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45.the period in English history from the execution of Charles I in 1649 to the Restoration of Charles II in 1660 (20)

46.intricacy (21)

47.a well-organized and calming , quieting design (21) 48.prominent (22)

49.prosper, thrive (22)

50.showing dedication and diligence (22)

51.having strength, energy, and a strong sex drive (23) 52.extremely attractive, voluptuous (24)

53.supreme to be the best (24)

54.work (25)

55.superficial , shallow (25)

56.genuine (25)

57.to feel, have a natural talent for (27)

58.natural, inborn (27)

59.spreading through (27)

60.inviting competition; provocative (27)

61.poignant (27)

62.regard as probable; expect or predict (28)

63.paint applied thickly (28)

3. Fill in the gaps if necessary. Make up your own sentences with some expressions.

Employ .. smb.; a demand ... portrait; ... the course ...; to decorate the walls ...; to be seated ... a throne; to be lined ...; to be consistent ...; to be remarkable ... smth; to be executed ... a similar manner; to be painted ... the presence of smb; ... the occasion of the marriage; ... his own initiative; to be inferior ... one's works; to equal ... smb ... one's best; to be revealed ... whole; an instinct ... smth; to aim... more obvious realism; a transition ... Mary ...

Elizabeth; craze ... smth; the delicacy of the lighting ... the face; ... a large scale; to harmonise ... smth; to work ... gum and water-colour ... vellum; to take... the technique ... painting a small portrait; exult ...the decorative aspect of smth; to draw ... twists of a brush; ... the corner of the eye; to contribute ... one's charm; to consist ... a lovely scheme of golds and browns ... the background; linger ...

smb's works; to carry ... the tradition ... the seventeenth century; be allied ...

smb/smth; ... the accession of James I; ... to owe ... smb; to remain a Fleming ...

spirit; to make no attempt ... doing smth; to apply ... miniature new methods; ...

favour ... the use of loose brush strokes; to be visible ... the shading of the faces; a hold ... structure; to succeed ... the revelation of character; painters ... great technical skill; to fail ... the more subtle requirements; to be refined ...

expression; to surround smb/smth ...atmosphere; to be seen ... the careful treatment ... details; to link the portrait ... those ... Van Dyck; to have some effect... English art; a taste ... florid decoration; to make more difference ...

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English painting; to suit ... the tastes of Charles I; to call ... the aid of assistants; to go ... Van Dyck's name; to respond ... current English sentiment; to look somewhat heavy ... handling and clumsy ... composition; to be exposed ... direct sunlight; to appear to have been painted ... an orange ground; to compete ...

interest ... smth; to be covered ... smth; to break awkwardly ... the picture; to adapt oneself ... the new fashion; to be suited ... the portrayal of such military and masculine characters; to account ... part... the extreme inequality ... his work; interest ... the sitter; seem entirely lacking ... sympathetic penetration; portraits ... the superficial kind; to model ... contrasted thin and thick pigment; a method developed ... a study of Lely's work; to anticipate Gainsborough ... the light fluency of the brush.

4.Comment on the highlighted parts of the text.

5.Decide if the following statements are true or false and give reasons for your choice:

1.When James I ascended the throne in 1603, the character of English painting changed drastically.

2.Van Dyck succeeded in giving his sitters the air of unselfconscious dignity like Titian.

3.At this time a purely English tradition was completely forgotten.

4.Samuel Cooper superseded Hilliard in the art of miniature.

5.The history of portraiture in England in the seventeenth century is a history of a high technique and a skillful revelation of character by English painters.

6.The works of the 'Archaic or Jacobean' group of English seventeenth century painting are marked by gaudy colours and abstract subject matters.

7.In the period of the second group, that is described as 'Romantic or Carolean', a minutely delicate method in painting accompanied a general gently poetic mood of the work.

8.English art in the seventeenth century was strongly influenced by Dutch artists.

9.Cornelius Johnson used the following method of modelling in his works: a stronger modelling of the head with a gradual transition to pale shadows and an airy atmosphere.

