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вместе с жизнью, меняясь по мере развития искусства. Некоторые жанры отмирают или обретают новый смысл (напр., мифологический жанр), возникают новые, обычно внутри ранее существовавших (напр., внутри пейзажного жанра появились архитектурный пейзаж и mмарина). Появляются произведения, соединяющие в себе различные жанры (напр., сочетание бытового жанра с пейзажем, группового портрета с историческим жанром).

Нина Байор

(Abridged from: https://www.krugosvet.ru/enc/kultura_i_obrazovanie/izobrazitelnoe_iskusstvo/ZHANRI_ZHIV OPISI.html)

3. Get into groups of four. Each person in the group should read a different passage below, retell it to the others in the group and together guess which genre out of the ones mentioned in the box is defined in each passage.

portrait landscape

conversation piece seascape

still-life battle piece

historical painting townscape

Student A.

This term is used for an informal group portrait, especially those painted in Britain in the 18th century, beginning in the 1720s. These pictures are distinguished by their portrayal of the group apparently engaged in genteel conversation or some activity, very often outdoors. Typically the group will be members of a family, but friends may be included, and some groups are of friends, members of a society or hunt, or some other grouping.

Often the paintings are relatively small, about the same size as a halflength portrait but in horizontal or "landscape" format; others are much larger. The genre was developed from 17th century portraiture in the Low Countries (Belgium and Holland). The compositions of merrymaking companies and garden parties were an important influence on the genre. In addition, representations of elegant companies and balls by Hieronymus Janssens and the works of Peter Paul Rubens, in particular his Garden of Love (Prado Museum), gave an impetus and direction to the development of the genre.

The name derives from the Italian term, also used in English, sacra conversazione for a similarly informal painting of the Virgin and Child with saints, a genre developed in the Renaissance.

There are many varieties of the pictures of this genre. People may be portrayed sharing common activities such as hunts, meals, or musical parties.

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Dogs and/or horses are also frequently featured. Arthur Devis was a regional painter famous for his small pictures of this genre, popular with the gentry of Cheshire. William Hogarth also worked in the genre, and parodied it in his print A Midnight Modern Conversation, which depicted a group of men whose conversation has degenerated into drunken incoherence. Most portraits by George Stubbs take this form, with horses and carriages in the composition. Joshua Reynolds would on request produce pictures of this genre in the grand manner, and at his usual near-life scale.

(Abridged from: http://en.wikipedia.org/wiki/Conversation_piece)

Student B.

This is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person. A picture of this genre often shows a person looking directly at the painter or photographer, in order to most successfully engage the subject with the viewer.

This genre flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic images, even unflattering ones. During the 4th century, this genre began to retreat in favor of an idealized symbol of what that person looked like. In the Europe of the Early Middle Ages representations of individuals are mostly generalized. True images of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments and miniatures in illuminated manuscripts.

One of the best-known pictures of this genre in the Western world is Leonardo da Vinci's painting titled Mona Lisa, which is a painting of Lisa del Giocondo.

Profile view, full face view, and three-quarter view, are three common designations for the pictures of this genre, each referring to a particular orientation of the head of the individual depicted. Such terms would tend to have greater applicability to two-dimensional artwork such as photography and painting than to three-dimensional artwork such as sculpture. In the case of three-dimensional artwork, the viewer can usually alter their orientation to the artwork by walking around it.

(Abridged from: http://en.wikipedia.org/wiki/Portrait)

Student C.

This is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, dead animals, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on). With origins in the Middle Ages and Ancient GraecoRoman art, this kind of painting emerged as a distinct genre and professional specialization in Western painting by the late 16th century, and has remained significant since then. This genre of painting gives the artist more freedom in the arrangement of elements within a composition than do paintings of other types

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of subjects. Early paintings of this genre, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Some modern pictures of this genre break the two-dimensional barrier and employ three-dimensional mixed media, and use found objects, photography, computer graphics, as well as video and sound.

This genre emerged from the painting of details in larger compositions with subjects, and historically has been often combined with figure subjects, especially in Flemish Baroque painting.

This genre developed as a separate category in the Low Countries in the last quarter of the 16th century. The English term derives from the Dutch word stilleven while Romance languages (as well as Greek, Polish, Russian and Turkish) tend to use terms meaning dead nature.

