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Список литературы по разделу
a. Madonna of the House ofPesaro
b. Portrait of Pope Paul III and his Grandsons
c. Crowning with Thorns
d. Sacred and Profane Love
e. Venus of Urbino
f. Assumption of the Virgin
g. Bacchanal of the Andrians
h. Man with the Glove
V. Replace the expressions in italics in the following sentences with expressions from the text which have the same meaning.
1.Titian helped Giorgione to restore the external murals of the Venetian palaces. 2. When Titian became free he succeeded in establishing colour as the main element. 3. The painting worships the protecting power of love 4. The people of the island of Andros entertain themselves in a dark forest. 5. A pose of reclining Venus was initially invented by Giorgione. 6. The Assumption of the Virgin is Titian's single endeavour into the realm of the tremendous. 7. The smooth and carefully modelled hands and features are typical for Titian's portraits. 8. Titian's late works of art of heathen subjects are free in their power and beauty.
VI. Insert the missing prepositions. Translate the text. Retell the text.
Susannah at her Bath, ... Jacopo Robusti, called Tintoretto, ... 1560, can be considered as one ... the great works ... Venetian Mannerism. The story ... Susannah, the Biblical "Heroin ... Chastity", is taken ... the Old Testament. Two men secretly entered her garden while she was ... her bath unaware ... their presence. When she rejected their advances they accused her falsely ... her husband. Only the prophet Daniel's wise judgement saved her ... the death sentence which had been passed ... her alleged adultery. Here Tintoretto uses the characteristic Mannerist device ... exaggeration and distortion in his drawing to portray the innate tension ... that moment... the story. The sharp contrast... light and darkness, ... terrifying proximity and the far distance, all contribute ... the surprise and admiration that the picture evokes. Over and above all these Mannerist tricks lies the magic of Venetian painting ... its preference ... brownish-hues expressed ... clearly visible brushstrokes.
VII. Insert the article wherever necessary. Translate the text. Retell the text.
The Raising of the Widow's Son in Nian, around 1565/70, was painted by ... Veronese when his colour achieved ... clarity and brilliance hitherto unknown in ... Venice. He uses ... sky and architecture as ... cool foil for ... jewel-like colour of... clothing. It gives ... worldly, festive atmosphere to ... New Testament story of how Christ raised ... young man from ... dead. Veronese has put ... figure of... grateful mother into ... centre of ... picture and ... young man who has been raised from ... dead is only just visible in ... lower left-hand corner. ... picture is thought as if it were ... quotation from ... play with ... figures and architecture scattered around. In this way Veronese draws ... observers into ... action and, as so often in ... Mannerist art, mixes ... levels of reality.
VIII. Translate the text into English.
Тициан Вечелло - величайший художник венецианского Возрождения - создал произведения на мифологические и христианские сюжеты. Тициан оставил после себя богатейшее творческое наследие. Оно оказало огромное влияние на художников последующих веков.
Слава рано пришла к Тициану. Уже в 1516 г. он стал первым живописцем Венецианской республики. Около 1520 г. герцог Феррарский заказал Тициану цикл картин на мифологические сюжеты. Богатые венецианцы заказывали Тициану алтарные образа. Тициан создал монументальные композиции: "Вознесение Марии" и "Мадонна Пезаро". Громадная картина "Вознесение Марии" изображает вознесение Мадонны на небо. Насыщенные цвета одежды Марии на фоне светлого неба передают радость.
Много сил Тициан отдавал портретной живописи. В "Венере" Тициана многие видят портрет Элеоноры Урбинской. Введение бытовой сцены в интерьер картины вместо пейзажного фона передает ощущение реальной жизни. Блестящий портретист, Тициан раскрывал черты характера своих моделей. Групповой портрет впервые созданный Тицианом получил свое развитие только в эпоху барокко.
IX. Summarize the text.
X. Topics for discussion:
1. Titian's mythological paintings.
2. Titian's religious paintings.
3. Titian's portraits.
UNIT IX THE CARRACCI
The pioneers of Baroque monumental painting in Rome were the brothers Agosto and Annibale Carracci and their cousin Ludovico. They all came from Bologna, a city with a long artistic tradition, a heritage of Renaissance masterpieces and a direct cultural connection with the Eternal City. Between 1585 and 1590 the Carracci founded the Academy of the Incamminati, which was to play an important part in the Italian artistic culture of the seventeenth century.
Annibale (1560-1609) was historically the most significant artist of the Carracci family and artistically the most gifted. At first he was fond of Correggio and Veronese, but later he developed new power under the influence of the antique, and of Michelangelo and Raphael, Annibale Carracci presents a variety of motives and themes. To the exhausted schemes of Mannerism he opposed a combination of classical beauty and the respect for the real fact.