10.Van Dyck's decisive handling, the command of stately composition and of splendid colour resulted from his studying Titian and Veronese.

11.Van Dyck didn't acquire any understanding of English character though he worked in England until his death.

12.Van Dyck revealed better the inward characteristics of women than men. 13.W. Dobson's style differs from his teacher's, Van Dyck's, in a decisive

technique of modelling, but a lower colour scheme.

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14.W. Dobson can hardly be referred to the English miniaturists as his manner of modelling is rather specific.

15.It is absolutely natural that the representative of the third, 'Puritanic' group of painters, Robert Walker, followed the principles of painting introduced by Van Dyck.

16.Oliver Cromwell with his Squire by Walker represents the personality of Cromwell as clearly understandable and predictable.

17.The fourth or 'florid' group of artists flourished after the Restoration. 18.Sir Peter Lely established his uniquely individual style of painting since

the beginning of his career.

19.Lely was more successful in depicting military and masculine than mild and charming characters.

20.Lily reigned supreme among the painters in England of his generation due to his ability to manipulate with colour.

21.One of the strongest aspects of Kneller's works is the ability to give to a head a firm three-dimensional appearance and bold simplifications of solid form.

22.Knellers's instinct for colours and bold and businesslike technique had an influence on further generations of English painters.

6. Choose two works of the Stuart period and Tudor period and discuss their typical features with your partner according to the following scheme:

a)the period when each work of art was created

b)the subject of the work, scenes depicted

c)techniques, manner of painting

d)colour scheme

Use linking words and phrases from “On Your Own” of this Unit.

III. On Your Own.

1. Choose two works belonging to different periods of early English painting and discuss their typical features with your partner according to the following scheme:

a)the period when each work of art was created

b)the subject of the work, scenes depicted

c)techniques, manner of painting

d)colour scheme

While comparing the works of art use the following linking words and phrases:

to express a personal opinion: In my opinion/view, to my mind, to my way of thinking, I am convinced that, it strikes me that, it is my firm belief that, I am inclined to believe that, it seems to me that, as far as I am concerned.

To list points: firstly, first of all, in the first place, secondly, thirdly, finally, to start/begin with.

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To list points in a specific sequence:

-beginning – first, to start/begin with, first of all.

-continuing – secondly, after this/that, afterwards, then, next.

-concluding – finally, lastly, last but not least.

To add more points to the same topic: what is more, furthermore, apart from, in addition to this, not to mention the fact that.

To express effect: thus, therefore, so, consequently, as a result, as a consequence.

To emphasise a point: indeed, naturally, clearly, obviously, of course, needless to say.

To express reality: it is a fact that, in effect, in fact, as a matter of fact, the fact of the matter is (that), actually, in practice, indeed.

To make general statements: as a (general) rule, by and large, generally, in general, on the whole.

To make partially true statements: up to a point, to a certain extent/degree, to some extent/degree, in a sense, in a way, to a limited extent, this is true.

To express limited knowledge: to the best of my knowledge, as far as I know.

To make contrasting points: it is a well-known fact that; yet, however, nevertheless, but, even so, still, nonetheless, although, even though, regardless of the fact that, in spite of the fact that, despite the fact that, while.

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UNIT 2.

THE GOLDEN AGE OF BRITISH PAINTING

I. Lead in.

1. Discuss the following:

a) What genres of painting can you name?

b) What is a typical subject matter for a) portraits; b) landscapes; c) history paintings?

2. Look at the pictures and decide what type of landscape painting they belong to:

1.http://uploads8.wikiart.org/images/ivan-aivazovsky/seascape-1856.jpg

2.https://upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Arthur_Gilbert_- _Fieldside_Pastures.jpg/800px-Arthur_Gilbert_-_Fieldside_Pastures.jpg

3.https://commons.wikimedia.org/wiki/File:Claude_Lorrain_008.jpg?uselang=ru

4.https://commons.wikimedia.org/wiki/File:Johannes_Vermeer_-_View_of_Delft_- _WGA24643.jpg?uselang=ru

