aJZgKak957
.pdf27.unruly (P. 10) / restive
28.to be intensified, increased (P. 11) / is enhanced
29.a deep reddish-brown colour (P. 11) / chestnut
30.change or merge imperceptibly into (P. 11) / melt
31.an item of clothing (P. 11) / garment
32.a shade or variety of a colour (P. 11) / tint
33.of a brilliant red colour (P. 11) / scarlet
34.deathless, eternal (P. 12) / immortal
Ex.2, p. 196.
1. a model IN ... maturity
2. the most remote FROM ... Wilson IN ... aim 3. came IN ... the right place BY ... instinct
4. stimulated him TO ... a thorough study OF ... tone-values
5.the same intimate feeling and careful drawing occurs IN ... the
backgrounds OF ... the outdoor portraits
6. gleams of sunshine THROUGH... the clouds UPON ... the figures 7. are practically indistinguishable IN ... style
8.a good opportunity FOR ... contrasting broad simple masses OF ... light and shade
9. seen BEHIND ... the group of trees ON ... the right
10. no disturbing shadows OF ... foliage interfere WITH ... this main light
11. the large dark masses OF ... the trees are only interrupted BY... a few rifts or openings OF ... distant sky
12. when sunlight is shining directly UPON... the picture 13. the leaves grow thinner AGAINST ... the sky
14. ON ... the other side the shadow ON ... the man ON ... the horse is almost purple BY ... reflection
15.seen gradually to merge OUT ... OF ... darkness INTO ... full sunshine
|
WITHOUT ... |
ever losing their luminosity |
|
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16. |
is painted IN ... |
a different and much thinner technique |
|
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17. |
WITH |
... the minimum of impasto |
|
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18. |
a joyous example OF |
... the delight IN... sunshine and wind |
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19. |
APART FROM ... ... |
some mauves and pinks IN... the sky the scheme is |
|||||
|
OF .... |
only three colours |
|
|
|
||
20. |
give consistent harmony TO ... |
the whole |
|
||||
21. |
are repeated THROUGHOUT ... |
almost unmixed save ON ... |
the canvas |
||||
22. |
are picked OUT... IN ... |
spots OF ... yellow, red and blue |
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23. |
IN ... a larger variant OF ... |
this subject WITH ... cliffs ON ... |
the right |
||||
24. |
shows Gainsborough IN ... |
his last phase |
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25. |
palely silhouetted AGAINST ... |
the sky |
|
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26. |
everything is alive WITH ... |
movement |
|
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27.the lively effect is enhanced BY the lightness
241
28.a point OF ... dexterity IN ... which Gainsborough alone among English painters can equal Rubens
29.excelled him IN ... sensitive perception OF ... local colour
30.those in shadow are OF ... different tints of chestnut
31.a purple grey occurs IN ... the wood ON ... the left and IN ... one woman's garment
32.the touches of red repeated THROUGHOUT ... the canvas
33.the brightest light and brightest colour is concentrated AROUND ... the scarlet.
Text 8.
Joseph Mallord William Turner (1775-1851)
Ex.1, p. 206.
While this does not explain the ARRIVAL ... of so great a |
ARRIVE |
genius, it makes his GREATNESS ... less ... |
|
INEXPLICABLE. |
GREAT EXPLAIN |
He was short and stout, with a weather BEATEN ... |
|
complexion and keenly OBSERVANT ... blue eyes. |
|
Turner's genius then is EVIDENT ... even in the |
EVIDENCE |
TOPOGRAPHICAL ... drawings which he made for his |
TOPOGRAPHY |
LIVING... . |
LIVE |
The LUMINOSITY ... therefore depends CHIEFLY ... |
LUMINOUS |
upon the gradations of light and shade, ENRICHED ... by |
CHIEF |
the VARIETIES ... of mystery and of DEFINITION ... in |
RICH VARY |
the contours. |
DEFINE |
Turner was at heart a sailor a ship is a living |
|
CREATURE... , COURAGEOUS ... and loyal, |
CREATE |
RESOURCEFUL, yet PATHETICALLY ... in need of |
COURAGE |
help. |
SOURCE PATHOS |
UNDIGNIFIED ... people like this are among Turner's |
DIGNITY |
most SYMPATHETIC ... CREATIONS... , his view of |
SYMPATHY |
HUMANITY ... being perhaps slightly cynical. |
CREATE HUMAN |
Turner's CHARACTERISTIC ... works of this new, |
CHARACTER |
important and too often FORGOTTEN ... phase are |
FORGET |
painted without a hint of that self-conscious |
THEATRE |
THEATRICALITY ... that was his most serious |
FAIL |
FAILING... . |
|
... they show a MARKED ... advance on his EARLIER .. |
