary soldier of the fifteenth century, Federigo da Montefeltro, in a cramped and low-ceilinged room filled with pregnant detail. The ruler, enlightened despot of Urbino, is accompanied by his son, to whom he reads from a great red leather-embossed book. Federigo wears a gleaming suit of armour beneath his ermine robes. His sword is at his side. The picture is a testament to a self-made Renaissance man s love of learning and his devotion to splendidly produced, hand-illuminated books (Federigo had a huge library, from which he proudly excluded all printed texts, which he considered vulgar). But it also underlines his ambition to found a dynasty. He is teaching his son, by example, that power without learning, the sword wielded without guile, amount to nothing. Justus painted Federigo from the side, partly to disguise the fact that he only had one eye the other had been gouged out in a jousting accident but also to make him look like one of the warlike Roman emperors of the distant past. When a Renaissance man had himself painted in profile, he might just have been presenting his best aspect to the world, but there was usually more to it than that. It was a way of claiming kinship with the classical past, of 68

69 proclaiming a determination to emulate the supposed virtue of the ancients. An intense young man painted by Hans Memling in 1475, subject of a small but limpid portrait lent for the occasion by the Koninklijk Museum voor Schone Kunsten in Antwerp, clutches a coin of Nero in his left hand a visible symbol of the sitter s humanist interest in antiquity, matched by his keen enquiring gaze. The Italian artist Pisanello actually portrayed his patrons, the Este dynasty, on coins or medals of cast bronze specifically designed to evoke the Roman coins of antiquity. In a similar vein, Renaissance sculptors mimicked the chilly realism of Roman portrait busts. The humanist Niccolo Strozzi, carved in marble by Mino da Fiesole in 1475, comes across as a well-fed, jowly, slightly decadent member of the Roman Senate. Francesco Sassetti, consigliere to the Medici, is envisaged by his own portrait sculptor, Antonio Rossellino, as a latterday Brutus. Beadyeyed and circumspect, his shoulders are draped by the suggestion of a toga. Classical reference, here, begins to look like a master-stroke of interpretation. What better model than Brutus for the image of a subtle, self-motivated, reserved, alliance-shifting fifteenth-century Florentine banker? Subtlety shades into outright secrecy. The humanist author Lodovico Domenichi was pleased that the arcane classical symbols included by the artist responsible for his portrait were difficult to decipher: I wanted it to be understood by some, and not all. His attitude was echoed by an adviser to the thuggish Italian mercenary Sigismondo Malatesta, who warned his master against commissioning art that would be too easily understood by the vulgar mass of people. That spirit of intellectual elitism was by no means uncommon during the Renaissance. Holbein s great masterpiece, The Ambassadors, is a veritable crossword-puzzle of a painting, teeming with symbolic allusions to the two French diplomats melancholy view of the fractured, post-reformation world. The unstringed lute spells discord. The skull, symbol of death, rendered in anamorphic perspective on the floor, has itself been painted as a riddle within an enigma an image which one baffled early director of the National Gallery, Ralph Wornum, believed to be some kind of bony fish. The ne plus ultra of the coded Renaissance portrait may be the Italian mannerist Giuseppe Arcimboldo s ingenious depiction of Holy Roman Emperor Rudolf II composed from the fruits of autumn ruddy apples for cheeks, a pear for nose, berries for eyes and a moustache of corn husks. This blatant bizarrerie was intended to puzzle and amaze, a riddle to test the hapless Habsburg courtier. Only the chosen few were rewarded with the key to its meaning, contained in a poem about Vertumnus, spirit of autumn, by the Roman author Propertius. The fruit-and-veg emperor is a symbol of Rudolf II s eternally fertile reign, a new Golden Age. Renaissance Faces is itself a cornucopia, charting the ebb and flow of 69