5.http://dreamworlds.ru/uploads/posts/2011-12/1325007286_battle-30.jpg

6.http://cdn.dailypainters.com/paintings/reflecting_a_red_sky___3_30x24_canvas__con temporar_landscapes__landscapes__1ddd2a790b65bb4dcc89249e4e5dd07c.jpg

1.http://art-cc.com/image/cache/data/Sherbak_Ksenia/02-671x500.jpg

2.http://experience-ireland.s3.amazonaws.com/thumbs2/09fdd4c4-bd02-11e4-bfaa- 22000ad04020.800x600.jpg

3.http://www.art-spb.ru/UserFiles/Image/donator.jpg

4.http://www.art-spb.ru/UserFiles/Image/van-gog.jpg

5.http://player.myshared.ru/1020119/data/images/img29.png

6.http://rembr.ru/portraits/rembrandt-family_g.jpg

7.http://www.nga.gov/thumb-l/a00007/a0000743.jpg

8.http://www.motto.net.ua/pic/201209/640x960/motto.net.ua-6347.jpg

9.http://www.posterpal.com/_images/z36318.jpg

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4. Discuss the following questions:

a) Do you think a real master should/shouldn‟t take a course of study to reveal his/her talent?

b) Why are some periods in the history of art called “golden”? What golden periods in the history of the world art can you name?

c) What factors play a significant role in the flowering of art and contribute to the occurrence of golden periods in it?

5. Look at self-portraits of the British painters of the Golden Age. Who of them do you know? Match the portraits to the artists in the table below. What facts from their biography and creative activity are you familiar with?

1 2 3 4

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and group them according to the following categories:

Names of artists

Geographical names, historic places

Names of writers, poets, literary works and characters

Gainsborough, Constable, Daniel Defoe, Moll Flanders, Tom Jones, A Foundling, Jane Austen, Pride and Prejudice, Dartmouth, Wheatley, Wordsworth, Coleridge, Byron, Shelley, Keats, Sheerness, Lawrence, Parthenon, Reynolds, Hogarth, Macbeth.

2. Look the names of some works by the brightest representatives of the Golden Age of British painting. Which of them are you familiar with? Transcribe them (if necessary) and give their Russian equivalents:

W. Hogarth: The Harlots' Progress, The Rake's Progress, the Pool of Bethesda, the Good Samaritan, Marriage a la Mode, The Gate of Calais, The Lady's Last Stake, The Shrimp Girl, Fishing Party, the Bathos.

G.Stubbs: Whistlejacket, Haymakers and Reapers, Lord and Lady Melbourne with Sir Ralph and Mr. John Milbanke, Mares and Foals.

T.Gainsborough: Henneage Lloyd and his sister, Joshua Kirby and his wife, Robert Andrews and his wife, Admiral Vernon, Edward Orpin, Parish Clerk of Bradford on Avon, Little Miss Juliet Mott, Eliza and Thomas Linley, Dr. Schomberg, Blue Boy, The Duchess of Cumberland, Queen Charlotte, Mrs. Sheridan and Mrs. Tickell , Mrs. Robinson as Perdita, The Mall, Landscape with pigs, Mr. and Mrs. Brown and Child, Mr. and Mrs. Andrews, Romantic

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Landscape, the Watering Place, The Market Cart, The Bridge, The Harvest Wagon.

J.Reynolds: Lady North, the Duke of Cumberland, Admiral Holbourne and his son, Captain Orme, Lady Anne Lennox Countess of Albemarle, Kitty Fisher, Lady Pembroke and her son, Miss Bowles and her dog, Strawberry Girl, The Dr. Johnson, The Two Gentlemen, Mrs. Siddons as the Tragic Muse, The Holy Family.

A. Ramsay: Duncan Forbes of Culloden, portrait of the Duke of Argyll, Lady Helen Dalrymple, Mrs. Bruce of Arnot, The Mrs. Bruce, the Mrs. Allan Ramsay, The George III, Queen Charlotte.

R.Wilson: view of Dover, views of St. George's Hospital and of the Foundling Hospital, The Summit of Cader Idris, The Rocky River Scene, The Villa of Macenas.