MARK |
work (like the Welsh and Swiss water-colours) in |
EARLY |
SUBTLETY ... of colour. |
SUBTLE |
In Windsor the bare tree on the left has been drawn with |
MUCH |
the UTMOST ... care and PRECISION... , so that all the |
PRECISE |
ARTICULATIONS ... of the branches with the main |
ARTICULATE |
242 |
|
trunk are indicated without any loss to its general poise or |
RELATE |
to its RELATION ... to the atmosphere. |
|
UNFORTUNATELY ... some of the DELICACY ... of |
FORTUNE |
tone is lost in a REPRODUCTION...; and only in the |
DELICATE |
ORIGINAL ... do the tree and castle appear completely |
PRODUCE |
SUBSTANTIAL .... |
ORIGIN |
|
SUBSTANCE |
... a definite PRONOUNCEMENT ... on the matter |
pronounce |
becomes almost IMPOSSIBLE ... in view of the extreme |
possible |
COMPLEXITY ... of Turner's TEMPERAMENT... . |
complex |
|
temper |
Moreover, when he is less PROFOUNDLY ... inspired, |
PROFOUND |
the SPLENDOUR ... of his INVENTION ... is often at its |
SPLENDID |
height. |
INVENT |
A growing TENDENCY ... is seen in them towards more |
TEND |
brilliant colour, and (ESPECIALLY ... after 1830) |
SPECIAL |
towards less EXPLANATORY ... drawing. |
EXPLAIN |
He had already frequently EXPERIMENTED ... in water- |
EXPERIMENT |
colour first before VENTURING ... upon new methods in |
VENTURE |
oil. |
|
The works of Turner's final phase vary in the |
|
PROFUNDITY... of their sentiment as much as any of his |
PROFOUND |
earlier PAINTINGS... . |
PAINT |
Ex.2, p. 207.
1.The fact still remains that Turner owed most TO ... his own powers of eye and hand.
2.Leslie wrote that 'Turner might have been taken FOR ... the captain of a river steamer.
3.In 1788, three years before this, Turner had already been apprenticed TO
... Thomas Maiton.
4.He learned a stern standard of accuracy in the drawing of buildings, which he was soon to apply TO ... everything else that he drew.
5.Turner's genius then is evident even in the topographical drawings which he made FOR ... his living.
6.He was so attracted TO ... Otley and the surrounding area that he returned time and time again.
7.In fact they differ FROM ... merely topographical drawings as much as a poem in praise of a landscape differs FROM ... the description of it in a guidebook.
243
8.The colours, as in all Turner's work of the period, are subdued, depending UPON ... the warm orange of the sky and the cold bluish-grey of the castle.
9.The whole scene is one of tragic loneliness, and the light that breaks THROUGH ... the stormy sky is scarcely the light of hope.
10.Turner's visit to Switzerland in 1802, when he was twenty-seven, though it stirred his imagination and bred IN ... him a lasting love of the Alps.
11.For this reason most painters reduce their waves as a whole TO ... a formula, though they may succeed IN ... noting minor accidents of broken edges of foam.
12.Turner shows a knowledge that knowledge of how the various crafts are tossed and swayed and borne UP ... by the waves in a storm.
13.He must first have seen many weighty waters lashed TO ... fury by the wind, many boats putting FORTH ... to sea and ships struggling INTO .. harbour.
14.At last came the complete ideal vision, which he set DOWN ... so faithfully that those who look AT ... the picture can smell the spray and hear the din of the water and the shout of the deafening wind.
15.There is much skill however in the treatment of the figures in the foreground as blurred masses, which the eye looks past ... in order to rest UPON ... the exquisitely rendered city below, bathed IN ... hot tremulous atmosphere.
Text 9.
John Constable (1776-1837)
Ex.1, p. 216.
1-E; 2-J; 3-H; 4-A; 5-Y; 6-R; 7-O; 8-V; 9-B; 10-U; 11-S; 12-L; 13-C; 14-F; 15- G; 16-D; 17-I; 18-K; 19-M; 20-N; 21-P; 22-Q; 23-T; 24-W; 25-Z; 26-X.
Ex.2, p. 217.
IN ... that sense; AT ... some sacrifice; IN ... favour of; AT ... least; IN ... the oil medium; AT ... heart; IN ... question; IN ... the sky; IN ... fierce contrast; IN ...
colour; IN ... spirit; IN ... a large picture; IN ... the sun; IN ... a sterner fiercer vein; IN ... the design; AT ... the height of his powers; IN ... his mind; IN ...
monochrome; IN ... its initial stages; AT ... the exhibition; IN ... point of; AT ...
first; IN ... the final version; IN ... the sketch; IN ... the difficult race of life; AT... great speed; IN ... a mood of; AT ... hand; IN ... his youth; AT ... last; IN
... the open air; IN ... their attitude; absorption IN ... the momentary effect.
