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I. Read the text. Mark the following statements true or false.
1. When Leonardo began his career artists lived like princes.
2. In the Last Supper Leonardo has painted a higher reality, thus making a complete break with the Early Renaissance.
3. The Battle of Anghiari is the earliest and most famous Leonardo's picture.
4. In the Madonna and Saint Anna the figures are pictured in a strange rocky shadowy grotto.
5. The Madonna of the Rocks was designed in Florence in 1501 and completed many years later in Milan.
6. The Adoration of the Magi was Leonardo's last work.
II. How well have you read? Can you answer the following questions?
1. How did Leonardo fulfil the Renaissance ideal of the Universal Man?
3. What does Leonardo's reputation as an artist rest on? What happened to his other works of art? Why?
4. What is Leonardo's first masterpiece? What colour dominates in this work of art?
5. In what work of art has Leonardo interpreted the doctrine of the Immaculate Conception? How has he interpreted it?
6. What does the Madonna and Saint Anna represent?
7. What compositional form dominates in Leonardo's works?
8. What is pictured in The Last Supper? Where do the figures operate? How are the Apostles arranged? What does each of these numbers mean?
9. What is the Mona Lisa famous for? What is depicted in the background?
10. What else did Leonardo create in Florence?
11. What did Leonardo do in his later life?
III. i. Give Russian equivalents of the following phrases:
an apprentice; to surpass the achievements of the time; a craftsman; workshop; the Oratory of the Immaculate Conception; a monochrome underpaint; a pyramidal composition; the taint of the Original Sin; traditional representations of the ordinary theme; sacrificial death; to manifest the Divinity; to take smb under the protection; to betray the cause; the prophecy of the Baptism of Christ; to create an enigma; notorious; a characteristic device; on the end wall of the refectory; to make a complete break with; the figure sits in a relaxed position; to suffer in the course of time; a smile plays about the lips; on the dry plaster.
ii. Give English equivalents of the following phrases:
ремесленники; члены гильдии; символ жертвенной смерти; традиционное изображение обычной темы; на сухой штукатурке; возродить авторитет классической античности; взять кого-либо под свое покровительство; пирамидальная композиция; церковь Непорочного Зачатия; предать дело; одноцветный набросок; позор Первородного Греха; проявить божественность; пророчество крещения Христа; опередить достижения своего времени.
iii. Make up sentences of your own with the given phrases.
iv. Translate the following groups of words into Russian:
ideal - idealism - idealistic; invent - inventor - invention - inventive; craftsman - craftsmanship; apprentice - apprenticeship; symbol - symbolic - symbolism; pyramid - pyramidal; commission -commissioner; city - citizen - citizenship; relax - relaxation - relaxed; betray - betrayal - betrayer; manifest - manifestation; mature -maturate - maturation - maturely - maturity; concentrate - concentrated -concentration; fame - famous; gift - gifted.
v. Arrange the following in the pairs of synonyms:
a) gifted; traditional; outstanding; characteristic; complete; progress; enigma; famous; notorious; to commission; prophet; baptism; protection;
b) riddle; consecration; celebrated; infamous; talented; conventional; prominent; guardianship; typical; entire; advance; to order; foreseer.
IV. Here are descriptions of some of Leonardo's works of art. Match them up to the titles given below.
1. The Apostles are presented in four groups of three each.
2. Christ Child manifests his Divinity as he blesses the infant St. John.
3. This painting depicts an event from 15-th century history.
4. The face has suffered in the course of time but nothing has spoiled the sad half smile that plays about the lips.
5. It was never carried any further than the monochrome underpaint.
6. The Virgin sits on her mother's lap, as in traditional representations of this theme.
a. Mona Lisa
b. Adoration of the Magi
c. Madonna of the Rocks
d. Last Supper
e. Madonna and Saint Anna
f. Battle ofAnghiari
V. Insert the missing prepositions. Retell the text.
... Leonardo architecture was based ... the twin principles ... geometric relations and natural growth. And nothing was so important as the central-plan structure. This new organic architecture was realised ... Bramante's plan for Saint Peter's. But the idea ... it originated ... Leonardo's mind. Leonardo abandoned both the planar architecture ... Brunelleschi and the block architecture ...Alberti. He began ... plans and perspective drawings ... the same structure. Leonardo started ... an octagon surrounded ... eight circles, and a Greek cross whose arms, terminating ... four semicircular apses, embrace four additional octagons ... each ... which a tower must be erected.
VI. Insert the article wherever necessary. Retell the text.
Nothing in Leonardo's scientific drawings is quite as exciting as his Olympian views of... nature, which illustrate his standpoint in ... Renaissance debate about ... relative importance of ... various arts. Leonardo maintained that ... painting deserved ... position as one of... liberal arts, more than ... music or ... poetry. ... Music, he noted is dead as soon as ... last sound has expired , but ... work of ... painting is always there to be seen. He pointed out, no one ever travelled to read ... poem, but ... people journey ... hundreds of miles to see ... painting. Leonardo did not admit... sculpture to ... liberal arts; ... painter could work in quiet, sitting down, richly dressed and listen to ... music while he worked, while ... sculptor was covered with ... sweat and ... dust and his ears deafened by ... noise of... hammer and ... chisel on ... stone.
VII. Translate the text into English.
Леонардо да Винчи - первый художник Высокого Ренессанса, недолгого золотого века итальянского искусства. Произведения этого периода характеризуются синтезом прекрасных сторон жизни. Фигура ангела, написанная Леонардо, в картине его учителя Андреа Вероккио "Крещение" демонстрирует разницу в восприятии мира художниками разных эпох.
