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collection was in safe storage elsewhere during the war, and a large Stanley Spencer painting, deemed too big to move, had a protective brick wall built in front of it.

Through years the museum has undergone a few phases of renovation. Thus in 2013 the newly designed sections were conceived by the architects Caruso St John and included a total of nine new galleries, with reinforced flooring to accommodate heavy sculptures. A second part was unveiled later that year, the centrepiece being the reopening of the building's Thames-facing entrance as well as a new spiral staircase beneath its rotunda. The gallery also now has a dedicated schools' entrance and reception beneath its entrance steps on Millbank and a new archive gallery for the presentation of temporary displays.

When the Pre-Raphaelite painter and President of the Royal Academy, John Everett Millais, died in 1896, the Prince of Wales (later to become King Edward VII) chaired a memorial committee, which commissioned a statue of the artist. This was installed at the front of the gallery in the garden on the east side in 1905. In 1953, Tate Director, Sir Norman Reid, attempted to have it replaced by Rodin's John the Baptist, and in 1962 again proposed its removal, calling its presence "positively harmful". His efforts were frustrated by the statue's owner, the Ministry of Works. Ownership was transferred from the Ministry to English Heritage in 1996, and by them in turn to the Tate. In 2000 the statue was removed to the rear of the building.

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.

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 halfprice 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.

Today Tate Britain is regarded as the national gallery of British art from 1500 to the present day. As such, it is the most comprehensive collection of its kind in the world (only the Yale Center for British Art can claim similar expansiveness, but with less depth). More recent artists include David Hockney, Peter Blake and Francis Bacon. Works in the permanent Tate collection, which may be on display at Tate Britain include: John Constable “Flatford Mill (Scene on a Navigable River)” , William Blake “Satan Smiting Job with Sore Boils”

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and “Newton” , J. M. W. Turner “Snow Storm, Steam – Boat off a Harbour's Mouth” and “The Golden Bough, Norham Castle, Sunrise” , Sir John Everett Millais “Ophelia”, George Stubbs “Horse Attacked by a Lion”, Thomas Gainsborough “Giovanna Baccelli”, John William Waterhouse “The Lady of Shalott”, John Singer Sargent “Ellen Terry as Lady Macbeth”, Henry Scott Tuke “August Blue”, Herbert James Draper “The Lament for Icarus”, David Bomberg “The Mud Bath”, Mark Gertler “Merry-Go-Round”, Stanley Spencer “The Resurrection, Cookham”, Henry Moore “Recumbent Figure”, Francis Bacon “Three Studies for Figures at the Base of a Crucifixion” and others.

(From: www.tate.org.uk)

Group C.

Tate Modern

Bankside,London SE1 9TG.

Admission to Tate Modern is free, except for special exhibitions. Opening times: 10.00–18.00, Sunday – Thursday. 10.00–22.00, Friday – Saturday

Last admission and ticket sales to special exhibitions is at 17.15. Ticket desks close at this time.

Tate Modern is a modern art gallery located in London. It is Britain's national gallery of international modern art and forms part of the Tate group (together with Tate Britain, Tate Liverpool, Tate St Ives and Tate Online). It is based in the former Bankside Power Station, in the Bankside area of the London Borough of Southwark. Tate holds the national collection of British art from 1900 to the present day and international modern and contemporary art.

Tate Modern as well as Tate Britain is governed by a Board of Trustees that oversee a series of Sub Committees and Advisory Councils. Tate also has a number of connected charities and subsidiaries. The Sub Committees help to advise the Board on specific areas of Tate‟s operations.

The day-to-day operations of Tate are managed by the Director, who is accountable to the Board of Trustees. The Director is appointed by the Board with the approval of the Prime Minister, as set out in the Museums and Galleries Act 1992.

The Director of Tate is also the Accounting Officer appointed by the Department for Culture, Media and Sport (DCMS). Operating under the Museums and Galleries Act 1992, Tate employs its own staff and is responsible for its own expenditure.

Tate is an exempt charity that receives some of its funding from the Department for Culture, Media and Sport (DCMS).

Tate is accountable to the public via Parliament for the services it provides. As such, it is required to demonstrate that it is conducting its operations as economically and effectively as possible.