Ex. 3, p. 217.
1-B; 2-C; 3-A; 4-B; 5-C; 6-B; 7-B; 8-B; 9-A; 10-A; 11-C; 12-A; 13-C; 14-B; 15-C.
244
Заключение
Представленное учебное пособие дает возможность обучающимся через изучение английского языка составить общее представление о роли и значении живописи в мировой культуре, в образовании и воспитании поколений, а также об основных направлениях развития живописи в Великобритании, познакомиться с выдающимися коллекциями произведений изобразительного искусства, представленными во всемирно известных художественных галереях и музеях.
Тематика текстов учебного пособия охватывает несколько столетий развития живописи в Великобритании: начиная с эпохи Раннего Средневековья, заканчивая современными направлениями живописи 21-го века.
Все тексты пособия сопровождаются упражнениями и заданиями для предтекстового, текстового и послетекстового этапов работы, что позволяет обучающимся усвоить как фактический, так и лексический материал.
Источниками текстов настоящего пособия послужили оригинальные тексты видных историков искусств, а также учебные тексты о живописи из аутентичных учебно-методических комплексов.
Тема живописи является очень сложной для изучения и освоения на иностранном языке, как с точки зрения содержания, так и с точки зрения иноязычной лексики и терминологии. Авторы данного учебного пособия надеются, что методический комплекс заданий и упражнений, представленный в пособии и основанный на реализации коммуникативнокогнитивного и межкультурного подходов к обучению, а также комплекс творческих, интерактивных и самостоятельных заданий в каждом разделе пособия, позволяет обучающимся сделать процесс усвоения материала интересным и более эффективным.
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Список литературы и Интернет источников.
1.Миньяр-Белоручева А.П. Западноевропейское искусство от Хогарта до Сальвадора Дали / А.П. Миньяр-Белоручева. – М.: Издательство «Московский Лицей», 1999. 95 с.
2.Палехина С.В. Painting for Advanced English Learners: Лабораторный практикум / С.В. Палехина. – Мурманск: МГПУ, 2004. – 16 с.
3.Практический курс английского языка. 3 курс. Учеб. для педвузов по спец. «Иностр. яз.» / под ред. В.Д. Аракина. 4-е изд., перераб. и доп.
– М.: Гуманит. изд. центр ВЛАДОС, 1999. 432 с.
4.Culture and Society: Учебно-методическое пособие по английскому языку для студентов старших курсов, обучающихся по сокращѐнной программе / Авторы-составители О.В. Путистина, Е.Е. Селиванова. Мурманск: МГПУ, 2007. 142 с.
5.Painting for Advanced English Learners: Пособие по практике устной речи / Составители С.В. Кускова, С.В. Палѐхина. – Мурманск:
МГПИ, 2000. – 38 с.
6.Fiona Scott-Barrett. Proficiency Listening & Speaking / Fiona ScottBarrett. Longman, 1999. 96 p.
7.Evans V., Dooley J. Upstream. Proficiency. Workbook / V. Evans, J. Dooley. Express Publishing, 2008. 180 p.
8.Арт Планета Small Bay. Художественно-исторический музей [Электронный ресурс]. URL: http://smallbay.ru (дата обращения:
10.06.2015).
9.Словари и энциклопедии на Академике [Электронный ресурс]. URL:
http://dic.academic.ru (дата обращения: 07.07.2015).
10.Энциклопедия Кругосвет. Универсальная научно-популярная онлайн-энциклопедия [Электронный ресурс]. URL: http://krugosvet.ru (дата обращения: 15.09.2015).
11.A genealogical survey of the peerage of Britain as well as the royal families of Europe [Электронный ресурс] // The Peerage. URL:http://www.thepeerage.com (дата обращения: 11.10.2015).
12.About-Britain.com. A thematic guide to Britain [Электронный ресурс]. URL:http://about-britain.com (дата обращения: 02.09.2015).
13.Academic Dictionaries and Encyclopedias [Электронный ресурс]. URL: http://en.academic.ru (дата обращения: 01.10.2015).
14.Artble [Электронный ресурс]. URL: http://www.artble.com (дата обращения: 10.09.2015).
15. Art Spb. Интернет магазин [Электронный ресурс]. URL: http://www.art-spb.ru (дата обращения: 02.06.2015).
16.Biography Base [Электронный ресурс]. URL: http://www.biographybase.com (дата обращения: 21.08.2015).