С 1482 по 1499 гг. Леонардо жил в Милане. Это был один из лучших периодов творчества художника. Здесь он написал "Мадонну в гроте" - первую монументальную алтарную композицию Высокого Ренессанса. Самая большая работа Леонардо - роспись стены трапезной монастыря Санта Мария делла Грацие на сюжет "Тайной Вечери". Христос в последний раз встречается за ужином со своими учениками, чтобы объявить о предательстве одного из них. Леонардо показал реакцию двенадцати апостолов на слова учителя. Судьба фрески трагична. Эксперименты Леонардо привели к ее быстрому осыпанию.
В 1503 г. во Флоренции Леонардо выполнил картину на тему битвы миланцев и флорентийцев при Ангиари, заказанную для стены нового зала палаццо Синьории и создал портрет Моны Лизы, супруги Франческо дель Джокондо. Мона Лиза изображена на фоне пейзажа с мостами и дорогами в никуда, скалами, исчезающими в облаках. В портрете Моны Лизы достигнута наивысшая степень гармонии и красоты образа эпохи Высокого Ренессанса.
VIII. Summarize the text.
IX. Topics for discussion.
1. Leonardo's religious paintings.
2. Leonardo's portraits.
3. Leonardo's artistic influence.
UNIT VI MICHELANGELO BUONARROTI (1475-1564)
The sixteenth century in central Italy was dominated by the colossal genius of Michelangelo Buonarroti.
Michelangelo learned the techniques of painting during a year of his boyhood spent in Ghirlandaio's studio, sculpture he studied with Bertoldo di Giovanni, the pupil of Donatello. His earliest masterpiece is the Pieta, done in 1498-99/1500 during his first stay in Rome. The perfect formation of the slender Christ, lying across the knees of his mother, excited the admiration of Michelangelo's contemporaries. The exquisite Virgin looks as young as her son. The ageless Virgin is a symbol of the Church, she presents the timeless reality of Christ's sacrifice. The extreme delicacy in the handling of the marble and the contrast between the long lines of Christ's figure and the crumpled drapery folds produce passages of a beauty that Michelangelo never surpassed, despite the grandeur of his mature and late work.
The heroic style for which Michelangelo is generally known is seen in the David more than 14 feet in height, which was carved in 1501-4, for a lofty position on one of the buttresses of the Cathedral of Florence. When the statue was completed, it was so beautiful that the Florentines could not sacrifice it in such a position. It was placed in front of the Palazzo Vecchio, where it became a symbol of the republic ready for battle against its enemies. The David became the first true colossus of the High Renaissance.
In 1505 Michelangelo was called by the warrior pope Julius II to design a tomb for him. This project with more than forty over-life statues in marble and bronze relief would require a lifetime. After several successive reductions the tomb was brought to completion only in 1545. Three statues remain from the 1505 version.
The world-famous statue of Moses was intended for a corner position on the second story of the monument so that it could be seen from below. Like all of Michelangelo's works, the Moses, is symbolic and timeless. Moses is conceived as an activist prophet, a counterpart to Saint Paul. The bulk of the figure is almost crushing. Moses' head with its two-tailed beard, is one of the artist's most formidable creations; the locks of the beard are lightly drawn aside by the fingers of his right hand. The drapery masses enhance the compactness of the figure.
The two Slaves for the 1505 and 1513 versions of the tomb were planned to flank niches around the lower story, in which were to stand Victories. The figure called the Dying Slave is actually not dying but turning languidly as if in sleep; one hand is placed upon his head, the other pulls unconsciously at the narrow bond of cloth across his massive chest. The strikingly different companion figure, the Rebellious Slave, exerts all his gigantic strength in vain against the slender bond that ties his arms. The new figure type created by Michelangelo in the David, and set in action here for the first time, established a standard that influenced a great number of artists. Throughout the late Renaissance and the Baroque, Michelangelesque heavy muscled figure was almost universally imitated.
In 1508 Michelangelo was given a commission to fresco the ceiling of the Sistine Chapel. The upper walls had been frescoed in the 1480s by Botticelli, Ghirlandaio, Perugino and Signorelli. Julius II asked Michelangelo to paint the ceiling, a flattened barrel vault more than 130 feet long. It was the most ambitious undertaking of the entire Renaissance.
The painting represented the drama of the Creation and Fall of Man and consisted of nine scenes, beginning with the Separation of Light from Darkness and ending with the Drunkenness of Noah. In the vault compartments above the windows and in the lunettes around the windows are represented the forty generations of the ancestry of Christ, and in the spandrels at the corners of the Chapel are pictured David and Goliath, Judith and Holofernes, the Crucifixion of Human and the Brazen Serpent.
In this intricate iconographic structure the coming of Christ is foretold in the nine scenes from Genesis, according to the principle of correspondence between the Old and New Testaments that was illustrated repeatedly throughout Christian art. An added element is the oak tree of the Rovere family, to which Julius II and his uncle Sixtus IV belonged. The Rovere oak tree invaded the, scenes of Creation and alluded poetically to the Tree of Life, which stood near the Tree of Knowledge in the Garden of Eden and whose fruit in medieval theology was Christ.
The Fall of Man combines the Temptation and the Expulsion in a single scene, which in one motion leads the eye from the crime to punishment, linked by the Tree of Knowledge, represented as a fig tree. Never in history had nude figures been painted on such a colossal scale.
