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psychological attitude prevalent in each period, since in James I's reign a minutely delicate method accompanied a gently poetic mood, while in that of Charles I a more heroic mood tended to be expressed by bolder technique (9).

The portraits of Daniel Mytens, the Dutchman (c. 1590-1642) who was in England from 1614 till 1634, exemplify the transition from the archaic to the romantic and also retain a certain democratic quality due to Mytens' nationality. Mytens appears to have been trained first under Miereveldt and then under Rubens. In his Duke of Hamilton the influence of Miereveldt is seen in the careful treatment of details like the collar and shoe-buckles (although this is already less minute than in any of Garrard's portraits); and that of Rubens appears in the bolder modelling of the head itself (10).

http://images-mediawiki-sites.thefullwiki.org/11/4/5/2/8884111768304280.jpg

D. Mytens. James Hamilton in 1629.

Another painter, who began in the reign of James I and attained maturity in that of Charles I was Cornelius Johnson (c. 1593-1664). Johnson's father was a Fleming, but he himself was born in London and worked continuously in England until 1643; he signed his name 'Johnson' and 'Jonson' but never 'Janssen'; there is no proof of his having been trained abroad; for all which reasons he may be regarded like Garrard as an Englishman. His early work resembles Garrard's so closely that it is probable that he was his pupil. He uses the same method of modelling the head in pale shadows; from this he gradually proceeds towards stronger modelling and better rendering of atmosphere. In expression his women (again like those of Garrard) tend to be gentle and

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retiring. His men are usually intent and serious, the sly jocose Earl of Portland being a marked exception. A pleasing example of Johnson's work is Lady Waterpark painted in 1638. Here the painter has expressed in the modelling of the cheeks, eyes and mouth, the charm of an individual, not merely the good looks of a type. He has combined a miniaturist's enjoyment in the painting of details of curls and lace with the mastery over larger shapes and with the rendering of atmosphere that belong to full-sized portraiture. The thoughtful dreamy expression of the lady links the portrait with those by Van Dyck, though Van Dyck's ladies are apt to be more self-conscious (11).

http://www.npg.org.uk/collections/search/portraitLarge/mw05100/Unknown-man-formerly- known-as-Richard-Weston-1st-Earl-of-Portland http://www.tate.org.uk/art/images/work/N/N02/N02530_10.jpg

C. Johnson Unknown man, formerly known as Richard Weston, 1st Earl of Portland Portrait of an UnknownLady' 1646.

Both these painters worked in England, though Rubens, coming from Spain in 1629, only remained here for nine months. His paintings for Charles I upon the ceiling of Whitehall had some effect upon English art, by encouraging a taste for florid decoration which lasted until the eighteenth century; but not until Gainsborough studied Rubens' landscapes, did an English artist show that he could learn profitably from the great Fleming (12).

a) Anhtony Van Dyck and his pupils

Van Dyck, on the other hand, made more difference to English painting than any other artist of the century. His first visit to England in 1620-21 (when he did some work for James I), left little immediate effect, since the times were not ripe, nor had his full genius blossomed forth. He had always been a sympathetic portrait painter as is proved by his Van der Geest painted after he

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had met Rubens and when he was only about twenty; but it was not until his stay in Italy (1621-28) that he had learned from the study of Titian and of Veronese the restrained yet decisive handling, the command of stately composition and of splendid colour that appears in the Balbi Children (13).

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The Balbi Children

In 1629 Van Dyck paid a short visit to England, but thinking himself discouraged did not remain. In 1632, however, he accepted the invitation of Charles I to become Court painter and (except for a period in Antwerp from 1633 to 1635 and for a short continental visit in 1640) remained in England until his death. His genius exactly suited the tastes of Charles, a passionate devotee of the arts; and his portraits were soon so popular that he was obliged to call in the aid of assistants. Thus a large number of works in England which go by Van Dyck's name are not entirely by his hand; but enough are solely his work to show how his receptive temperament responded to current English sentiment

(14).

His portraits of women, save in rare cases like that of his wife Mary Ruthven of 1640 (Munich), seldom reveal individual character as intimately as those by Cornelius Johnson; but in painting the men of England he did reveal both their individuality, and that 'romantic' sentiment, the atmosphere of the period, by which they were surrounded (15).