(Abridged from: http://en.wikipedia.org/wiki/Still_life)

Student D.

In the visual arts this genre is an artistic representation, such as a painting, drawing, print or photograph, of the physical aspects of an urban area. This genre is the urban equivalent of a landscape.

In the Middle Ages, the pictures of this genre appeared as a background for portraits and biblical themes. Halfway the 17th century this genre became an independent genre in the Netherlands. Painters from other European countries (i.e. Great Britain, France, Germany) followed the Dutch example. The 18th century was a flourishing period for this genre in Venice (Canaletto, Guardi).

At the end of the 19th century the impressionists focused on the atmosphere and dynamics of everyday life in the city. Suburban and industrial areas, building sites and railway yards also became subjects for the pictures of this genre. During the 20th century attention became focused on abstract and conceptual art, and thus the production of this genre declined. American painter Edward Hopper, who stayed loyal to figurative painting, created intriguing images of the American scene. With a revival of figurative art at the end of the 20th century comes a revaluation of this genre. Well-known painters of this genre are Rackstraw Downes, Antonio López García, and Richard Estes.

(Based on: http://en.wikipedia.org/wiki/Cityscape)

IV. On Your Own.

1. Select 5 reproductions of pictures of different genres.

In the classroom work in pairs (or small groups), show the reproductions to each other. Let your group mates identify the genre that the pictures belong to and say a few words about the effect these pictures produce on them using the Topical Vocabulary (from ex.1, Language Focus).

2. Make a 5-7 minute report about one of the painting styles (movements). You can choose the style (movement) from the box below:

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realism classicism romanticism impressionism surrealism cubism expressionism minimalism etc.

Make sure you cover the following points in your report:

a)the origins (the time period, the founder(s));

b)the prevailing subject-matter;

c)the peculiarities of technique and colour-scheme;

d)the most famous representatives.

Provide your report with visual demonstration and try to make your listeners interested in your speech. Organise the feedback afterwards and assess your own work. The following guidelines can help you to organize your work.

Making a report.

1.While working on the report consult several sources of information to reduce distortion in your treatment of the subject.

2.Make a plan of your report.

3.Process the information and adapt it for the oral presentation.

4.Single out all the possible linguistic difficulties (new words, notions) that might hinder understanding and think how to preteach them to your group mates.

5.Think of the questions that you might ask your group to lead them into your report (lead-in): ex. What do you know about …? What would you like to know about …? Listen to …/ Look at … and guess what I‟m going to speak about?

6.Make up tasks to check your group‟s understanding of the content of your report (ex. multiple choice questions, complete the statements, fill in the gaps, match, rank, arrange etc.) or suggest questions for discussion. Make sure to present the exercises and your tasks before the report! It will help your students to follow your report and complete the tasks successfully!

7.Think of all possible means to make your report more interesting and understandable: use schemes, interesting and vivid examples, pictures, photos, musical or video accompaniment.

8.Don‟t forget to check the tasks and discuss the tasks after your presentation of the report! Organise the feedback afterwards!

9.Get ready to assess your own work in terms of:

realisation of the task and the goal;

coherence of speech;

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use of verbal and non-verbal teaching means;

use of different information sources;

adaptation of the text for oral presentation;

manner of speaking;

organization of communication on the topic within the group;

correctness of exercises and tasks;

adequate use of teaching forms and techniques;

use of information and technical teaching aids.

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UNIT 2.

THE ROLE AND VALUE OF ART

I. Lead-in.

Discuss the following questions:

a)What makes good art? What makes a good picture? Do you think art can be great if it is not linked with the people's lives, their interests and ideals? Give your reasons.

b)How does art help us understand the outside world? What purposes does true art serve?

c)What service do you think the artist performs for mankind?

d)What do you think of the role of painting in modern life? Choose any of the statements below which correspond to your own feelings, and think over why you feel this way.

1. Painting is only for snobs and intellectuals.

2. Painting is something I create myself, for my own pleasure. 3. Painting helps people to get in touch with their emotions.

4. Painting should aim to shock people and challenge their assumptions. 5. Painting should be first of all decorative and pleasant to look at.

6. Painting is no longer necessary in an age when we are surrounded with a lot of visual images coming from the screens of TV, the Internet, bill-boards and other sources.