Michelangelo's vision of a new and grander humanity reaches its supreme embodiment in the Creation of Adam. Instead of standing on earth as in all earlier Creation scenes, the Lord floats through the heavens and is enveloped in the violet mantle he wears in all the scenes in which he appears. The violet colour is required for the vestments of the clergy during Advent and Lent, the penitential periods before the coming of Christ at Christmas and his resurrection at Easter. The Lord is borne by wingless angels. Michelangelo's Creator for the first time makes believable the concept of omnipotence. A dynamo of creative energy, God stretches forth his hand, about to touch with his finger the extended finger of Adam. This image of the creative finger derives from the famous medieval hymn "Come, Creator Spirit" sung at Pentecost, the festival of the Descent of the Holy Spirit. In this hymn the "finger of the paternal right hand" is invoked to bring speech to our lips, light to our senses, love to our hearts, and strength to our bodies. Adam reclines on the barren ground below, longing for life, and love about to be instilled by this finger. Adam means "Earth" and the finger is shown ready to be charged with the energy that will lift him from the dust and make him a "living soul". Adam's body is the most perfect structure ever created by Michelangelo. It embodies the beauty of Classical antiquity and the spirituality of Christianity.
The final scenes as one moves toward the altar were also the last in order of execution. The Lord Congregating the Waters was held to foreshadow the foundation of the Church. The Creation of Sun, Moon, and Plants shows the Lord twice, once creating sun and moon with a cruciform gesture of his mighty arms, then seen from the rear creating plants. Just above the altar the Lord separates the light from the darkness.
The seated prophets and sibyls show the majestic possibilities of the draped figure. Although Michelangelo's figures were clothed they looked nude. The Persian Sibyl was represented as immensely old, Jeremiah as grieving above the papal throne, Daniel aflame with prophecy as he writes in a small volume, the Libyan Sibyl looking down upon the altar, at the eternal Tree of Life. The final phase of the Sistine Ceiling is one of the supreme moments in the spiritual history of mankind. It was created during the years when Julius II, who commissioned and inspired the Sistine Ceiling, was fighting on the battlefield for the continued life of the Papal States against the armies of King Louis XII, and completed when the victory was won.
Make sure you know how to pronounce the following words:
Michelangelo Buonarroti [maiklP{nd?ilou bwon@Proti]; David [Pdeivid]; Moses [Pmouziz]; Ghirlandaio [girlOnPdOjou]; Dante [Pd{nti], Julius [d?ulj@s]; Saint [seint]; Noah [Pn@u@]; Signorelli [sOnjouPrelO]; Perugino [peruPd?Onou]; Goliath [g@uPlai@T]; Judith [Pd?OdiT]; Holofernes [Phol@uPfynOz]; sibyl [Psibil]
NOTES
Pieta [piePtO] - Пьета ("Оплакивание Христа")
David- Давид
Moses -"Моисеи"
Dying Slave - "Умирающий раб"
Rebellious Slave - "Восставший раб"
Separation of Light from Darkness - "Отделение света от тьмы"
The Lord Congregating the Waters - " Отделение тверди от воды "
Creation of Sun, Moon, and Plants - "Сотворение светил и растений"
Drunkenness of Noah - "Осмеяние Ноя"
David and Goliath - "Давид и Голиаф"
Judith and Holofernes - "Юдифь и Голоферн"
Crucifixion of Human - "Человеческие страдания"
Brazen Serpent - "Змий-Искуситель"
Fall of Man - "Грехопадение"
Temptation - "Искушение"
Expulsion - "Изгнание из Рая"
Creation of Adam - "Сотворение Адама"
Persian Sibyl -"Персидская сивилла"
Jeremiah [Pd?erimai@] - пророк Иеремия
Daniel [Pd{nI@l] - Даниил
Libyan Sibyl - Ливийская сивилла
TASKS
1. Read the text. Mark the following statements true or false.
1. Michelangelo's first masterpiece is the David.
2. The Moses was the first colossus of the High Renaissance.
3. The Redemption of man is the subject of the Sistine Ceiling.
4. Michelangelo's heavy nude figure was universally imitated by the painters throughout Europe.
5. Michelangelo imagined God over the altar.
6. Adam reclines on the fertile ground.
II. How well have you read? Can you answer the following questions?
1. Where did Michelangelo learn to paint? Where did Michelangelo study sculpture?
2. What is the Pieta famous for? What does the ageless Virgin symbolize?
3. Where is Michelangelo's heroic style seen?
4. What was Michelangelo commissioned in 1505? What remained from this project? How did Michelangelo represent Moses? How are the Dying Slave and the Rebellious Slave carved?
5. What was Michelangelo commissioned in 1508? How large was the ceiling?
6. What does the painting of the Sistine Ceiling represent?
7. What scenes are pictured in the lunettes around the windows and in the spandrels at the corners? Why does the oak tree invade the scenes of the creation?
8. What does the Fall of Man combine?
9. Where is the beauty of Classical antiquity and the spirituality of Christianity embodied?
10. What do the final scenes represent?
III. i. Give Russian equivalents of the following phrases:
the ageless exquisite Virgin; a formidable creation; lunettes; an activist prophet; to carve a statue; a buttress; to design a tomb; over-life statues in marble; successive reductions; a counterpart to; Advent; Lent; to set in action; the ceiling painting; to flank niches; a flattened barrel vault; an ambitious undertaking; a formidable creation; to allude poetically to; the vault compartments above the windows; generations of the ancestry; in the spandrels at the corners; to lift from the dust; a medieval hymn; to reach its supreme embodiment in; penitential periods; the resurrection at Easter; at Pentecost; to recline on the barren ground; a companion figure.
ii. Give English equivalents of the following phrases:
ваять статую; соорудить гробницу; грандиозный замысел; неподвластная времени совершенная Мадонна; Воскрешение на Пасху; пророк-деятель; статуи выше человеческого роста; контрфорс; Великий пост; Рождественский пост; раскинуться на голой земле; люнеты; в пазухах свода; внушительное произведение; фланкировать ниши; пятидесятница; плоскость свода; поэтически ссылаться на; средневековый гимн; парная фигура; поколения предков; привести в движение; последовательные сокращения; достичь наивысшего воплощения в; поднять из праха; соратник к.-л.
iii. Make up sentences of your own with the given phrases.
iv. Arrange the following in the pairs of synonyms:
a) recline; barren; penitential; undertaking; to enhance;
b) sorrowful; endeavour; lean back; to intensify; infertile.