Almost all Van Dyck's portraits of Englishmen have in common an air of thoughtful reserve of a kind not found in his paintings of men of other nations. The semi-humorous treatment of Archbishop Laud (Lambeth) is an exception;

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but there is a likeness in spite of differences between Lord Philip Wharton,

Charles I and Sir Kenelm Digby (16).

http://images.cdn.bridgemanimages.com/api/1.0/image/600wm.FIT.296560.7055475/62513.j pg http://uploads0.wikiart.org/images/anthony-van-dyck/philip-fourth-lord-wharton-1632.jpg

Portrait of William Laud Archbishop of Canterbury

Philip, Fourth Lord Wharton

Of Van Dyck's English pupils the most talented was William Dobson (1610-1646). A member of a good St. Alban's family, he came to London and entered Van Dyck's studio. From being employed upon the accessories of his master's portraits he acquired early an ease in painting draperies and a taste for colour and for design. By 1642, when Van Dyck was dead, and his only serious rival was the young Lely, Dobson could model a head solidly and suggest character with sympathy. His style was Van Dyckian, though his touch was never quite as decisive. He was a bolder painter, however, than any other artist of the century of known English birth and it is tempting to speculate as to what position he might have held had his life been prolonged. Dobson's portrait of Endymion Porter, apart from the unattractive face, looks somewhat heavy in handling and clumsy in composition beside Van Dyck's Charles I; but when its low tones are exposed to direct sunlight an almost equally rich scheme of colour is surprisingly revealed (17).

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http://www.tate.org.uk/art/images/work/N/N01/N01249_10.jpg http://images2.bonhams.com/image?src=Images/live/2008-08/26/7744424-2- 1.JPG&width=640&height=480&autosizefit=1

Endymion Porter

The Portrait of a Gentleman

A finer example of Dobson's work is the Portrait of a Gentleman. It is a typically romantic work, the character being that of a man with a strong sense of duty whose expression is even more reserved than most of Van Dyck's English sitters. The structure of the head and especially of the cheek-bones is admirably explained; and though the brush-strokes are not as bold as Van Dyck's, the masses of colour are broadly managed. The paint tends to be thin, the grain of the canvas being visible in the shadows of the face, as in many of the portraits of Van Dyck. The black robe and portions of the sky appear to have been painted over an orange ground, which gives the colour a subdued glow (18).

Though Dobson has adopted the convention of making the landscape dark, that it may not compete in interest with the head, the distant view of the country house in wooded undulating country suggests something of the true atmosphere of a thunderstorm. Altogether the successful balancing of masses and of tones and more especially the rounder modelling of the head - show the painter's methods to have nothing in common with those of the English miniaturists (19).

The third group of painters, who belong to the interregnum of the Commonwealth, may be called (to continue Mr Baker's classification) 'Puritanic'. That Dobson, who was of the Cavalier party, should imitate Van Dyck is not surprising; but that Robert Walker (c. 1600-after 1658) the painter of stern Puritans should follow the same model proves the universality of the Van Dyckian fashion in seventeenth-century England (20).

The most historically interesting of Walker's portraits is that of Oliver Cromwell with his Squire where something of the contradictions in the Lord Protector's character have been revealed as they only could have been by one who was a fellow Puritan. If the left half of the face be covered with the hand,

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the right eye and right half of the mouth will seem to belong to a man with the highest ideals of duty; while if the right half be covered the left side, seen in shadow, will seem to express a nature entirely brutal. The total effect is one of complexity and doubt, which is further borne out by the uncertainty and restlessness of the whole design; thus the high light upon the armour of the right arm breaks awkwardly across the picture and the transparent painting of the reflections upon the squire's red cloak, though beautiful in itself, is insufficiently explained. These inconsistencies, however, and the clumsy posing express Cromwell's disturbed conscience better than could a perfectly ordered and reposeful design by Van Dyck (21).

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R. Walker. Oliver Cromwell

Although Van Dyck's most distinguished follower, the Dutchman Sir Peter Lely (1618-1680), is generally associated with the fourth or 'florid' group that flourished after the Restoration, his career in England actually began as early as 1641, the year of Van Dyck's death. Directly he came to England Lely began to imitate Van Dyck so sedulously that his Sir Thomas Fanshawe (of c. 1645) Bratton Fleming (though Lely's technical powers are not yet fully developed) is Van Dyckian in refinement of feeling as well as in beauty of design (22).

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http://www.thepeerage.com/135551_001.jpg http://upload.wikimedia.org/wikipedia/commons/b/bc/Peter_Lely_Selfportrait.jpg

P.Lely. Thomas Fanshaw, 1st Viscount Fanshaweof Dromore

P.Lely. Self-Portrait

Then came the Commonwealth, when Lely adapted himself to the new fashion by painting Puritans with as much emphasis upon their severe expressions as Walker himself and with much more force in the handling of the brush. Even when he was painting Cavaliers like Sir Simon Fanshawe (1650-55) (Bratton Fleming) Lely at this period gave them a virile severity of expression

(23).