70 artistic influence across the patchwork of states that constituted Europe during the fifteenth and sixteenth centuries. Northern Renaissance painting is often considered as something of a poor relation to the art of Renaissance Italy, but as this exhibition proves nothing could be further from the truth in the case of portraiture. The most compelling early Renaissance portraits were painted by the first generation of Flemish painters truly to master painting in oils a medium which, with its unparalleled ability to catch subtleties such as the moisture in the corner of an eye, or the glint of light in human hair, was perfectly adapted to the capturing of a human likeness. Italian painters, from Antonello da Messina in the mid-fifteenth-century onwards, would eventually master oil painting, and with it the art of portraiture; but for quite some time it remained a mode of art associated above all with Flanders. The quickfire spread of the genre s popularity is reflected in the geographical span of the National Gallery s exhibition, which includes outstanding works by the English miniaturist Nicholas Hilliard and the French court painter Francois Clouet, as well as a host of masterpieces by Italian Old Masters ranging from the titans, Raphael and Titian, to less universally feted painters of briliance such as Pontormo and Lotto. Confronted by such an embarrassment of riches, anyone seriously interested in Renaissance art is likely to feel like a child in a sweetshop. REMBRANDT ( ) Rembrandt Harmenszoon van Rijn or Ryn, , Dutch painter, etcher, and draftsman, b. Leiden. Rembrandt is acknowledged as the greatest master of the Dutch school. A miller's son, Rembrandt attended a Latin school and spent part of one year at the Univ. of Leiden, leaving in 1621 to study painting with a local artist, Jacob van Swanenburgh. His most valuable training was received during the six months of 1624 that he spent in the studio of Pieter Lastman in Amsterdam. Lastman's work affected Rembrandt's in his sense of composition and his frequent choice of religious and historical themes. Receptive to many influences at this time, Rembrandt sometimes reflected the dramatic chiaroscuro of Caravaggio in paintings such as The Money Changer (Berlin) or the more delicate and detailed manner of Elsheimer as in The Tribute Money (London). In 1625 Rembrandt returned to Leiden, where he developed his own distinct style, using the many possibilities of the oil medium, heavily layering 70

71 the paint, and experimenting with diverse techniques. He showed an unusual preference for the faces of the old and the poor from his earliest works to his latest (e.g., Two Philosophers, Melbourne). In the Leiden years he began the magnificent series of nearly 100 self-portraits that describe the continuing development of his profound self-understanding and self-awareness, as well as his stylistic growth. While in Leiden he collaborated with Jan Lievens and began to teach. Rembrandt moved to Amsterdam in 1632, where he became established as a portrait painter with his group portrait Anatomy Lesson of Dr. Tulp (1632; The Hague), a traditional subject to which he gave radical treatment. His commissioned portraits include those of Minister Johannes Elison and his wife (Mus. of Fine Arts, Boston) and Nicolas Ruts (Frick Coll., New York City). His position in Amsterdam was further solidified by the dowry and social connections gained by his joyous marriage to Saskia van Ulyenburgh, a burgomaster's daughter. Affluent and successful, he began to collect numerous works of art, costumes, and curiosities, always learning from the art and often using the costumes in his portraits. During this period his style acquired a new richness of color and greater plasticity of form. He incorporated the vigor, opulence, and drama of the baroque movement, best seen in The Sacrifice of Abraham (St. Petersburg) and The Blinding of Samson (1636, Frankfurt). His studio was filled with pupils, including Jacob Backer, Govaert Flinck, Ferdinand Bol, and later the gifted Carel Fabritius and Nicholas Maes. Serious financial difficulties began for Rembrandt with his purchase of an impressive house in Saskia died in 1642 after the birth of their only surviving child, Titus, who was later to become Rembrandt's favorite portrait subject. During the same year he completed his most famous group portrait, The Shooting Company of Capt. Frans Banning Cocq (Rijks Mus.) This work is traditionally called The Night Watch, although a cleaning in revealed a daylight setting. In this work and others instead of painting a conventional group portrait, Rembrandt made of it a crowd spectacle, sacrificing individual identities to dramatic, high-contrast lighting. During the 1640s Rembrandt developed an enduring interest in landscape. He made numerous etchings, including Three Trees and Christ Healing the Sick, executed with exceptional spontaneity and vigor, and created many works solely for his own pleasure, an unusual practice for his time. This, together with his art collecting, eventually caused financial ruin. In 1660 his housekeeper and devoted love for many years, Hendrickje Stoffels, and Titus formed a business partnership to shield the bankrupt Rembrandt from his creditors. In the last two decades of his life Rembrandt, withdrawn from society and no longer fashionable, created many of his 71