IV. Insert the missing prepositions. Retell the text.
... 1519 Michelangelo began working ... the Medici ... a funerary chapel... the entombment ... Lorenzo the Magnificent, his murdered brother and two recently deceased dukes. Michelangelo's architecture supports the tombs ... the two dukes. ... simple rectangular niches sit the two dukes, dressed ... Roman armour ... their roles as captains ... the Roman Catholic Church. The sarcophagi have been split ... the centre. ... either side recline figures ... the times ... day, Night and Day, Dawn and Twilight. These statues were not made ... their present positions. The composition should be completed ... the reclining river gods. Night and Day are the timeless symbols ... the princely power that has conquered the powers ... time (the times ... day) and ... space (the four rivers). When Michelangelo was engaged ... this work glorifying the Medici power, the Sack ... Rome destroyed temporarily the power ... his Medici patron. The republic was revived ... the third and the last time, and Michelangelo was placed ... charge ... its defences.
V. Insert the articles wherever necessary. Retell the text.
... High Renaissance in ... Rome and Florence was brief. It lasted hardly more than ... twenty five years from its beginning in ... Leonardo's Last Supper to ... death of... Raphael in ...1520. ... new style succeeded it. It existed for ... while ... side by ... side with ... latest phases of... High Renaissance art.... new style assumed ... name of Mannerism. ... name Mannerism was proposed by ... art historians in ... twentieth century. Like ... terms ... Romanesque and ... Gothic, Mannerism is here to stay. ... Mannerism indicates ... style founded upon repetition of... acquired manual techniques. In ... latest phases of ... sixteenth century art in ... central Italy there was much repetition of ... type and ... devices invented earlier, especially those of ... Michelangelo. There was nothing mechanical what went on in ... Florence, ... Seine, ... Parma and ... many other Italian cities just before and just after ...1520. ... moment was recognized as ... spiritual crisis.
VI. Here are descriptions of some of Michelangelo's works of art. Match them up to the given titles.
I. Sculpture:
1. The figure is turning languidly as if in sleep.
2. This is one of the artist's most formidable creations.
3. The exquisite Virgin presents the timeless reality of Christ's sacrifice.
4. The heroic style is seen in this statue.
5. The new figure type earlier created by Michelangelo is set here in action.
a. David
b. Pieta
c. Rebellious Slave
d. Moses
e. Dying Slave
II. Ceiling painting:
1. God stretches forth his hand, about to touch with his finger the extended finger of Adam.
2. It foreshadows the foundation of the Church.
3. In a single scene, one motion of the eye leads from the crime to punishment, linked by the Tree of Knowledge.
4. The scene shows the Lord twice, once creating sun and moon with a cruciform gesture of his mighty arms, then seen from the rear creating plants.
5. She looks down upon the altar, at the eternal Tree of Life.
6. He writes in a small volume.
7. The figure is represented as im- mensely old.
8. The figure is grieving above the papal throne.
a. Fall of Man
b. Creation of Sun, Moon, and Plants
c. Creation of Adam
d. Lord Congregating the Waters
g. Jeremiah
h. Daniel
e. Libyan Sibyl
f. Persian Sibyl
VII. Translate the text into English
Центральную часть потолка Микеланджело посвятил сценам священной истории, начиная от сотворения мира. Под живописным карнизом Микеланджело написал пророков и сивилл, в люнетах изобразил эпизоды из Библии и предков Христа как простых людей. В девяти центральных композициях развертываются события первых дней творения: отделение света от тьмы, отделения тверди от воды, сотворение светил и растений, сотворение Адама и Евы, грехопадение и изгнание из Рая, всемирный потоп, опьянение Ноя. Микеланджело сотворил чудо. Целой жизни не одного, а многих людей не хватило бы, чтобы завершить это великое творение. Микеланджело работал один. Он создал гимн человеку. Бог - это прежде всего творец, не знающий преград на пути созидания. Адам идеально прекрасен в сцене "Сотворение Адама". Величие, мощь, благородство выражены в образах пророков и сивилл.
Несмотря на большое количестве фигур, роспись Сикстинского плафона логически ясна и легко обозрима. Она не разрушает плоскости свода, а выявляет тектоническую структуру.
VIII. Summarize the text.
IX. Topics for discussion.
1. Michelangelo's sculpture.
2. Michelangelo's ceiling painting.
3. Michelangelo's artistic heritage.
UNIT VII RAPHAEL (1483-1520)
Raffaello Sanzo, known as Raphael, was the third giant of the High Renaissance. In his art the High Renaissance ideal of harmony comes to its most complete expression.
Raphael was born in Urbino. First taught by his father, Giovanni Santi, a mediocre painter, Raphael worked for some time in the studio of Perugino.
In 1504 Raphael painted The Marriage of the Virgin for a church of Citta di Castello. The central group is unified around the motive of Joseph putting the ring on Mary's finger. The architecture of the distant Temple grows out of a wide piazza. The Dome of the Temple is identified with that of Heaven. The perspective of the squares in the piazza moves through the open doors of the building to the point of infinity.