7. Painting is only an investment for the rich.

8. I am completely indifferent to painting.

II. Language Focus.

1.Paraphrase the italicized parts of the sentences, using the phrases from the Topical Vocabulary (Unit 1, ex. 2).

a) This picture is different from the others because of its excellent range of colours and a very original arrangement of figures in it.

b) When a picture is flooded in light it really conveys a feeling of joy and happiness.

c) The artist defined the nearer figures in the picture more sharply.

d) A figure in the foreground is silhouetted against the distant streetlights, and the picture itself is executed in very soft and warm colours.

e) The cover of this book depicts people canoeing on a lake, against the backdrop of mountains and sunset.

2.Translate the following sentences into English (use the Topical Vocabulary from Unit 1).

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a) На выставке, посвященной 100-летию города, в художественном музее представлены как картины известных местных художников, написанные маслом и акварелью, так и детские работы, нарисованные пастелью и даже тушью.

б) Его жена заказала одному известному художнику написать еѐ портрет в натуральную величину, и ей очень хотелось, чтобы он изобразил еѐ на фоне какого-нибудь пейзажа, выполненного в тонких, нежных тонах.

в) Художнику удалось не только передать ощущение пространства, выразить художественными средствами яркий характер этого известного актера, но и продемонстрировать великолепное владение техникой.

г) Несмотря на то, что эта картина считается непревзойденным шедевром живописи, люди, далѐкие от искусства, не видят в ней ничего, кроме хаотичных брызг красок.

д) На картине мы видим, что художник расположил все предметы ассиметрично для того, чтобы передать ощущение хаоса и беспорядка, однако при более тщательном рассмотрении на переднем плане картины можно увидеть едва различимые силуэты каких-то предметов, выстроенных ровно в ряд.

3) Read the text below. Use the word given in brackets to form a word that fits in the space.

POP ART

Pop art was an (1.convention) art style in which commonplace objects such as comic strips, soup cans and road signs were used as subject matter and were often (2. corporate) into the work.

The pop art movement was largely a British and American cultural phenomenon of the late 1950s and 1960s. Art critic Lawrence Alloway, (3. refer) to the prosaic iconography of its painting and sculpture, named the movement pop art. It represented an attempt to return to a more (4. object) and universally acceptable form of art after the (5. dominate) in both the United States and Europe of the highly personal abstract (6. expression).

The art form was iconoclastic, rejecting both the (7. supreme) of the “high art” of the past and the (8. pretend) of other contemporary avant-garde art.

Pop art became a cultural institution because of its close (9. reflect) of a particular social situation by the mass media. Although the critics of pop art described it as sensational and non-aesthetic, its proponents saw it as an art that was democratic and not (10. discriminate), bringing together both connoisseurs and untrained, (11. experience) viewers. Even though public reaction to pop art was (12. favour), it found critical (13. accept) as a form of art suited to the highly technological, mass media-oriented society of western countries.

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III. Reading and Speaking.

1. Discuss the following questions:

a) Did you like drawing or painting in your childhood? Did it ever help you to express yourself?

b) In what ways can involvement in painting help children develop their personality? Share your ideas with your group mates.

2. Read the text below and see which arguments in this text echo with yours and which are different.

Art can play a great role in helping children to develop their personalities. When children become involved in an artistic project, they learn how to express their inner feelings through different media. By painting or drawing, they can show their moods and thoughts. Young children are expressive and uninhibited, and painting can help them express what they don‟t have the words for. This can give them a sense of freedom and can also help others to understand their frame of mind. A child can express its fears through painting a picture. There are plenty of child psychologists, for example, who ask children to draw or paint an episode or person in their lives in order to get an idea of what is on the child‟s mind. Sometimes the child may not even be aware that they are trying to express anything, but art nevertheless provides an outlet for their feelings.

Children can also experience a sense of achievement when they take part in an artistic activity. They feel proud of the things they create, particularly when their handiwork is displayed in a prominent place by their parents or teacher. This can also help to build their self-confidence and help them to overcome shyness, as they feel that others appreciate their creations.

Another important way in which art can aid children‟s personal development is by teaching them to be creative. Having the freedom to paint or draw whatever they like gives children the opportunity to use their imagination and come up with original ideas. Through being able to choose their own colours, shapes and styles, they learn different ways of creating pictures and patterns, and learn new artistic skills. This innate creativity in children is so easily developed through art, and can then lead into other areas, like language development, even science and mathematical skills.