J. Turner: A View on the Avon, Hannibal Crossing The Alps, Norham Castle, Northumberland, Llyn Cwellyn, Windsor, The Sun rising through Vapour, Abingdon, Frosty Morning, Rome from the Vatican, The Bay of Baia, the Evening Star, Childe Harold's Pilgrimage, the Bay of Baia, The Fighting Temeraire.

J. Constable: the Hay Wain, An Old Cottage among Trees, Dedham Vale, Barnes Common, the English Lakes, Views on the Stour, the Flatford Mill, The Cottage in the Cornfield, Dedham Mill, Salisbury Cathedral from the Bishops' Garden, The Leaping Horse, Salisbury, Harwich.

II. Reading and Speaking.

1. Read the text below and complete the tasks that follow.

The Golden Age of British painting: genres

During the 18th and 19th centuries, young members of the British upper classes extended their education with the Grand Tour of continental Europe. There they were introduced to a sophisticated level of artistic achievement that influenced their tastes as adult art patrons. To ensure such high standards in the visual arts, the Royal Academy opened in London in 1769; until the 1800s virtually every major artist in Britain was elected a member or, at least, submitted work for its annual exhibitions.

The history of British painting is intimately linked with the broader traditions of European painting. Kings and queens commissioned portraits from German, Dutch, and Flemish artists. Holbein, Van Dyck, and other eminent foreign portraitists imparted an aura of perfection even to the most insipid of their sitters. British painters found inspiration and guidance from their journeys abroad, in Italy especially.

Beginning in the early eighteenth century, English artists began to develop their own styles in marine and allegorical painting. In William Hogarth‟s satirical and moralizing scenes of contemporary life one senses the evolution of a new and inherently British idiom. Emphatically propounding the Englishness

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of his art, Hogarth promoted an academy for the arts, the predecessor of the Royal Academy of Arts. The latter was founded by Sir Joshua Reynolds, whose influential Discourses stressed the preeminence of history painting. Ironically, perhaps the key figure in the development of English history painting was the American-born Benjamin West, who became the second president of the Royal Academy after Reynolds‟ death.

The late eighteenth century saw a growing interest in landscape painting. Some artists, such as Richard Wilson, painted idealized scenes imbued with the spirit of the classical past, while others, such as Joseph Wright of Derby, pursued more individual and personal visions of the natural world. Thomas Gainsborough, although known best for his fashionable portraits, painted highly imaginative landscapes and seascapes that relate to no specific time or place.

The great flowering of English landscape painting came during the first half of the nineteenth century, primarily in the works of two masters, John Constable and J. M. W. Turner. Constable‟s true-to-life views of the English countryside expressed romantic ideals about the essential harmony and purity of nature. Turner, on the other hand, was a romantic who sought to project the way in which sun, fire, smoke, wind, and water affected and transformed the physical world. With their fresh vision and powerfully original styles, Constable and Turner profoundly influenced the work not only of many subsequent British painters, but of countless American and European artists as well.

British conversation pieces and portraits of the 1700s

Eighteenth-century British painters used the word “conversation” to describe informal group portraits as well as imaginary views of daily life, now called genre scenes. In portraiture, conversation pieces referred to pictures commissioned by families or friends to portray them sharing common activities such as hunts, meals, or musical parties.

The inclusion of several figures “conversing” in familiar settings tends to make conversation pieces appear intricate and, therefore, small in scale. However, these intimate moods could be rendered in actual dimensions that are huge. Several full-length group portraits in the collection of the National Gallery of Art combine the charm of small conversation pieces with the formality of life-size likenesses in the Grand Manner.

Conversation pieces came into fashion during the 1720s, largely due to the influence of William Hogarth, Britain‟s first native-born painter of international stature. Significantly, they arose at the same time as a new literary development, the novel. Not until the later 1700s did the British innovations of conversation pictures and fictional novels become common in other Western nations.

A large new middle class emerged as Britain‟s colonial empire expanded and its Industrial Revolution began. Socially spurned by the aristocracy, these wealthy merchants, industrialists, and colonial landowners developed their own

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