About 1505 Raphael arrived in Florence and achieved immediate success. Leonardo and Michelangelo, who were working there on the murals for the council chamber in the Palazzo Vec-chio, had establislied the High Renaissance style. Raphael met the demand with ease and grace. Having absorbed Perugino's feeling for light and colour, Leonardo's composition, Michelangelo's strength and power, Raphael put his personal stamp on everything he did; he was called the "Apostle of Beauty".
During his three-year stay in Florence he painted a great number of portraits and Madonnas. The loveliest of which is the Madonna of the Meadows dated 1505. The pyramidal group was influenced by Leonardo's composition of the Madonna and Saint Anna. But Raphael's picture is simpler. The Virgin sits before an airy landscape with a lake in the distance. The Child stands in front of her. Kneeling before Him is child St John the Baptist, holding the reed Cross. The bodies and heads of the children, the Virgin and the background landscape are full of harmony. To Raphael harmony was the basic purpose of any composition.
In 1508 Julius II invited twenty-six-year-old Raphael to paint the Stanze (chambers) of the Vatican. Raphael retained the position as court painter until his early death. His ideals of figural and compositional harmony came to be recognized as the High Renaissance principles. Classical artists of succeeding centuries (Poussin in the 17-th century and Ingres in the 19-th century) turned to Raphael as the messiah of their art and doctrine. The first room frescoed by Raphael was Stanza della Segnatura. From the complex iconographic programme, it is possible to single out two frescoes on the opposite walls: they typify the Classical and Christian elements reconciled in the synthesis of the High Renaissance. The Disputa (Disputation over the Sacrament), the most complete expression of the doctrine of the Eucharist in Christian art, faces the School of Athens, an equally encyclopaedic presentation of the philosophers of pagan antiquity. In the Stanza painted afterwards, Raphael abandoned the perfect but static harmony for more dynamic compositions, which brought him to the threshold of the Baroque.
From this period dates the Sistine Madonna, so called because Saint Sixtus II kneels at the Virgin's right. The picture was intended to commemorate the death of Julius II in 1513. The saint's bearded face is a portrait of the aged pontiff. Saint Barbara, patron saint of the hour of death, looks down at his coffin, on which the papal tiara rests. The Virgin, showing the Child, walks toward the observers on the luminous clouds. In harmonizing form and movement this painting represents the pinnacle of Raphael's achievements. The Virgin and Child in their perfect beauty represent the ultimate in the High Renaissance vision of the nobility of the human countenance and form.
After the death of the warrior pope Julius II Giovanni de Medici became Roman pope. Raphael painted the portrait of Pope Leo X with Cardinals Giulio de'Medici and Luigi de'Rossi in 1517 (the fateful year when Martin Luther, whom the Pope excommunicated in 1520, nailed his theses to the door of the castle church in Wittenburg). Raphael has shown Leo X as he was in an unsparing portrait - corpulent, shrewd, pleasure-looking. Raphael endowed his subject with a new mass and volume. His analysis of the character was unexpected and profound. Raphael has shown the Pope who was incapable of holding the Roman Catholic Church together.
One of Raphael's last and greatest paintings was the Transfiguration of Christ, painted in 1517. In contrast to the traditional rendering of the subject, Raphael painted an accompanying incident as well. It was told by Matthew and Luke. When Peter, James, and John had accompanied Christ to the top of a high mountain, the remaining Apostles were unable without his presence to cast out the demons from the possessed boy. The lowei section is composed of the agitated figures of the Apostles and the youth plunged into semidarkness. The upper loop is composed of Christ, Moses, Elijah, and three Apostles. Christ and the prophets fly in the air as if lifted up by the spiritual experience. In this vision of Christ Raphael embodied his beliefs.
The great painter died on Good Friday, April 6, 1520, at the age of thirty-seven. His funeral was held in the Pantheon and the Transfiguration was placed above his bier.
To his contemporaries Raphael's death seemed the end of an era, but a closer look shows that, in a way, the High Renaissance synthesis of Classical and Christian had already started to dissolve. Inevitably, it was an unstable equilibrium. Nonetheless the great solution remained, on the walls of the Vatican, the ceiling of the Sistine Chapel, and in the churches and palaces of Florence and Rome. Leonardo, Michelangelo and Raphael left a vision of the powers of the human being and the grandeur of human imagination that had not been approached since the days of the ancient Greeks. These solutions continued to inspire artists in every century after the short-lived High Renaissance itself passed into history.
Make sure you know how to pronounce the/allowing words:
Raphael [Pr{fei@l]; Urbino [yPbOnou]; messiah [miPsai@]; tiara [tiPOr@]; Wittenburg [Pvitnbyg]; Martin Luther [PmOtin Plui@]; Pantheon [Pp{nii@n]; Eucharist [Pjuk@rist]; Elijah [iPlaid?@]; Matthew [Pm{iju]; Luke [luk]; Ingres [P{ngr]; luminous [Plumin@s]
NOTES
Marriage of the Virgin - "Обручение Марии"
Madonna of the Meadows - "Мадонна в зелени"
Disputa (Disputation over the Sacrament) - "Богословие" или "Диспута"
Schools of Athens- "Афинская школа"
Sistine Madonna - "Сикстинская Мадонна"
Transfiguration of Christ - "Преображение"
Pope Leo X with Cardinals Giulio de'Medici and Luigi de'Rossi - "Портрет папы Льва X с кардиналом Джулиано де Медичи и Луиджи де Росси"
Stanza della Segnatura [Pst{nz@ del@ senj@Ptur@] – Станца делла Сеньятура "зал Подписи"
Eucharist - евхаристия, святое причастие
The Vatican [Pv{tik@n] - Ватикан
Good Friday - Великая пятница, пятница на страстной
неделе
TASKS
I. Read the text. Mark the following statements true or false
1. In Raphael's art the High Renaissance ideal of harmony comes to its most complete expression.
2. In 1505 in Rome Raphael achieved immediate success.
3. The Sistine Madonna recalls the Madonna of the Rocks.
4. Raphael, invited by Sixtus IV to paint the Stanza of the Vatican, retained the position as court painter until his death.
