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23.FOR ... his own history paintings, Reynolds declared he would “sometimes deviate FROM .. vulgar and strict historical truth, IN ...

pursuing the grandeur OF ... his design.”

24.Thus, regardless OF ... when and where the events occurred, Reynolds clothed his figures IN ... classical robes and placed them BEFORE...

idealized scenery.

25.Benjamin West produced a startling shift IN ... convention depicting a recent incident, set AGAINST ... a recognizable location, WITH ... figures IN ... contemporary dress.

Module 3.

Unit 1.

Reading and Speaking.

Ex.2, p. 101.

Executed IN a colourful and minutely detailed style; to reject… the brushwork of the tradition; a return TO hand-craftsmanship in the decorative arts; their adherence TO the history painting; their subject matter was IN tune with Victorian taste; to merge easily INTO the mainstream; to specialize IN sentimental animal subjects; to feature the beauties IN exotic or classical settings; being reviewed AT huge length in the press; his blood splashed OVER his unfinished work; painters prided themselves ON the increasing accuracy of their period settings; to scorn … the breezy approximations of artists; the scenes were lighter IN mood; illustrations made IN watercolour; the critic condemned … his painting; to throw a pot of paint IN the public face; the misery of the human figures was offset BY a landscape; hosted … many exhibitions of foreign art; resulted IN an auction of his work; they embarked UPON a search for distinctive artistic expression; AT the centre, rather than IN the margins, of the history of British art; to fit out smth. IN the style.

Unit 2.

Reading and Speaking.

Ex.4, p. 116.

1-c; 2-f; 3-a; 4-e; 5-i; 6-b; 7-d; 8-j; 9-h; 10-g; 11-k

Module 4.

Unit 1.

Language Focus.

Ex.1, p. 118.

1) art; 2) works; 3) In; 4) out; 5) reality; 6) what; 7) catches; 8) of; 9) located; 10) how; 11) In; 12) on; 13) in; 14) to); 15) by; 16) less.

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Ex.2, p. 118.

1) the landscape painting; 2) the great diversity and depth; 3) canvasses; 4) the colourful riches; 5) joy and happiness; 6) the revival of nature; 7) purity; 8) virgin and fragile birches; 9) light; 10) unnoticeable details; 11) timid existence; 12) presence; 13) the perspective; 14) the colourful concord; 15) the main features.

Ex.3, p. 119.

Sample answers:

1)the best and brightest Surikov‟s paintings;

2)topics of the canvas;

3)great feeling and effect;

4)masterpiece;

5)a damp winter day, grey blue haze that wraps up the Red Square;

6)thatched dilapidated roofs of Moscow poor people‟s huts and golden onionlooking domes of the churches;

7)sledge surrounded by the crows of people;

8)stands beside her;

9)imparts;

10)the contrast;

11)spot;

12)realistic and somewhat daubing;

13)bright;

14)patches;

15)great and deeply convincing;

16)precise definition.

Reading and Speaking.

Ex.1, p. 120.

1-b; 2-e; 3-a; 4-c; 5-d.

Unit 2.

P. 143.

1.No.

2.Tate Britain, Tate Modern, Tate Liverpool, Tate St Ives and Tate Online.

3.Tate Britain and Tate Modern.

4.National Gallery.

5.No.

6.All of them.

7.All of them.

8.All of them.

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9.They are almost the same.

10.National Gallery. Italian, Dutch, Flemish, English Schools.

11.National Gallery.

12.Tate Modern.

13.Tate Britain.

14.Tate Britain.

ADDITIONAL MATERIAL

Text 1.

William Hogarth (1697-1764)

Ex.1, p. 154.

1.an uncompromising attitude or practice of accepting a situation as it is (P. 4) /gritty realism

2.the process of becoming progressively worse (P. 4) / deterioration

3.denoting furniture or architecture characterized by an elaborately ornamental late baroque style of decoration prevalent in 18th-century continental Europe (P. 6)/ The Rococo style

4.include or contain (something) as a constituent part (P. 6) / was embodied

5.waving , unconfined , streaming (P. 6) / flowing

6.very complicated or detailed (P. 6) / intricate

7.bright, colourful, and very noticeable (P. 7) / flamboyant

8.make fun of smth/smb in an unkind way (P. 8) / ridiculed

9.producing a great deal of profit (P. 9)/ lucrative

10.something that serves as a sign or evidence of a specified fact, event, or quality (P. 12)/ testament