Tate supplements the grant it receives from the DCMS through other sources, including trading, admissions to temporary exhibitions and to Tate St

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Ives, and sponsorship. Around 60% of our income is raised from nongovernment sources.

The mission of Tate Modern is to promote public understanding and enjoyment of British modern and contemporary art.

Tate Modern together with the other galleries of the Tate Group is trying to achieve this mission by being:

-Open to new ideas, encouraging debate, exchange and collaboration within and beyond Tate, and by being more inviting to all people.

-Diverse by presenting a range of different views, voices and perspectives across our programme and activities, and being more reflective of the diversity of Britain and the world.

-International by connecting the UK to the world, and the world to the UK through Tate‟s programmes and collection.

-Entrepreneurial by seeking new partnerships, examining new trends and leading and stimulating debate.

-Sustainable by being financially sustainable, ensuring that scholarship and research are part of the fabric of our activities, and demonstrating leadership in response to climate change.

The galleries are housed in the former Bankside Power Station, which was originally designed by Sir Giles Gilbert Scott, the architect of Battersea Power Station, and built in two stages between 1947 and 1963. The power station closed in 1981. In 1992 The Tate Gallery at the British National Art Museum proposed a competition to build a new building for modern art. The purpose for the new building would help with the ever-expanding collection on modern and contemporary art. In 1995 it was announced that Herzog & de Meuron had won the competition with their simple design. The architects decided to reinvent the current building instead of demolishing it.

Tate modern is an example of adaptive reuse, the process of finding new life in old buildings. The building itself still resembles the 20th century factory in style from the outside and that is reflected on the inside by the taupe walls, steel girders and concrete floors. The facade of the building is made out of 4.2 million bricks that are separated by groups of thin vertical windows that help create a dramatic light inside. The history of the site as well as information about the conversion was the basis for a 2008 documentary Architects Herzog and de Meuron: Alchemy of Building & Tate Modern. This challenging conversion work was carried by Carillion.The southern third of the building was retained by the French power company EDF Energy as an electrical substation (in 2006, the company released half of this holding).

The collections in Tate Modern consist of works of international modern and contemporary art dating from 1900 until today.

Tate Modern currently has seven floors, originally numbered 1 to 7, they were then renumbered 0 to 6 in 2012. Levels 0 to 4 contain gallery space.

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The main collection displays consist of 4 wings each taking up approximately half a complete floor of the main building. Each wing has a named theme or subject. Within each wing there are some rooms that change periodically showing different works in keeping with the overall theme or subject of the wing.

The first rehang at Tate Modern opened in May 2006. It eschewed the thematic groupings in favour of focusing on pivotal moments of twentiethcentury art. It also introduced spaces for shorter exhibitions in between the wings.

Two wings of the main building are used to stage the major temporary exhibitions for which an entry fee is charged. These exhibitions normally run for three or four months. When they were located on a single floor, the two exhibition areas could be combined to host a single exhibition. This was done for the Gilbert and George retrospective due to the size and number of the works. Currently the two wings used are on levels 2 and 3. It is not known if this arrangement is permanent. Each major exhibition has a dedicated mini-shop selling books and merchandise relevant to the exhibition. A 2014 show of Henri Matisse provided Tate Modern with London‟s best-attended charging exhibition, and with a record 562,622 visitors overall, helped by a nearly five-month-long run.

In addition to exhibition space there are a number of other facilities:

-A large performance space in one of the tanks on level 0 used to show a changing programme of performance works for which there is sometimes an entrance charge.

-The Starr Auditorium and a seminar room on level 1 which are used to show films and host events for which there is usually an entrance charge.

-The Clore Education Centre, Clore Information Room and McAulay Studios on level 0 which are facilities for use by visiting educational institutions.

-One large and several small shops selling books, prints and merchandise.

-A cafe, an espresso bar, a restaurant and bar and a members' room.

-Tate Modern community garden, co-managed with Bankside Open Spaces Trust.

(From: www.tate.org.uk)

Answer the questions.

1.Is Tate Modern a part of the National Gallery?

2.What art galleries comprise the Tate network?

3.Which art galleries house the collections of modern art?