All children should experience the feeling of possibilities which a blank sheet of paper and a box of colours can offer. And not only develop their personalities, but open up a whole new area of satisfaction and fulfillment. It‟s something like being able to play a musical instrument, it provides the child with a great source of enjoyment.

3. Discuss the following questions:

a) Which of the above is true for adults?

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b) Should children be taught art at school? In what form? How were you taught art at school? Was it an effective method? What do you think made your teacher(s) use those methods of teaching art?

4. Read the text below and explain why it is entitled “Art for All?” Then explain what is meant by the phrases in bold in the text.

ART FOR ALL?

http://www.tate.org.uk/whats-on/tate-britain/display/martin-creed-tate-britain

There were more than a few eyebrows raised when Martin Creed‟s installation, “The Lights Going On and Off”, was unveiled at the Turner Prize show at Tate Britain. The museum‟s curator of communications, Simon Williams, declared that the work signified “the movement towards the dematerialization of art since the 60s”, but most of the general public seemed to reckon that an empty room with a light flicking on and off was a pretentious conceit. Yet even those who loathed the piece still tried to engage with it as a work of art.

Twenty-five years ago we tended to take a very different view. Art meant high art. If it wasn‟t a Mozart opera, a Shakespeare play or a Rembrandt painting, then it wasn‟t art: it was popular culture. Today the distinctions have become increasingly blurred. Circus skills, pop music, even TV soaps, are now all recognized as legitimate art forms.

There are still some who mutter darkly about the perils of dumbing down, but the upside is that many more people are gaining the confidence to appreciate works they might previously have considered dull or incomprehensible.

You might have thought that it was the education system that inspired this latter-day cultural revolution. But even though there has been a lot of talk coming out of government about creativity in schools, little more than window dressing has emerged.

A recent survey published by Artworks, the National Children‟s Art Awards, revealed that average yearly spending on art materials in English and Welsh schools had fallen from already dangerously low figures to a derisory

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one.

Unsurprisingly, then, and because art counts for nothing in the performance league tables, schools have largely washed their hands of the subject and in the process, a generation of schoolchildren have had their access, both to practical artistic experience and to a wider appreciation of aesthetics, severely compromised.

If you went into a museum or gallery back in the 1970s, you would have found a dusty regime run by an elite for an elite. A curator would have gathered a collection of artifacts or pictures into a gallery, and unless the visitor was steeped in art history, he or she would have little ides of why any particular group of objects had been grouped together in the same room, as there was no explanation or interpretation on offer.

There is still a minority of curators and critics who believe that the art should stand alone and speak for itself, but most now recognize that museums have a duty to inform, as our national treasures belong to all of us.

A case in point is the newly reopened British Galleries, housing a collection of objects from 1500-1900, at the Victoria & Albert Museum in London. In many museums, the education team is brought in as an afterthought to tidy up after the curator and the designer have decided on the exhibits and the layout. But for the British Galleries, the education team was in on the act from the outset.

“We wanted to be clear about what the galleries were trying to say about the history of art and design and to ensure we catered for our target audiences,” says Christopher Wilk, chief curator. “Art galleries have tended to appeal to the analytical learner who likes to absorb information from a plaque, but we have gone out of our way to arrange exhibits in a variety of ways so that the galleries can be understood and absorbed by everyone.”

Museums outside London often have to fight harder for recognition and in many ways have an even greater part to play in the cultural fabric of the community that their grander counterparts. The National Museum of Photography Film & Television in Bradford is an example. Situated in the second poorest ward in the country, it has become a focal point for the northeast, attracting people from all sections of the community.

While painting, film and theatre may have opened up to a wider public, there are still some art forms, such as opera, that are still regarded in some quarters as inaccessible. But this too is changing. The Royal Opera House has taken to providing a running English translation of its foreign language works, but more importantly there are a number of small opera groups, such as English Pocket Opera (EPO), which are dedicated to making the art form more accessible.

But for all the success in efforts to reach a wider public, a note of caution is also required. Even in times of prosperity, arts budgets are tight and in times or recession they are often slashed. Arts organisations are fighting for every

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