11.moral corruption; wickedness (P.13)/ depravity

12.a risky or daring journey or undertaking (P. 19)/ venture

13.witheringly scornful; severely critical (P. 2)/ scathing

14.to die (P. 22) / passed away

15.abundant in supply or quantity (P. 23)/ copious

16.explanation that makes something clear; clarification (P. 23)/ elucidation

17.very skilful and clever (P. 24)/ dexterous

18.conformity in the application of something, typically that which is necessary for the sake of logic, accuracy, or fairness (P. 28) / consistency

19.deserving or arousing pity (P. 29) / pitiable

20.detestable, disgusting , loathsome (P. 29) / repulsive

21.of a dull light brown colour (P. 29) / drab

22.dirty or squalid (P. 29) / sordid

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23.obtrusively bright and showy; lurid (P. 29) / garish

24.rap up, cover, or surround completely (P. 29) /envelop

25.a yellowish-beige colour (P. 29) / buff

26.an enclosed chair for conveying one person, carried between horizontal poles by two porters (P. 29) / sedan-chair

27.curious (P. 29) / inquisitive

28.lacking in imagination or originality (P. 29) / uninspired

29.extreme poverty (P. 31) / destitution

30.a long, narrow view as between rows of trees or buildings (P. 31) / vista

31.impair the quality or appearance; spoil (P. 32) / to mar

32.evident , obvious (P. 32) / apparent

33.conformity , accordance (P. 33) / fitness

34.complexity (P. 33) / intricacy

35.troubling (P. 34) / ail

36.a quality that evokes pity or sadness (P. 34) / pathos

Ex.2, p. 155.

1.FOR... the first time

2.gained popularity FOR ... his morality paintings

3.the harder side OF ... life

4.a sense OF ... gritty realism

5.concerns FOR ... his fellow countrymen

6.work OF ... a completely different genre

7.the prints that were made FROM ... them

8.ranged FROM ... super rich aristocrats to the incredibly poor workingclasses

9.far FROM ... being a positive influence

10.to produce work OF ... a completely different genre

11.accessible to people FROM ... the middle and lower classes

12.he became famous FOR ... his engravings

13.social scene OF ... the day

14.a major source OF ... inspiration to other artists

15.the new medium OF ... the comic strip arose FROM ... his work

16.at the turn OF ... the 18th century

17.a series of engravings OF ... scenes FROM popular theatre shows

18.received commissions FROM... the rich and influential elite OF ...

London society

19.who accused him OF ... being a spy

20.his distaste FOR ... the continent

21.making a good living FROM ... his printed works and portraiture

22.caused outrage FROM ... one prominent MP

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23.suffered FROM ... a paralytic seizure

24.'a naturally good eye FOR ... drawing'

25.he cared nothing FOR ... the 'mere barren study of making fine lines.'

26.which need copious notes FOR... their elucidation

27.there is any record OF ... his having painted in oils

28.Rembrandt's perfect management OF ... shadow

29.learned much FROM... the Dutch

30.his most enjoyable quality... comes FROM .

31.Hogarth derived FROM ... Italy also

32.he made very little use OF ... composition

33.a preference FOR ... florid or baroque decoration

34.but his greatest gift OF... all, his memory, was his own

35.his eye FOR... colour and FOR ... light and shade

36.he could display his powers OF ... memory

37.a want OF ... clear sequence in the different parts of the story

38.the expressions and poses are admirable FROM... the hesitating hands OF... the embarrassed young dandy

39.he painted FOR St. Bartholomew's Hospital

40.which gave far more scope FOR... his special talents

41.a painter OF ... effects OF ... light

42.the subject OF... envious comment among some starving soldiers

43.some fine effects OF... light and space

44.the lack OF ... taste in painting

45.his gift OF memory

46.recorded FOR ... ail time the pathos OF ... a fleeting smile

47.the painter's Sister, although suggestive OF ... an agreeable capable personality

48.admirable FOR ... the luminous painting

49.as might be expected FROM... such a man

50.a work OF ... biographical rather than artistic interest

Text 2.

George Stubbs (1725 - 1806)

Ex.1, p. 162.

1.Information ... ON his life UP... to age thirty-five is sparse, relying almost entirely on notes MADE ... by fellow artist Ozias Humphry TOWARDS

... the end of Stubbs's life.

2.IN... the 1740s he worked AS ... a portrait painter IN ... the North of England and FROM... about 1745 to 1751 he studied human anatomy AT

... York County Hospital.