17.Collections [Электронный ресурс] // National Portrait Gallery. URL: http://www.npg.org.uk/collections (дата обращения: 10.04.2015).
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18.English Historical Fiction Authors [Электронный ресурс]. URL: http://www.englishhistoryauthors.blogspot.ru/2014/12/confound-nose- thomas-gainsborough-and.htm (дата обращения: 20.04.2015).
19.Gallerix. Интернет музей [Электронный ресурс]. URL: http://en.gallerix.ru (дата обращения: 25.08.2015).
20.Johnson Ch. English Painting from the Seventh Century to the Present Day [Электронный ресурс] / Ch. Johnson. URL: http://www.forgottenbooks.com/readbook/English_Painting_from_the_Se venth_Century_to_the_Present_Day (дата обращения: 31.08.2015).
21.Imagiva |
Art |
Images |
[Электронный |
ресурс]. |
URL: |
||
http://www.imagiva.com (дата обращения: 25.05.2015). |
|
||||||
22.International |
|
Traveller |
[Электронный |
ресурс]. |
URL: |
||
http://www.internationaltravellermag.com |
|
(дата |
обращения: |
||||
31.05.2015). |
|
|
|
|
|
|
|
23.Jonathan Jones. The Shrimp Girl, William Hogarth [Электронный |
|||||||
ресурс] |
|
// |
the |
guardian. |
URL: |
||
http://www.theguardian.com/culture/2001/sep/15/art (дата обращения: 02.09.2015).
24. Mark |
Harden's |
Artchive |
[Электронный |
ресурс]. |
URL: |
http://www.artchive.com (дата обращения: 10.06.2015). |
|
||||
25.OilPaintings-Art.Com |
[Электронный |
ресурс]. |
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||
http://www.oilpaintings-art.com (дата обращения: 28.05.2015). |
|
||||
26.Picture Description [Электронный ресурс] // English Grammar Online. URL:http://www.ego4u.com/en/cram-up/writing/picture-description (дата обращения: 25.04.2015).
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28.The Collection. National Gallery of Art [Электронный ресурс]. URL: http://www.nga.gov/collection/gallery/british.htm (дата обращения: 15.09.2015).
29.The National Gallery [Электронный ресурс]. URL: http://www.nationalgallery.org.uk (дата обращения: 15.04.2015).
30.WahooArt.com. Fine Art Reproductions-Copies ArtPainting Copies at Wahoo [Электронный ресурс]. URL: http://en.wahooart.com (дата обращения: 25.06.2015).
31.Wikipedia. The Free Encyclopedia [Электронный ресурс]. URL: http://wikipedia.org (дата обращения: 30.08.2015).
247
CONTENTS |
|
Предисловие…………………………………………………………….. |
4 |
Module 1. THE ART OF PAINTING………………………..………….. |
6 |
Unit 1. GENRES AND STYLES..………………………………...…….. |
6 |
Unit 2. THE ROLE AND VALUE OF ART.……………………………. |
16 |
Module 2. THE HISTORY OF ENGLISH PAINTING FROM THE |
|
EARLY AND MIDDLE AGES TO THE GOLDEN PERIOD…………. |
22 |
Unit 1. BRITISH ART AND PAINTING IN EARLY AND MIDDLE |
|
AGES…………………………………………………………………….. |
22 |
Unit 2. THE GOLDEN AGE OF BRITISH |
|
PAINTING……………………………………………………………….. |
75 |
Module 3. BRITISH ART AND PAINTING FROM THE VICTORIAN |
|
PERIOD TO THE 20TH CENTURY…………………………………...… |
95 |
Unit 1. VICTORIAN PERIOD…….…………………………………….. |
95 |
Unit 2. BRITISH PAINTING IN THE 20TH CENTURY..……………..... |
104 |
Module 4. PAINTINGS, ART GALLERIES AND MUSEUMS.……..… |
119 |
Unit 1. DESCRIBING A PICTURE………….…………………………. |
119 |
Unit 2. ART GALLERIES AND MUSEUMS………………..…………. |
130 |
Additional Material………………………………………………….…… |
147 |
Answer key………………………………………………………………. |
221 |
Заключение |
245 |
Список литературы и Интернет источников……………………….…. |
246 |
248
Путистина Ольга Владимировна Тюркан Елена Александровна
THE ART OF PAINTING
Учебное пособие
Подписано в печать 29.09.2016. Формат 60×90/16.Усл. печ. л. 15,5.
Мурманский арктический государственный университет. 183038, г. Мурманск, ул. Капитана Егорова, 15.
249