72 masterpieces. These works were more concerned with human character than with outward appearance and are the foundation of his unequaled reputation. Aristotle Contemplating the Bust of Homer (1653; Metropolitan Mus.) reveals his power to elicit a mood of profound mystery and meditation. Among the other remarkable paintings of this period is Bathsheba (Louvre); two of the notable etchings are Three Crosses (1653) and Christ Presented to the People (1655). The powerful night scene The Conspiracy of the Batavians (1661; Stockholm) is the remaining fragment of his most monumental historical work. To the 1660s belong The Family Group (Brunswick), The Jewish Bride (Rijks Mus.), and The Syndics of the Cloth Guild (1662; Rijks Mus.), all of which are loosely structured, flamelike in color, and psychologically penetrating. Personal tragedy struck the master with the death of Hendrickje in 1663 and of Titus in Rembrandt lived for one more year, survived by Cornelia, his and Hendrickje's only child. DANTE GABRIEL ROSSETTI ( ) Gabriel Charles Dante Rossetti is an English poet, painter and translator. He was born to a family of an Italian political immigrant Gabriel Rossetti, poet, scholar and revolutionary. There were three more children in the family: Maria ( ) who became an Anglican nun and author of a literary commentary A Shadow of Dante; William Michael ( ), critic, civil servant and Pre-Raphaelite historian, and Christina Georgina ( ), English poet. The household was artistic and more Italian than English. Rossetti began his training in 1841 in Sass s Drawing School; in 1846 he was accepted by the Royal Academy Antique School in London. Then he persuaded Ford Madox Brown to tutor him, but this was short-lived. In 1848, he became a co-founder (with William Holman Hunt and John Millais) of the Pre- Raphaelite Brotherhood; the painters of the trend turned away from neoclassicism and its models of Greco-Roman antiquity and the High Renaissance, and revived interest in the Middle Ages, especially in Gothic art. Most of Rossetti s work was produced in the spirit of this movement, 72

73 despite his leaving it at an early date. Many of his themes were taken from the Old and New Testament, Dante, or the medieval legends about the King Arthur and his knights, Malory's Morte d Arthur in particular, and treated with strong overtones of symbolism. In 1850, he met Elisabeth Siddal, who sat for many of his pictures: The First Anniversary of the Death of Beatrice: Dante Drawing the Angel (1853), Dante's Vision of Rachel and Leah (1855), Beata Beatrix ( ) and for some by Hunt and Millais s Ophelia, and whom he married in 1860 after a fraught and prolonged courtship. Already an invalid, she died in 1862 from an overdose of laudanum. Although it was an accident, the thought that his wife had committed suicide haunted Rossetti for the rest of his life. He met Ruskin in Largely because of Ruskin, Rossetti was gaining a reputation as the leader of the Pre-Raphaelites. He turned more and more in the direction of poetic painting, which he emphasized by attaching sonnets to the frames of his pictures. In 1861, The Early Italian Poets was published, translations from 60 poets such as Dante and Cavalcanti. Rossetti's Poems appeared in His wife s death, however affected him deeply and his work took a taint of pessimism and morbidity. Dante's Dream at the Time of the Death of Beatrice (1871), Proserpine (1874). He fell into depression and attempted suicide in Nevertheless, Balladsand Sonnets with the sonnet sequence The House of Life and The King s Tragedy appeared in In his later years Rossetti concentrated on studies of single, allegorical female figures: Monna Vanna (1866), Mariana (1870), La Ghirlandata (18730, The Day Dream (1880). At odds with Victorian morality, his work is lush, erotic and medieval, romantic in spirit, and of abiding interest and fascination. Rossetti died on 9 April, Easter Sunday, 1882, of Bright s disease. Dante Gabriel Rossetti. The Girlhood of Mary Virgin Oil on canvas. Tate Gallery, London, The Girlhood of Mary Virgin. The picture overflows with symbolism: the lily, an emblem of purity and also an attribute of the Angel Gabriel. The entwined palm and thorn in the foreground foretell the Passion. Behind the balcony is St. Joachim, Mary s father, tending the wine, a traditional symbol of Christ. 73