5. Raphael came to the threshold of the Baroque.
6. The 20-th century painters turned to Raphael as the messiah.
II. How well have you read? Can you answer the following questions?
1. Whose styles did Raphael absorb?
2. What did Raphael paint in 1504? What is depicted in this picture?
3. What was Raphael fond of painting during his three-year stay in Florence? Which one was the loveliest? How did Raphael group the figures?
4. What was the first room frescoed by Raphael? What frescoes is it possible to single out from the complex iconographic programme? What do these frescoes represent? What brought Raphael to the threshold of the Baroque style?
5. What painting represents the pinnacle of Raphael's achievements? How are the Virgin and the Child depicted? What do the saints symbolize?
6. Whose portrait did Raphael paint in 1517? What year was it? How did Raphael portray the sitter? What did he want to show?
7. What was Raphael's greatest painting? What was its subject? Was it a traditional rendering of the subject? What is the lower section composed of? What is the upper loop composed of? What did Raphael embody in this vision? Where was this painting placed?
8. What was Raphael's death to his contemporaries? What does a closer look at the short-lived High Renaissance show?
III. i. Give Russian equivalents of the following phrases
the pinnacle of the achievements; messiah of the art; to put a personal stamp on; succeeding centuries; to abandon the static harmony for dynamic compositions; a threshold of the Baroque; to endow the subject with; Good Friday; to commemorate the death of; to pass into history; patron saint of the hour of death; the fateful year; an unsparing portrait; the traditional rendering of the subject; a synthesis of Classical antiquity and Christian spirituality; an unstable equilibrium; to inspire artists in every century; the ultimate in the High Renaissance vision.
ii. Give English equivalents of the following phrases:
духовный опыт; воплотить свои верования; вершинь живописных работ Высокого Ренессанса; шаткое равновесие, вдохновлять художников; Великая Пятница; традиционное изображение темы; наделить образы; судьбоносный год; почтить память; покровительница смертного часа; отказаться от статики гармонии ради динамики композиции; мессия искусства; работать над фресками; оставить печать на; объединить вокруг; беспощадный портрет; на пороге Барокко; вдохновлять художников последующих веков; синтез христианской духовности и классической античности.
iii. Make up sentences of your own with the given phrases.
iv. Arrange the following in the pairs of synonyms:
a) to dissolve; to embody; beliefs; to endow; to distinguish; spiritual; profound; fateful; luminous; to abandon;
b) to bestow; deep; momentous; bright; to desert; to vanish; to manifest; doctrines; to characterise; airy.
IV. Insert the missing prepositions. Translate the text. Retell the text.
The "School ... Athens" presents ... an ideal architecture the chief philosophers ... all periods ... Greek antiquity engaged ... learned argument. The figures form a circle ... depth ... the lofty structure, culminating ... the central arch, where ... the distant sky Plato ['pleitou], holding the "Timaeus" [taiPmO@s] points ... Heaven as the source ... ideas ... which the early forms originate, while Aristotle [P{ristotl], holding his Ethics [Peiiks], indicates earth u;. the object ... all observations. ... the upper left Socrates [Psokr@tOz] discusses philosophical principles ... the youths ... Athens. ... the lower left Pythagoras [paiPi{g@raes] delineates his proportion system ... a slate ... pupils. ... the right Euclid [Pjuklid] uses another slate to demonstrate a geometric theorem.
V. Insert the article wherever necessary. Translate the text. Retell the text.
... "Disputa" begins in ... Heaven. God ... Father presides over ... familiar Deesis with Christ enthroned, displaying his ... wounds. On either side, in ... floating semicircle of ... cloud, ... Apostles and ... saints from ... New Testament alternate with ... prophets and ... patriarchs from ... Old Testament.. Below ...
throne of Christ,... Dove of... Holy Spirit, flanked by ... child angels, with four open gospels, flies downward toward ... Host. They are displayed on ... altar . On either side of ... alter sit... Four Fathers of... Church and ... groups of... theologians from all ages of... Christianity engaged in ... argumentation over ... nature of... Eucharist. Among ... recognizable portraits are those of... Dante ['d^cnti], and to ... left of ... door, and in front of him, ... Sixtus IV. Every figure is based on Raphael's fundamental spiritual principle.
VI. Here are descriptions of some of Raphael's works of art. Match them up to the given titles.
1. The painting is an encyclopaedic presentation of the philosophers of pagan antiquity.
2. The central group is unified around the motive of Joseph putting the ring on Mary's finger.
3. Raphael has shown the sitter as he was in an unsparing portrait.
4. The Virgin, showing the Child walks toward us on the luminous clouds.
5. This is the most complete expression of the doctrine of the Eucharist in Christian art.
6. In contrast to the traditional rendering of the subject, Raphael painted an accompanying incident as well.
7. The Virgin seats before a deep landscape.
a. Sistine Madonna
b. School ofAthens
c. Madonna of the Meadows
d. Transfiguration of Christ
e. Pope Leo X with Cardinals Giulio de 'Medici and Luigi de'Rossi
f. Marriage of the Virgin
g. Disputa(Disputation over the Sacrament)
VII. Translate the text into English.
Идеалы Высокого Возрождения наиболее полно воплотились в произведениях Рафаэля. Всем своим творчеством художник подчеркивал красоту и гармонию человека. Рафаэль создал возвышенный образ совершенного человека, находящегося в гармонии с окружающим миром.