3.Forty years LATER ... he told Ozias Humphry that his motive FOR ...

going to Italy was, "to convince HIMSELF ... that nature was and is always superior to art WHETHER ... Greek or Roman, and HAVING...

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renewed this conviction he immediately resolved UPON ... returning home".

4. IN ... 1759 the 3rd Duke of Richmond commissioned three large pictures FROM... him, and his career WAS ... soon secure.

5. This and two OTHER ... paintings carried OUT ... for Rockingham break WITH ... convention IN ... having PLAIN ... backgrounds.

6. He OFTEN... painted horses WITH ... their grooms, WHOM ... he always painted AS ... individuals.

7.He BECAME ... preoccupied WITH .. the theme OF ... a wild horse

threatened BY... a lion and produced SEVERAL ... variations ON... this theme.

8. Stubbs ALSO ... painted historical pictures, but THESE ... are much LESS

... well regarded.

9. Also in the 1770s he painted SINGLE ... portraits of dogs FOR ... the first time, WHILE ... also receiving an increasing NUMBER ..of commissions to paint hunts with their PACKS ... of hounds.

10.THE ... curves of the horses' backs naturally lead the eye ON one to

ANOTHER ... and make a graceful linear PATTERN ....

Text 3.

Thomas Gainsborough (1727-1788)

Ex.2, p. 172.

Ex.3, p. 172.

1-a; 2-b; 3-c; 4-b; 5-b; 6-c; 7-1; 8-a; 9-c; 10-b; 11-a; 12-a; 13-b; 14-c; 15-b; 16-a.

Text 4.

Sir Joshua Reynolds (1723-1792)

Ex.2, p. 182.

1.to result in a poor condition of paintings (P. 1)/ have led to the fading, cracking and discoloration

2.to strive for endless improving /exert oneself to introduce /improvements into something until it is faultless (P. 1)/ desire for perfection

3.a solid handling (P. 1) / sound construction

4.a various range of creative techniques (P.1)/ variety of invention

5.to be filled with the urge or ability to do or feel something, especially to do something creative P.1) /be inspired

6.painters who are willing to consider or accept new suggestions and ideas (P.1)/ receptive artists

7.having or showing a composed or serious manner that is worthy of respect, a polite and respectful to other people behaviour (P.2) / dignified and courteous bearing

8.a friendly and cheerful characteristic of someone's temper (P.3)/ genial side of his nature

9.evident, obvious (P.3) / apparent

10.a title used before the name or rank of an officially appointed religious leader (P.4)/ Reverend

11.to be competent or skilled in representing three-dimensional objects on a two-dimensional surface (P. 4)/ was proficient at perspective

12.to stimulate the creative power of the mind (P.4) / fired his dramatic imagination

13.to awaken a desire and determination to achieve success (P.4)/ aroused his ambition

14.to be distorted in dimensions; size (P. 4) / absurdly proportioned

15.to be low paid (P. 5) / receiving modest commissions

16.a complete and impressive picture (P. 5)/ broad and forcible painting

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17.a naval rank above captain and below rear admiral, generally given temporarily to an officer commanding a squadron or division of a fleet (P.

6)/ Commodore

18.a loss of hearing (P. 6) / permanent deafness

19.to be formally given a new position at an official ceremony (P. 6) / was inaugurated

20.to be careful to avoid potential problems or dangers while taking a position (P. 6) / was cautious in accepting

21.to get down to work with great enthusiasm (P. 6) / threw himself with ardour into his duties

22.a person who displays works of art at an exhibition, teaches younger colleagues and arranges events (P. 6) / exhibitor, instructor and organiser

23.to be constantly admired and respected because of the position or the things that have been achieved (P. 6) / gained its lasting prestige

24.to leave one's post (P. 6) / to resign

25.to say publicly that you no longer hold a set of beliefs that you had in the past (P. 6) / recanted

26.to come back to work again, to return to the position you were in before (P. 6) / to resume office

27.to give assent, as to the proposal of another; agree (P. 6) / consented

Ex.1, p. 183.

1.Considering his powers of composing with line and with colour, there is surprisingly little about these two elements IN... design.

2.The head of 1753 of his assistant Marchi is IN ... obvious technical imitation of Rembrandt.

3.Some of Reynolds' portraits of this period, such as that of 1756 of Lady North suggest, especially IN ... the painting of the dresses, that he had been taking technical hints from the work of Allan Ramsay.