74 Dante Gabriel Rossetti. Sir Galahad at the Ruined Chapel Watercolour and bodycolour on paper. Birmingham City Museum and Art Gallery, Birmingham, UK. Sir Galahad at the Ruined Chapel. Sir Galahad is one of the knights of medieval legends about King Arthur and his Knights. Between dark stems the forest glows, I hear a noise of Hymns: Then by some secret shrine I ride; I hear a voice but none are there; The stalls are void, the doors are wide, The tapers burning fair. Fair gleams the snowy altar-cloth, The silver vessels sparkle clean, The shrill bell rings, the censer swings, And solemn chaunts resound between. (From Sir Galahad, Alfred Tennyson). Dante Gabriel Rossetti. Sibylla Palmifera Oil on canvas. Lady Lever Art Gallery, Port Sunlight, UK. Sibylla Palmifera was painted with the idea of contrasting with the picture of Lady Lilith, the legendary first wife of Adam and a personification of lust in Jewish folklore. Sibylla Palmifera represented Soul s Beauty, the title of a sonnet he wrote to accompany the painting. The modestly dressed Sibylla sits in a temple surrounded by the emblems of Love, Death and Mystery, the Cupid, the skull and the sphinx. In contrast, Lilith admires herself in a mirror, the attribute of vanity. The initial contrast between the pictures, posed by the sensuous Fanny Cornforth and demure Alexa Wilding respectively, was very marked, but in Rossetti replaced Fanny s head with the head of Alexa at the request of a buyer, and destroyed the original concept. 74

75 Dante Gabriel Rossetti. La Bella Mano Oil on canvas. Delaware Art Museum, Wilmington, DE, USA. La Bella Mano, The Beautiful Hand, In royal wise ring-girt and bracelet-spann d A flower of Venus own virginity, Go shine among thy sisterly sweet band; In maiden-minded converse delicately Evermore white and soft; until thou be, O hand! heart-handsel d in a lover s hand. (From La Bella Mano, Dante Gabriel Rossetti) Dante Gabriel Rossetti. The Blesse Damozel Oil on canvas. Fogg Museum of Art, Harvard University, Cambridge, MA, USA The Blessed Damozel. Rossetti used his most famous poem as the inspiration for this painting 25 years later after publishing it. The subject of the poem is platonic love: The blessed damozel leaned out From the gold bar of Heaven; Her eyes were deeper than the depth Of waters stilled at even; She had three lilies in her hand, And the stars in her hair were seven. (From The Blessed Damozel, Dante Gabriel Rossetti ) Dante Gabriel Rossetti. Astarte Syriaca Oil on canvas. City Art Galleries, Manchester, UK. Astarte Syriaca. Astarte was the goddess of fertility and love in ancient Eastern religions and was particularly important to the Phoenicians. Jane Morris sat for Astarte. Mystery; lo! betwixt the sun and moon Astarte of the Syrians: Venus Queen Ere Aphrodite was. In silver sheen 75

76 Her twofold girdle clasps the infinite boon Of bliss whereof the heaven and earth commune: And from her neck s inclining flower-stem lean Love-freighted lips and absolute eyes that wean The pulse of hearts to the spheres dominant tune. (From Astarte Syriaca, Dante Gabriel Rossetti) HANS HOLBEIN THE YOUNGER The younger and better known son, Hans Holbein the younger, c , was an outstanding portrait and religious painter of the Northern Renaissance, was influenced by his father and by Hans Burgkmair. The first half of his life was spent in Basel except for short intervals in Lucerne, Lombardy, and France. He showed his diverse talents early in his career by designing woodcuts and glass paintings, illustrating books, and painting portraits and altarpieces. From youth he enjoyed the friendship of the great humanist Erasmus, and he made pen drawings illustrating Erasmus's Praise of Folly. Of this period are the portraits of Jacob Meyer and his wife and the beautiful preliminary drawing of Meyer in red chalk and silverpoint. In 1519 Holbein was admitted to the painters' guild of Basel. Between 1519 and 1526 he decorated many buildings there, including the Town Hall, and painted the Passion Scenes and the celebrated Dead Christ (both in Basel), the altarpiece in Solothurn of the Madonna with St. Ursus and a Bishop Saint, and the famous Madonna of Burgomaster Meyer altarpiece (Darmstadt). Also of this period are several of his numerous portraits of Erasmus and a portrait of Boniface Amerbach (Basel). In these works the artist, now mature, shows his full genius without relinquishing the polished surface and enameled color of the earlier paintings. He reveals Italian influence in his larger conception and monumental composition and in the design and idealism of the characterization. A bold and subtle line, both precise and flowing, distinguishes these works. From 1526 to 1528, Holbein was in England, where he painted a fine group of portraits, including those of Sir Thomas More (Frick Coll., New York City) and Sir Henry Guildford (Windsor Castle) and his wife (City Art Mus., St. Louis). After another residence ( ) in Basel, where he executed a second group of frescoes for the Town Hall (both series later 76