В 1504 г. Рафаэль приехал во Флоренцию, где работали тогда два великих его современника — Леонардо да Винчи и Микеланджело. Многое почерпнув у них, Рафаэль создал замечательные изображения "Мадонн" и портреты. Портреты "Папы Юлиана II" и "Льва X" считаются наилучшими.
В 1508 г. папа Юлий II поручил Рафаэлю роспись станц - личных папских покоев в Ватикане. В 1509 художник приступил к работе в "Станце печати", роспись которой состоит из четырех фресок. Это -"Богословие" (спор отцов церкви о причастии), "Поэзия" (изображает величайших поэтов классической древности и итальянского Возрождения), "Правосудие" (фреска представляет основоположников светского и церковного законодательства) и "Афинская школа" (собрание философов и ученых античности). Росписи в станцах являются одной из высочайших вершин искусства Высокою Возрождения.
"Сикстинская Мадонна" — одно из самых вдохновенных произведений художника. В этой картине сочетается жизненная правдивость образа с чертами идеального совершенства.
В последние годы жизни Рафаэль помимо живописи занимался также архитектурой, в которой проявил себя как один из крупнейших мастеров своего времени.
VIII. Summarize the text.
IX. Topics for discussion
1. Raphael as the artist of the High Renaissance ideal of harmony.
2. Raphael's frescoes.
3. The High Renaissance heritage.
UNIT VIII TITIAN (1490-1576)
The monarch of the Venetian School in the sixteenth century was Titian. A robust mountaineer came to Venice as a boy from the Alpine town of Pieve di Cadore and lived well into his nineties. The young painter was trained in the studios of both Gentille Bellini and Giovanni Bellini. Then he assisted Giorgione with the lost frescoes that once decorated the exteriors of Venetian palaces.
Once independent, Titian succeeded in establishing colour as the major determinant. Although he visited central Italy only in 1545-46, Titian was aware, probably, by means of engravings, of what was going on in Florence and Rome and assimilated High Renaissance innovations to his own stylistic aims. Titian generally began with a red ground, which communicated warmth to his colouring; over that he painted figures and background often in brilliant hues.
Titian's life was marked by honours and material rewards. He made himself wealthy. His palace in Venice was the centre of a near-princely court, fulfilling the worldly ideal of the painter's standing as formulated by Leonardo da Vinci. In 1553 Titian began his acquaintance with the Emperor Charles V. There is a legend that the Emperor, on a visit to Titian's studio, stooped to pick up a brush the painter had dropped. Titian was called twice to the imperial court.
An early work, painted by Titian about 1515, is known as Sacred and Profane Love. The subject of this enigmatic picture has never been satisfactorily explained. Two women who look like sisters sit on either side of an open sarcophagus, which is also a fountain in the glow of late afternoon. One is clothed, another is nude save for a white scarf. The shadowed landscape behind the clothed sister leads up to a castle, toward which a horseman gallops while rabbits play in the dimness. Behind the nude sister the landscape is filled with light, and huntsmen ride behind a hound about to catch a hare, while the shepherds tend their flocks before a village with a church tower, touched with evening light. Cupid stirs the waters in the sarcophagus-fountain. The picture becomes a glorification of the beauty and redeeming power of love. Sometimes it is interpreted as the passage from virginity through the water of suffering, a kind of baptism, to a new life in love.
Titian made a series of mythological paintings for a chamber in the palace of the duke of Ferrara. One of these, the Bacchanal of the Andrians, of about 1520, is based on the description by the third-century Roman writer Philostratus of a picture he saw in a villa near Naples. The inhabitants of the island of Andros disport themselves in a shady grove. The freedom of the poses (within Titian's triangular system) is completely new. Titian has taken the greatest visual delight from the contrast of warm flesh with shimmering drapery and light with unexpected dark.
Like his mythological pictures, Titian's early religious paintings are affirmations of health and beauty. The Assumption of the Virgin, 1515-18, is his sole venture into the realm of the colossal. It represents the moment when the soul of the Virgin was reunited with her dead body. Above the powerful figures of the Apostles on earth, Mary is lifted physically into a golden Heaven on a glowing cloud by numerous child angels, where she is awaited by God the Father. The bright reds, blues, whites of drapery, the rich light of the picture carry Titian's triumphant message through the spacious interior of the Gothic Church of the Frari in Venice.
In the Madonna of the House of Pesaro, 1519-26, Titian applied his triangular compositional principle to the traditional Venetian Madonna group. The symmetry is broken up by a radical view from one side. The scene is a portico of the Virgin's palace. At the steps plunging diagonally into depth Titian painted the kneeling members of the Pesaro family and an armoured figure who gives the Virgin as a trophy a Turk, taken in battle. The columns are seen diagonally, their capitals are outside the frame. At the top clouds float before the columns, on which stand child angels with the Cross. The colours are rich and deep.
Titian's portraits do not often sparkle with colour as the male costume of the sixteenth century was black. In his Man with the Glove Titian's triangular principle is embodied in the balanced relationship of the gloved and ungloved hands to the shoulders and the youthful face. The carefully modelled hands and features are characteristic of Titian's portraits. Even in this picture, dominated by black and by the soft greenishgray background, colour is everywhere dissolved in the glazes, which mute all sharp contrasts.