4.Which gallery is situated at Trafalgar Square?

5.Are Tate Britain and Tate Modern situated in the same building?

6.Which gallery (galleries) are governed by the Board of Trustees?

7.Which gallery (galleries) are sponsored by the Department for Culture, Media and Sport?

8.Which gallery (galleries) is the admission free to?

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9.How do the three galleries‟ objectives differ or coincide?

10.In which gallery did the first paintings come from the banker and collector John Julius Angerstein? What kind of paintings were they?

11.Which gallery‟s building underwent a lot of public criticism and was then redesigned?

12.Which gallery is an example of adaptive reuse, the process of finding new life in old buildings?

13.Which gallery used to house and display both British but then became dedicated to the display of historical and contemporary British art only?

14.Which gallery is the name of the Pre-Raphaelite painter and President of the Royal Academy, John Everett Millais connected with? What is the connection?

15.Which of the three galleries would you like to visit? Why?

IV. On Your Own.

1. Organize a discussion in your group on the problem outlined below.

Discussion.

Over recent years museums and galleries have faced significant and sustained financial cuts from Government. In some cases the government promotes a policy of “non-interference” encouraging museums and galleries to find new ways of self-funding and attracting more audience.

In small groups discuss the question whether the government should remain the principal source of funds for art galleries and museums or whether they should find new ways of receiving income and gaining popularity with a wider audience. Give reasons and suggest practical ideas. Read the statements below-they might stimulate your thinking. Then compare your ideas with the other groups.

1.Art is great in any form of its existence.

2.We should be choosy and differentiate what true and what fault art is.

3.Art has never been a way of bread winning.

4.Art is absolutely non-practical in our “material world.”

5.Investment in art is sure to get high return.

6.Only art can make us believe there still has been preserved beauty and kindness in our cruel world.

7.Art is certainly the best stimulus not to lose taste for life.

2. Play a game “What I Know about Painting”.

Work in groups of three or four. Each group will need a dice and each player will need a counter. Choose one student who will be the timekeeper. Take it in turns to throw a number. When you land on a square, talk about the topic. If a student cannot think of anything to say or stops talking before the time is up, he/she has to move back to the original square.

The student who reaches the FINISH first is the winner.

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ADDITIONAL MATERIAL

The Golden Age of British painting: personalia.

Read the texts below and complete the tasks that follow.

Text 1.

William Hogarth (1697-1764)

Life and career

William Hogarth will be remembered as the father of satirical caricatures and moral paintings, a genre which would later develop into cartoons. His determination and stout middle-class values made him one of the most innovative artists of his generation and he brought art to the common man for the first time in history (1).

Hogarth gained popularity for his morality paintings and the prints that were made from them though he also produced work in a variety of other genres including portraiture and biblical/historical pieces (2).

The artist was heavily influenced by 18th century life, culture and his middle-class upbringing. He believed that art should have moral as well as aesthetic qualities and tried to bring this into all the work he produced (3).

Having lived in debtors' lodging for five years as a very young boy, Hogarth had seen the harder side of life and brought a sense of gritty realism to all his paintings. What he believed to be the deterioration of British morals particularly concerned him and his satirical engravings illustrate his concerns for his fellow countrymen (4).

As Hogarth became a prominent figure in the London art scene he was influenced by a number of things. These included politics, art, literature and the theatre (5).

Hogarth lived and worked during the Rococo period in 18th century London. The Rococo style was popular in both England and France at this time and was embodied by flowing lines and intricate decoration (6).

The London social scene that features in so much of Hogarth's work ranged from super rich aristocrats living flamboyant lifestyles to the incredibly poor working-classes with no money and little hope for a better life (7).

Rather than be influenced by many of the artists who had gone before him, Hogarth, a true innovator, tried to create a new school of English painting to rival the Old Masters of the Renaissance. In fact, rather than be influenced by their work it has been suggested that he often ridiculed them. Far from being a positive influence, this style of painting pushed Hogarth to produce work of a completely different genre (8).

Technological advances were very influential in Hogarth's success and without the further development of the printing press his work would not have

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been anywhere near as lucrative, as it wouldn't have been accessible to people from the middle and lower classes (9).