77 destroyed), he settled in England and worked on portraits and wall paintings. Among the many famous portraits of these last years are those of Christine of Denmark and The French Ambassadors (both: National Gall., London). In 1536 he became court painter to Henry VIII and made numerous portraits and drawings of the king and his wives. His own wife and children, of whom there is a beautiful group portrait (Basel Mus.), remained in Basel. At 46 Holbein died of the plague in London. In addition to his paintings, Hans Holbein the younger, left to the world magnificent preliminary portrait drawings in which he combined chalk, silverpoint, pen and ink, and other media. Today they are prized as highly as his paintings and may constitute a freer expression of his gift for exquisite characterization. In the beautiful simplicity of their design and in the subtle suggestion of both form and character, they are unsurpassed. Also famous are his woodcuts, which include the Dance of Death series and illustrations for Luther's Bible. Many European museums possess examples of his paintings. At Windsor Castle are 80 Holbein portrait drawings. In the United States the Metropolitan Museum has several portraits; the Frick Collection, New York City, has two; and the National Gallery of Art, Washington, D.C., has two. JAN VERMEER ( ) The esthetic tastes of nowadays rank Jan Vermeer as one of the most original painters of 17th century Holland, despite the fact that he created no more than forty or so paintings. He remained relatively ignored during his own brief lifetime, and only in the 19th century his work was highly appreciated. Jan Vermeer (or Jan van der Meer, or Jan Vermeer van Delft) was born in 1632, the second child of Reynier Janszoon Vos and Digna Baltens. Reynier, besides his other businesses, was an art dealer and had relations with some artists of his time, including Balthasar van der Ast, Pieter Steenwyck, and Pieter Groenewesen. Maybe these contacts gave the young Vermeer his first artistic inclination. Nothing is known about his training as a painter, but in 1653 he was admitted as a master to the Guild of St. Luke, which united painters in all genres, glass makers, faience makers, embroiderers and art dealers; as a precondition for being admitted was an obligatory six-year training with a master, recognized by the Guild. On 20 April 1653 Vermeer married Catharina Bolnes, who bore him 15 children, 4 of them died when still very young. Vermeer probably painted very little for the public art market, most of his 77

78 work being produced for those patrons who particularly valued his work. This may also account for the modest number of paintings he produced. Christ in the House of Mary and Martha (c ) is one of Vermeer s earliest paintings. Paintings of biblical themes were classified as histories, which were described in treatises on art as most distinguished tasks. Vermeer probably wanted to demonstrate his abilities in this genre upon entry to the Guild of St. Luke. Diana and Her Companions (c ) is another early work by Vermeer; the theme on this occasion derives from mythology. These themes are not typical of Vermeer. He almost always chose as subject matter glimpses of daily life, and almost invariably interiors, though there are in his heritage a couple of views of Delfi: Street in Delfi (c ), View of Delfi (c ). His paintings are calm with very few figures, generally no more than one or two, usually women alone (women in love, reading or writing love letters, playing musical instruments; women at work). Vermeer offers the most impressive reflection of the sophisticated side of seventeenth-century Dutch life; its love for fine furniture, attractive women, lavish clothing, and maps decorating interiors: The Art of Painting (c ), Woman with a Water Jug (c ) and others. The role of maps was twofold; on the one hand, they indicated wealth, in the seventeenth century, maps were an expensive luxury; on the other hand, they refer to a good level of education. Vermeer s pictures are also moralizing, thus women who had become intoxicated on wine were considered to be the embodiment of sin, and this is a central motif to some of Vermeer s works: The Glass of Wine (c ). Soldier and a Laughing Girl (c.1658), Woman and Two Men (c ). On each of these pictures men are trying to seduce young women by giving them wine. Evidently Vermeer supported the view of his time that alcohol was the first step towards whoring and women should be forbidden drink altogether. There are also many hints and symbols in Vermeer s pictures, which his contemporaries understood, but we, not knowing their meanings, see in his painting artistic representation of the everyday life of those times. 78