In Bologna in the 1580s all three Carracci had been helpful in the formation of a new kind of Renaissance - not a revival of Classical antiquity nor a discovery of the world and of man, but a revival of the Renaissance itself after a long Mannerist interlude. The Carracci aimed at a synthesis of the vigour and majesty of Michelangelo, the harmony and grace of Raphael, and the colour of Titian.
The first major undertaking of Baroque painting in Rome was the gallery of the Palazzo Fornese, painted almost entirely by Annibale Carracci. The frescoes were commissioned by Cardinal Odoardo Farnese. The ceiling frescoes adopted from the Sistine Ceiling such ideas as large scenes, small scenes, seated nudes, simulated marble architecture and both marble and bronze sculpture. But these were organised according to a new principle in the illusionistic tradition of Mantegna. The simulated architecture applied to the barrel vault is "supported" by the simulated sculptural caryatids and youths that flank pictures into the structure. Four additional paintings with gilded frames are made to look as if they had been applied later. The complex layer of forms and illusions comes to a climax in the central scene.
The subject matter of the Love of the Gods, incompatible with the ecclesiastic status of its patron, veils a deep Christian meaning that accounts for the complex organisation and for central climax. The four smaller lateral scenes represent incidents in which the loves of gods for mortals were accepted, the two horizontal framed pictures depict episodes in which mortals refused, the two end ones reproduce the love of Cyclops Polyphemus for the nymph Galatea, and the central panel portrays the Triumph of Bacchus and Ariadne. This central scene is flanked by Mercury and Paris and by Pan and Selena. The composition in which the chariots of the god and the mortal are borne along in splendid procession, accompanied by deities and Loves explains the framed pictures and justifies the four unframed lateral scenes. The entire complex structure of eleven scenes symbolises the Triumph of Divine Love. After the Mannerist interlude of public prudery, it was typical of the new Baroque attitude that a cardinal could commission a monumental Christian interpretation of ancient erotic myths. It is essential for our understanding of the Baroque that divine love, conceived as the principle at the heart of the universe, should be the motive power that draws together all the elements of the ceiling and resolves all conflicts in an unforeseeable act of redemption. The painting of the Farnese Gallery is a superb creation. The substance and the drive of the Farnese Gallery had a great impact on other ceiling compositions of the seventeenth century, and on Baroque monumental painting in general; especially the work of Peter Paul Rubens was greatly influenced by Annibale's style.
In addition to the principles of ceiling painting, Annibale Carracci excelled in his painting of romantic landscapes as well as historical subjects. He established a new type of landscape with figures in his Landscape with the Flight into Egypt, of about 1603-4. The sacred figures in relation to the vastness of the landscape are tiny. They are on a level with the observer and the landscape is no longer fantastic but based on a real one. The landscape was derived from studies made outdoors but constructed in the studio. Although a prolific artist Annibale Carracci painted little later in life. He died at Rome and was buried in the Pantheon near Raphale.
Make sure you know how to pronounce the following words:
Baroque [b@Prok]; chariot [PtS{ri@t]; Bologna [b@Pl@unj@]; Pan [p{n]; caryatid [k{riP{tid]; Cyclops [Psaiklops]; Selena [siPlOn@]; Paris [Pp{ris]; nymph [nimf]; Polyphemus [poliPfOm@s]; Galatea [g{l@Pti@]; Bacchus [Pb{k@s]; Ariadne [{riP{dni]
NOTES
Love of Gods - "Метаморфозы"
Landscape with the Flight into Egypt - " Пейзаж с Бегством в Египет"
TASKS
I. Read the text. Make sure you understand it. Mark the following statements true or false.
1. The pioneers of Baroque monumental painting in Florence were the brothers Carracci.
2. The major undertaking of Baroque painting in Rome was the gallery of the Palazzo Fornese, painted entirely by Ludovico Carracci.
3. The subject matter of the Love of the Gods was incompatible with the ecclesiastic status of its patron.
4. After the Mannerist interlude of public prudery a cardinal could commission frescoes on the subjects of ancient myths.
5. Divine love, conceived at the heart of the universe, is regarded as the motive power that draws together all the elements of the ceiling.
6. In the Love of Gods the Carracci established a new landscape with figures.
II. How well have you read? Can you answer the questions?
1. What was in progress in sixteenth-century Bologna? What kind of Renaissance did the Carracci try to form? What was the Carracci's aim?
2. What did the Carracci adopt for their ceiling frescoes from the Sistine Ceiling? Why did the Carracci apply simulated architecture and sculpture to the barrel vault?
3. What does the subject matter of the Love of Gods veil? How is the Love of Gods interpreted?
4. What gods and goddesses are pictured in the Love of Gods'?
5. What do the four smaller lateral scenes in the Love of Gods depict? What do the two horizontal framed pictures show? What do the end scenes represent? What does the central panel show? What comes to a climax in the central scene? What is flanked by Mercury, Paris, Pan and Selena? How are these gods pictured?