In fact his Dutch temperament was far better suited to the portrayal of such military and masculine characters, than to the expression of those feminine charms that were demanded of his brush when he became Court-painter to Charles II. Thus his Windsor Beauties (1662-66) are of a heavily sensual type, with few of those lighter (24).

https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Frances_Teresa_Stuart_by_Lel y.jpg/800px-Frances_Teresa_Stuart_by_Lely.jpg https://upload.wikimedia.org/wikipedia/commons/thumb/d/d1/Lely_%281670%29__Elizabeth_Hamilton.jpg

Frances Stewart, Duchess of Richmond, bef. 1662, as Diana Elizabeth Hamilton, Countess of Gramont

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Not long after Lely's death his popularity began to be transferred to the German painter Sir Godfrey Kneller (1646-1723) the last important representative of the Van Dyckian tradition. Kneller had studied in Amsterdam, partly it is said under Rembrandt, though no traces of that influence can be seen in his work; he had then painted in Rome, Naples and Venice, acquiring some reputation before he came in 1674 to London, where he was soon encouraged to remain. The vast number of his commissions accounts in part for the extreme inequality of his work. His execution could be inexcusably careless and his interest in the sitter so perfunctory that some of his portraits seem entirely lacking in sympathetic penetration; on the other hand at all times in his career he was capable, if he was interested in the man whom he was painting, of such fine understanding as he shows in the William Wycherley of about 1705 or the Fowler Bishop of Gloucester of 1711, while his portrait of Dr. Thomas Burnet of 1693 at the Charterhouse is one of the most dignified, unaffected and sympathetic portraits ever painted in England (25).

https://en.wikipedia.org/wiki/File:Kneller_self-portrait_em.jpg https://en.wikipedia.org/wiki/File:GodfreyKneller-IsaacNewton-1689.jpg

G.Kneller. Self-portrait G. Kneller. Isaac Newton

Kneller is only represented in the National Gallery by two portraits of the superficial kind, which are decidedly displeasing in colour; but even these have the merit of direct painting and of solid modelling. Although Kneller's anatomical knowledge was inferior to Lely's, he seldom failed to give to a head a firm three-dimensional appearance, so that his bold simplifications of solid form might well be taken as a model by certain painters of today who have similar aims (26).

Kneller was also capable of real beauty of colour. His James II shows him to be the more instinctive colourist; a still finer example is his Sir Christopher Wren where crimsons and mauves are delicately harmonised by means of a permeating atmosphere of grey. Of his other easily accessible works, The Earl of

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Romney, with his large challenging eyes, shows how boldly he could model with contrasted thin and thick pigment (a method which he had developed from a study of Lely's work); and the Duke of Monmouth after execution combines with this firmness a greater delicacy of modelling by means of paint, that is more thinly applied, especially in the half-tones. The young Duke's features, which are of a beauty that make his popularity easily believable, are here made haunting by the tragic dignity of their repose (27).

https://upload.wikimedia.org/wikipedia/commons/thumb/d/d5/Godfrey_Kneller_- _King_Charles_II_-_Google_Art_Project.jpg/ http://images.cdn.bridgemanimages.com/api/1.0/image/600wm.XCF.0621720.7055475/26808 1.jpg

G.Kneller. King Charles II

G. Kneller. Portrait of Sir Christopher Wren

Kneller's bold and businesslike technique had great influence upon the great painters of the next generation. Kneller anticipated Gainsborough in the light fluency of his brush, but used a richer impasto that might well have inspired Reynolds (28).

(Abridged from: Ch. Johnson "English Painting from the Seventh Century to the Present Day" http://www.forgottenbooks.com/readbook/English_Painting_from_the_Seventh_Century_to_t he_Present_Day)

2. Find words and expressions with similar meanings in the text, give their Russian equivalents:

1.to influence (1)

2.appropriate (1)

3.a fellow citizen or national of a country (1)

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4.an energetic and cheerful personality (1)

5.to act according to the lead or example of (someone) (2)

6.not unduly aware of oneself as the object of attention of others, not shy or embarrassed (2)

7.of sophisticated and superior good taste (3)

8.a high degree of competence or skill; expertise (3)

9.manner (4)

10.to give up (5)

11.to the advantage of (5)

12.to be clearly discernible (5)

13.ignoring the true complexities of an issue; superficial (5) 14.the imminent destruction or failure of something (5) 15.confidence (6)

16.to achieve the desired aim or result (6)

17.the perceptive understanding of complex matters (6)

18.very old or old-fashioned (7)

19.obvious (7)

20.thoroughness , carefulness (7)

21.to gain (7)

22.to reveal, show (7)

23.not conspicuous or attracting attention (8)

24.of or relating to the life and times of kings Charles I or Charles II of England (9)

25.with great attention to detail; meticulously (9)

26.manner (10)

27.shy and fond of being on one's own (11) 28.having a tendency to do something (11) 29.prepared , ready (13)

30.develop, evaluate (13)

31.attracting the liking of others (13)

32.understated and subtle; not excessively showy or ornate (13) 33.an impressive composition (13)

34.a great lover (14)

35.call in the aid of had to ask for help (14) 36.exclusively (14)

37.deeply, intrinsically (15)

38.convincing, solid (17)

39.not skillful (17)

40.aloof, distant (18)

41.to be revealed, shown (18)

42.the texture of the canvas (18)

43.to go (tone) with (19)

44.a forest land having a wavy form or outline and (19)

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