79 In almost all his pictures Vermeer is experimenting with light, radiant light comes from somewhere beside or behind the canvas. Jewelry gleams prettily in the light; wet lips, bright eyes catch the light; reflections from window glass, kitchen utensils fall on surrounding objects, creating an atmosphere of peace and serenity. Vermeer preferred cool tones of blue, white and yellow: Girl with a Pearl Earring (c.1665), The Milkmaid (c ), The Lacemaker (c ), Lady Seated at a Virginal (c ) and many others. Only tree of Vermeer's pictures: The Procuress (1656), The Geographer (c ) and The Astronomer (c.1668) are dated. Some art historians consider the left man on The Procuress to be the selfportrait of Vermeer. The Geographer and The Astronomer were produced as a pair, and remained together until Besides painting Vermeer also worked as an art dealer. He presumably took over the running of his father s inn, the Mechelen, once his father died. Vermeer s later years were overshadowed by a dramatic deterioration of his personal financial position. He got into debt. In 1672 war between France and the Netherlands started. The only way the Netherlands could defend them was to open dikes and flood the land, but this ruined the agriculture. Vermeer s family was among those who suffered financially, because could not get rent for their estate any longer. His wife later commented, Because of this and because of the large sums of money we had to spend on the children, sums he was no longer able to pay, he fell into such a depression and lethargy that he lost his health in the space of one and a half days and died. Vermeer was buried on 15 December 1675 in the family grave at the Oude Kerk, Delft. SIR EDWIN LANDSEER ( ) Sir Edwin Landseer at Artprice. To look at auction records, find Landseer's works in upcoming auctions, check price levels and indexes for his works, read his biography and view his signature, access the Artprice database. Sir Edwin Henry Landseer ( ) is an English painter, born in London, the son of the engraver John Landseer ( ). Trained by his father to sketch animals from life, he began exhibiting at the Royal Academy (RA) when only 13; the same year (1815) he received a silver medal from the 79

80 Society of Arts for his drawing of a hunter. Success came easily and early. By the age of 16 he was a constant and active exhibitor at the RA, already patronized by leading collectors and talked about as a rising star. His election as an Associate of the RA in 1826, when he was only 24, surprised no one but himself. In 1824, Landseer went to Scotland for the first time to visit Sir Walter Scott. He fell in love with the Highlands, and since then every year he used to return there for inspiration, drawing, hunting, and rest. Landseer s romantic vision of border history is reflected in his work, inspired by Scott, The Hunting of Chevy Chase ( ). Landseer was elected a full Academician in 1931; the decade that followed was the most successful and the most creative of his entire career. Major works, such as Hawking (1832), Scene in the Olden Time at Bolton Abbey (1834) won him critical acclaim, but it was often his smaller pictures of dogs such as The Old Shepherd's Chief Mourner (1837) and Dignity and Impudence (1839) that captured the popular imagination. Most of Landseer s pictures were well known from excellent engravings of them by his elder brother Thomas ( ). The publication of numerous prints won him a vast and devoted popular audience. The strain of keeping up his career, of satisfying his patrons, and of maintaining his social position cost Landseer more effort than he cared to admit. In May 1840, at the height of his powers and reputation, he suffered a severe nervous breakdown. In the face of all his personal and professional problems, Landseer continued to paint pictures of high quality, which enhanced his popularity. His The Monarch of the Glen (1851) was exhibited in 1851; the bronze lions at the foot of Nelson s Monument in Trafalgar Square were modeled by him ( ). He was a favorite with the aristocracy, but it was his position at court, which gave him an unrivaled prestige in the eyes of the public. As well as painting a succession of royal pets Eos, A Favorite Greyhound, the Property of H.R.H. Prince Albert (1841), Macaw, Love Birds, Terrier, and Spaniel Puppies, Belonging to Her Majesty (1839), Landseer undertook major portrait commissions, including the 80