4.IN... many of Reynolds' portraits of the seventeen-fifties, the colour has fled from the flesh tints, leaving the faces and hands almost IN...

monochrome.

5.This matters less than might be expected, as can be seen IN ....such varied examples as....

6.There is individual life IN ... the gallant and adventurous Orme; IN ...

Cumberland, dispassionately portrayed, without emphasis ON ... his brutality yet without flattery.

7.He has forgotten his rules of gallantry and has become interested IN ... her intellectually, as though she were a man.

8.IN ... this masterpiece, a daring experiment IN... lighting has been used with wholly successful results.

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9.Thus the shadows and lights occur ON ... her features IN ... the reverse of their usual positions, her upper lip and around her nostrils being light and her lower lip and forehead dark.

10.She appears just to have looked up ON ... seeing a friend, at the same moment that a gleam of sun has burst through the clouds, shining even more brightly ON ... her neck and breast than ON ... her hands and wrist below.

11.The peep of light sky through the trees ON ... the left, though deliberately subdued IN ... tone (because of secondary importance) is of value IN ...

giving the picture depth.

12.The half-tones upon the pillar are also useful IN ... giving luminosity to

the background.

13. . At the same time the very completeness of the presentation, as compared with one of Gainsborough's portraits, has something IN... it impersonal.

14.He seems to have painted the ladies of the seventeen-seventies IN ... a mood bordering ON ... polite boredom.

15.The black parts of the dog's body have been swiftly swept IN ... with a fluent brush, without any loss to the sureness of the drawing.

Ex.2, p. 184.

1.Reynolds was inclined to experiment endlessly with his works. T

2.The painter was very predictable -his works lack spontaneity and creativeness. F

3.It is possible to observe the elements of other painters' style in Reynolds' works. T

4.Reynolds was greatly influenced by Italian masters, Michelangelo in particular. T

5.Reynolds was eager to be inaugurated President of the Royal Academy. F

6.As for his character, the painter was capricious, irritable, and impatient. F

7.Scumbling and the distribution of light and shade were the focus of attention for the painter. T

8.Many of Reynolds' portraits of the seventeen-fifties are carried out with the same technique: the colour flees from the flesh tints, leaving the faces and hands almost in monochrome with the modelling of the heads always complete. T

9.The most impressive thing about the painting Kitty Fisher is an unusual arrangement of light. T

10.This picture represents woman as a symbol of the mysterious and permanent fascination of womankind. T

11.Reynolds was more successful in painting women without their children, or women who were not mothers. F

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12.A thick loaded impasto is a typical Reynolds' technique that can be often observed in his paintings. T

13.In general Reynolds' technique developed from the loose and free to the close and careful. F

14.Reynolds was good as well at his grasp of the characters of men. T

15.The painter found more inspiration in historical compositions than in portraiture. F

Text 6.

Richard Wilson (1714-1782)

Ex.2, p. 190.

1-d; 2-k; 3-n; 4-h; 5-i; 6-l; 7-o; 8-a; 9-e; 10-m; 11-b; 12-f; 13-j; 14-c; 15-g.

Text 7.

Thomas Gainsborough (1727-1788)

Ex.1, p. 195.

1.rural (P. 1)/ pastoral

2.extravagantly or pretentiously imposing (P. 1) / grandiose

3.completeness , perfectness (P. 2) / maturity

4.far, distant (P. 2) / remote

5.a touch, stroke (P. 2) / dab of paint

6.inwardly, intuitively (P. 2) / by instinct

7.less important, less famous (P. 3) /minor

8.private and personal (P. 3) / intimate

9.a faint or brief light (P. 3) / gleam

10.instant ( P. 5) / immediate

11.make (something) more widespread or common (P. 6) / to generalise

12.very similar or close to each other (P. 7) / indistinguishable

13.to keep, save (P. 7) / retain

14.small, narrow rivers that are possible to walk through (something filled with water) (P. 7) / wading streams

15.a small group of trees (P. 7) / copse

16.a composition (P. 8) / arrangement

17.a fault, cleft (P. 8) / rift

18.loiterers, ramblers (P. 8) / loungers

19.to blend (p. 8) / to merge

20.the texture of the canvas (P. 9) / the grain of the canvas

21.to blind someone (P. 9) / dazzle

22.skillfulness (P. 9) / dexterity

23.of a pale purple colour (P. 9) / mauve

24.of an orange-brown or yellowish-brown colour (P. 9) /tawny

25.anticipation (P. 10) / foretaste

26.to be discernible (P. 10) / are picked out

240