A subject that occupied Titian in his mature years is the nude recumbent Venus - a pose originally devised by Giorgione. In 1538 Titian painted the Venus of Urbino for the duke of Camerino. The figure relaxes in ease on a coach in a palace interior whose inlaid marble floor and wall hangings make gold, greenish, soft red-and-brown foil for her beautiful body, the floods of her warm, light brown hair. Pure colour rules in the picture of Titian's middle period. In his later years form appealed to Titian less; substance itself was almost dissolved in the movement of colour.
In 1546 Titian painted a full-length Portrait of Pope Paul III and his Grandsons. Undoubtedly, this painting was carried to a point that satisfied both artist and patron. The brushstrokes are free and sweeping. But the question still arises whether the picture is really finished. The sketchy technique characteristic of the backgrounds in Titian's early works was applied by the artist to the whole picture. Veils of pigment transform the entire painting into a free meditation in colour. Colour indeed, is the principle vehicle of Titian's pictorial message.
In the works of his extremely old age, form was revived and colour grew more brilliant. Titian's late paintings of pagan subjects are unrestrained in their power and beauty. The devices of rapid movement and excellent colour, ignoring details were used to increase emotional effect in the very late Crowning with Thorns, probably painted about 1570, six years before the artist's death. The hail of brushstrokes creates cloudy shapes. The agony of Christ and the fury of his tormentors are expressed in storms of colour. The last religious works of Titian reached a point beyond which only Rembrandt in the seventeenth century could proceed.
Make sure you know how to pronounce the following words:
Titian [PtiS@n]; Giorgione [d?o:rPd?ounei]; Venus [PvOn@s]; Cupid [Pkjupid]; Venice [PvOn@s]; Venetian [viPnOS@n]; Gothic [goiik]; bacchanal [Pb{k@nl]; Veronese [ver@uPneizi]; sarcophagus [sOPkof@g@s]; Naples [neiplz]; Alpine [P{lpain]; Susannah [suPz{n@]; profane [pr@Pfein]
NOTES
Sacred and Profane Love - "Любовь земная и небесная"
Bacchanal of the Andrians - "Вакханалия"
Assumption of the Virgin -"Ассунта"
Madonna of the House of Pesaro - "Мадонна Пезаро"
Man with the Glove - "Юноша с перчаткой"
Venus of Urbino - "Венера"
Portrait of Pope Paul III and his Grandsons - "Портрет Папы Павла III с Алессандро и Оттавио Фарнезе"
Crowning with Thorns - "Бичевание Христа"
TASKS
I. Read the text. Make sure you understand it. Mark the following statements true or false.
1. The subject of the Sacred and Profane Love has been sufficiently determined.
2. Titian never ventured into the realm of the colossal.
3. The recumbent pose was originally devised by Leonardo.
4. The colours in the Madonna of the House of Pesaro are deep.
5. Titian's portraits sparkle with colour.
6. Titian's last religious works have never been surpassed.
II. How well have you read? Can you answer the following questions?
1. Where did Titian come from? Where was he trained?
2. How did Titian implement Leonardo's ideal of the painter's standard? Was he treated like equal by the princes of his time? Can you prove it?
3. What mythological pictures are analysed in the text?
4. What does the Sacred and Profane Love represent? What is there in the background? What does Cupid do? What does this picture glorify? What colours dominate in this painting? How is this work of art interpreted?
5. What is depicted in the Bacchanal of the Andrians?
6. What religious paintings are described in the text? What is depicted in these pictures? What differs one picture from another? How are Madonnas shown? What do these pictures symbolize?
5. What portraits are mentioned in this text? How did Titian portray the sitters? Where did Titian apply his triangular principle?
6. What did Titian's latest work depict? What devices did Titian use to express the agony of Christ and the fury of his tormentors?
III. i. Give Russian equivalents of the following phrases:
the exteriors of Venetian palaces; to foil for; brushstrokes; free meditation in colour; pagan subjects; freedom of poses; by means of engravings; sarcophagus; carefully modelled hands; mythological and religious pictures; to break up the symmetry; a radical view from one side; to mute all sharp contrasts; the rich light of the picture; the picture is interpreted as; a triangular principle; veils of pigments; a palace interior; in the mature years; to apply a sketchy technique to; movement of colour; inlaid floor, wall hangings; a recumbent pose; altarpieces; shimmering drapery.
ii. Give English equivalents of the following phrases:
картины на мифологические и христианские сюжеты; звучная живописная гамма; в зрелом возрасте; тенистый пейзаж; инкрустированный пол; шпалеры; лессировка; тщательно выписанные руки; принцип треугольника; заказать картину; применить технику наброска к; алтарные образа; картина трактуется как; творческое наследие; нарушить симметрию; движение цвета; подчеркнуть путем контраста; фасады венецианских дворцов; приглушать яркие краски, грунтовка.
iii. Make up sentences of your own with the given phrases.
iv. Arrange the following in the pairs of synonyms:
a) to disport; to foil for; recumbent; determinant; to glorify; allegorical; shimmering; characteristically; frescoes; to redeem;
b) to contrast with; reclining; to worship; to entertain; element; mythological; glowing; to protect; murals; predominantly.
IV. Here are descriptions of some of Titian's works of art. Match them up to the given titles.
1. The soul reunited with the body to be lifted corporally into Heaven.
2. The agony of Christ is expressed in storms of colour.
3. The figure relaxes in ease on a coach in a palace interior.
4. The triangular principle is embodied in the balanced relation ship of the gloved and ungloved hands to the shoulders and the youthful face.
5. The people disport themselves in a shady grove.
6. Two women sit on either side of an open sarcophagus.
7. The columns are seen diagonally.
8. The sketchy technique was applied to the whole picture.
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