81 great unfinished picture of Queen Victoria, the conversation piece Windsor Castle in Modern Times ( ), and the Portrait of Queen Victoria and Prince Albert ( ). Landseer was the most famous English artist of his generation, and he was mourned throughout the nation. He was accorded the honor of public funeral, and he was buried in St. Paul s Cathedral alongside Sir Joshua Reynolds, Sir Thomas Lawrence, and J.M.W. Turner. LEONARDO DA VINCI ( ) DA VINCI'S MONA LISA Few paintings are so well known as Da Vinci's Mona Lisa and explaining her popularity is one thing we shall try to do on this page. Through the ages people have tried to explain Mona Lisa's smile and some people have wondered why the Mona Lisa is such a reputable artwork anyway. Please allow me to try to approach this question from an artist's point of view, arguments which may (or may not) have been put forward before. There may have been greater painters, even than Da Vinci, but maybe Da Vinci was the greatest portraitist of all time. No other painter has been able to express the facial subtleties of the human character with such startling accuracy as Da Vinci did. This is especially clear in paintings like the "Lady with the Ermine". Authors describe her as "the unspoiled, young Cecilia Galleriana...with her beauty and virtues". In spite of the admiration that Da Vinci seemed to feel and the position she occupied at Ludovico il Moro's court in Milan, the way he portrayed her is particularly realistic, almost mundane. On the one hand she portrayed her as a saint and higher being, on the other there is the somewhat insecure young woman, at least while posing for Da Vinci. And perhaps we may note a touch of conceit. Da Vinci's discerning eye spared no-one, in some cases resulting in sobering views of the human experience, and there lay Da Vinci's genius as a portraitist. He captured every corner of the human character, good and bad. We may assume however, that 81

82 he intended Galleriana's portrait as a tribute, look at the elegance of her right hand. Returning to the Mona Lisa, some people wonder why it is that her facial expression seems to change depending on the direction from which you look at her. Given the fact that Da Vinci manages to capture so many different emotions and character-traits in one painting, it seems natural that every time one looks at the Mona Lisa, one sees something different, irrespective from which direction the painting is looked at. In that light her "mysterious smile" seems nothing out of the ordinary. Because it's difficult to view all the portrayed emotions and aspects of Mona Lisa's personality in one glance, one is left with a sense of mystery. Now you see this, and then you see something else, leaving the observer confused. So what do we see? According to Da Vinci's biographer Vasari, the artist had hired clowns, singers and bell-ringers in order to amuse Mona Lisa so that she wouldn't get depressed or bored. It's hard to believe that such a stately portrait would result from such a strange undertaking, but Mona Lisa certainly looks amused. Her sovereignty is another thing that catches the eye. As a high class lady she would certainly be expected to be confident, a mental condition which is all the more convincing if it is entertained in a relaxed manner; the mellowness of the painting is striking, one can hardly imagine it having been surrounded by fools and jesters, as suggested above. It's a small step from sovereignty to irony and the latter is discernible too, look at her right eye (left on the picture). The mouth often tells the truth about a person, and Mona Lisa's suggests balance, in mood and in personality. This is a woman that is young, but displays a calm and sobriety normally associated with an elderly person. Then again, if you look at her differently, you see a young girl with her somewhat inflated left cheek (right on the picture) and her good-humoured left eye (ditto). The way she lets her curly hair hang down on her chest and shoulders seems like an attempt to attract the opposite sex, and by it's manner definitely to be associated with a young woman, while her dress is again very sober. All this and more was Da Vinci able to put into one artwork and there are many such examples. Vasari's claim about the circus activities to amuse Mona Lisa seems unlikely. More likely is that Mona Lisa and Da Vinci had a special rapport: they liked each other. She could look him straight in the eye and feel comfortable. And he could paint this uncomplicated person in a very direct way. 82