Although Hogarth was a skilled portrait painter he became famous for his engravings which were sold in large numbers to people who would not have been able to previously afford art. His series of moral paintings, such as A Harlot's Progress and A Rake's Progress took a satirical look at the government and social scene of the day, and highlighted the best and worst parts of English culture (10).

As one of the first British artists to be recognized throughout Europe, Hogarth became a major source of inspiration to other artists. During his lifetime artists and satirists such as John Collier emulated his satire and reflections of everyday life (11).

In the 19th century the Pre-Raphaelite brotherhood was inspired by Hogarth's use of symbolism and text to convey a moral message. However it is possibly the biggest testament to the artist's skill and wit that the new medium of the comic strip arose from his work, a genre which is still popular today (12).

Early Years:

William Hogarth was born in 1697, a time of social and moral depravity. At the turn of the 18th century, however, London began to bloom creatively and William Hogarth was at the heart of it (13).

Born into a poor, middle-class family, Hogarth started work as an apprentice of Ellis Gamble, a plate engraver, at the age of 16. He developed his artistic skills by later attending Sir James Thornhill's Academy of art in London's Covent Garden (14).

During the 1720s Hogarth continued to make a series of engravings of scenes from popular theatre shows, demonstrating the earliest signs of the satirical work to come (15).

Middle Years:

From 1731 onwards, Hogarth produced what was to become known as his 'modern morality' paintings. These were specifically designed to be copied in large numbers and sold as prints to members of the public (16).

Between 1740 and 1745 Hogarth focused on portraits and received commissions from the rich and influential elite of London society. In 1748 Hogarth created The Roast Beef of Old England after an eventful trip to the French port of Calais (17).

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After entering the port as a tourist the artist began sketching the fortifications. This drew the attention of the French police who accused him of being a spy. On his return to England Hogarth painted less than flattering political paintings about the French, perhaps reaffirming his distaste for the continent (18).

Hogarth was at the height of his career at this point and was making a good living from his printed works and portraiture. He then tried his hand at historical painting but this venture wasn't very successful and he received a lot of criticism for attempting something which many of his contemporaries believed was above him (19).

Later Years:

In 1762 Hogarth published an anti-war satire The Times which caused outrage from one prominent MP in particular, John Wilkes. He published a scathing article dismissing Hogarth's work in his newspaper 'The North Briton'

(20).

In response Hogarth created an engraving, John Wilkes Esq. showing the MP wearing a symbolic cap of liberty in such a way that it appears to be a halo along with a wig shaped like horns (21).

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In July 1673, not long after printing the John Wilkes Esq. engraving, Hogarth suffered from a paralytic seizure and became seriously ill. He passed away in London in 1764 at the age of 67 and is buried in Chiswick cemetery. He left no children (22).

Style and technique. Works

Hogarth was a typical Londoner, born in Smithfield, the son of an unsuccessful schoolmaster. Having as he said, 'a naturally good eye for drawing,' he was apprenticed to a silversmith. At twenty he learned to engrave on copper, which enabled him to express his ideas, though he cared nothing for the 'mere barren study of making fine lines.' His earliest engravings, are over elaborate crowded allegories which need copious notes for their elucidation. He worked at the St. Martin's Lane Academy from 1720 onwards, but it is not until 1728 or so that there is any record of his having painted in oils. It was by engraving that he made what fame or income came to him. That such was his aim cannot be doubted even though in some cases time has exaggerated the contrast and minor characters painted over a dark ground have faded into mere ghosts. At his best, as in the Beggar's Opera Scene, the shadowy backgrounds are penetrated by softly gradated light and painted thinly with a golden transparency, which while inferior to Rembrandt's perfect management of shadow, is yet luminous enough to stand comparison with the work of the great Dutchman (23).

Hogarth must have undoubtedly learned much from the Dutch. But his methods were often speedier. Perhaps his most enjoyable quality as a painter, and one which he must certainly have enjoyed himself, comes from his practice of painting his high lights with a dexterous turn of the brush in light liquid impasto. This is seen particularly in his lace. It may have been a method that he invented on his own account; but it is suggested that he learned it from his Venetian contemporary, Guardi (24).

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