83 WORD LIST (to) apprentice a battle piece an enduring masterpiece a fashionable artist a landscape painter an exquisite piece of painting artistic power breathtaking canvas collection of fabulous paintings distinguished by a marvellous sense of colour and composition drawing in the foreground / background lyrical picture marvellous oil painting outstanding portrait poetic in tone and atmosphere portraiture rural life significant contribution still life the colour scheme to be in advance of one s time to be posed / silhouetted against an open sky to become famous overnight to combine form and colour into harmonious unity to convey a sense of space to depict to develop one s own style of painting to do / paint a self-portrait to emphasize contours purposely to paint from nature / memory / imagination to portray to specialize in portraiture 83

84 COMPARE AND CONTRAST Where would you like to? Why? The Victoria and Albert Museum VISUALS FOR SPEAKING The National Portrait Gallery 84

85 Where would you like to? Why? The Tate Gallery The National Gallery 85

86 Describe the painting John Constable ( ) Stonehenge 1836, Oil on canvas The Victoria and Albert Museum, London 86

87 Describe the painting William Dobson ( ) Endymion Porter , Oil on canvas The Tate Gallery, London 87

88 Describe the painting Thomas Gainsborough ( ) The Artist s Daughters chasing a Butterfly 1755, Oil on canvas The National Gallery, London 88

89 Describe this painting Joshua Reynolds ( ) Captain Robert Orme 1756, Oil on canvas The National Gallery, London 89

90 Describe this painting Joseph Mallord William Turner ( ) London 1809, Oil on canvas The Tate Gallery, London 90

91 Describe this painting William Hogarth ( ) Marriage a la Mode Scene II Early in the Morning 1743, Oil on canvas The National Gallery, London 91

92 Describe this painting Rembrandt Harmenszoon van Rijn ( ) Belshazzar's Feast , Oil on canvas The National Gallery, London 92

93 Describe this painting Peter Paul Rubens ( ) The Straw Hat 1625, Oil on canvas The National Gallery, London 93

94 Describe this painting Richard Parkes Bonington ( ) The Corsa Saint' Anastasia, Verona, with the Palace of Prince Maffet 1826, Watercolour on paper The Victoria & Albert Museum, London 94

95 Describe this painting Jan Vermeer ( ) Lady Seated at a Virginal , Oil on canvas The National Gallery, London, UK 95

96 Describe this painting Sir Edwin Landseer ( ) Windsor Castle in Modern Times , Oil on canvas Windsor Castle, Royal Collection, UK 96

97 Describe this portrait miniature Nicholas Hilliard ( ) James I The Victoria and Albert Museum, London 97

98 Describe this painting Dante Gabriel Rossetti ( ) Dante's Vision of Rachel and Leah 1855, Watercolour on paper The Tate Gallery, London 98

99 Describe this painting Hans Holbein the Younger (1497/8-1543) Portrait of Mrs Pemberton 1535, Vellum mounted on playing card The Victoria and Albert Museum, London, UK 99

100 REFERENCES 1) 2) 3) 4) 5) 6) 7) 8) 9) 10) 11) 12) 13) 14) 15) 16) 17) 100

101 Учебное издание АНГЛИЙСКИЙ ЯЗЫК ДЛЯ СТУДЕНТОВ ТЕХНИЧЕСКИХ ВУЗОВ: ИСКУССТВО И ГАЛЕРЕИ ЛОНДОНА Учебно-методическое пособие Автор-составитель СЕНЦОВ Аркадий Эдуардович Издано в авторской редакции Компьютерная верстка А.Э. Сенцов Дизайн обложки А.И. Сидоренко Отпечатано в Издательстве ТПУ в полном соответствии с качеством предоставленного оригинал-макета Подписано к печати Формат 60х84/8. Бумага «Снегурочка». Печать XEROX. Усл.печ.л. 5,93. Уч.-изд.л. 5,37. Заказ Тираж 100 экз. Национальный исследовательский Томский политехнический университет Система менеджмента качества Томского политехнического университета сертифицирована NATIONAL QUALITY ASSURANCE по стандарту ISO 9001: , г. Томск, пр. Ленина, 30. Тел./факс: 8(3822) , 101