6. What else did the Carracci establish in addition to the principles of ceiling painting? Where were these principles applied?
III. i. Give Russian equivalents of the following phrases:
a revival of the Renaissance; a long Mannerist interlude; to commission ceiling frescoes; vigour and majesty; caryatids; illusionistic tradition; simulated marble and bronze statues; chariots of the god and the mortal; a barrel vault; gilded frames; the complex layer of forms; the subject matter; to flank pictures; to be incompatible with an ecclesiastic status; a heritage of masterpieces; accompanied by deities; to veil a deep meaning; horizontal framed pictures; a central panel; lateral scenes; unframed pictures; the triumph of divine love; public prudery; sacred figures; conceived at the heart of the universe; the motive power; to resolve all conflicts; an unforeseeable act of redemption; a superb creation; the substance and the drive; on the level; derive the landscape from studies made outdoors; to construct the landscape in the studio.
ii. -Give English equivalents of the following phrases:
материя и энергия; картины в рамах; цилиндрический свод; великолепное творение; всеобщее ханжество; продолжительный период Маньеризма; сила и мощь; в сопровождении божеств; священные образы; наследие шедевров Ренессанса; колесницы богов и смертных; не соответствовать духовному статусу заказчика; искупление грехов; кариатиды; нарисованные мраморные и бронзовые статуи; сложный ряд форм; движущая сила; боковые сцены; зарожденный в центре вселенной.
iii. Make up sentences of your own with the given phrases.
iv. Arrange the following in the pairs of synonyms:
a) lateral; antiquity; to account for; to flank; to accept; to resolve; conceive; superb; sacred; to panel;
b) divine; sidelong; ancient times; to explain; to connect; to receive; originate; excellent; to line; to solve.
IV. Match the names of the mythological personalities with the stories given below.
Galatea; Cyclops Polyphemus; Bacchus; Paris; Ariadne; Pan; Selena; Mercury.
1. She was the daughter of Minos [Pmain@s], the king of Crete [PkrOt]. She gave a ball of thread to Theseus [PiOsjus] so that he could find his way back from the Labyrinth [Pl{birini].
2. The god of shepherds and herds, he was extremely ugly. He was half-god, half-goat. He had a beard, horns on his forehead [Pf?rid] and a hairy body.
3. He served as a herald of gods; there were wings on his helmet and his heels; and he bore a sceptre [Psept@].
4. He was the giant with supreme natural powers, he had one eye and tended his herds. He lived in a cave on the island of Sicily. He was a cannibal and did not have knowledge of wine. He was occupied only with his sheep.
5. He was the son of the king of Troy. Zeus gave him a difficult job of judging which of the three goddesses Hera, Athena or Aphrodite ought to receive the golden apple (the apple of discord) with the words: "To the most beautiful".
6. The god of wine and gaiety. Wherever he went, he spread the culture of wine and the rituals associated with every stage of its cultivation.
7. The goddess of Moon, the daughter of the Titans [Ptait@nz] Hyperion [haiPpi@ri@n] and Thea [Pii@].
8. The nymph who was loved by the shepherd Acis [Peisis] and by Cyclops Polyphemus. Polyphemus, jealous of Acis' success in winning the love of the nymph, crushed him under the rock, but the nymph turned him into a river.
V. Translate the text into English.
Аннибале и Агостино Карраччи и их двоюродный брат Лодовико основоположники барокко. В 1585 в Болонье они создали "Академию направленных на истинный путь". Новое направление получило название "болонский академизм". Принципы болонской Академии, которая стала прообразом всех европейских академий будущего, наблюдаются в творчестве Аннибале Карраччи, самого талантливого из братьев. Искусство Карраччи получило признание и распространение, так как отвечало официальной идеологии. Братья Карраччи -художники монументально-декоративной живописи. Их самое знаменитое произведение - роспись галереи Фарнезе в Риме на сюжет "Метаморфоз" Овидия, типично для барочной живописи.
Аннибале Карраччи - родоначальник героического пейзажа. Карраччи скрупулезно изучал природу. Он считал, что для того, чтобы она стала предметом изображения, ее необходимо облагородить (to polish). Пейзаж с деревьями, руинами, с маленькими фигурками людей подчеркивает величие природы. Идеи Карраччи были развиты его учениками, в творчестве которых принципы академизма были почти канонизированы.
VI. Summarize the text.
VII. Topics for discussion.
1. Carracci's ceiling painting.
2. Carracci's landscape.
UNIT X CARAVAGGIO (1573-1610)
The real giant of seventeenth-century painting in Italy is Michelangelo Merisi, called Caravaggio after his native town in Lombardy. After studying with an obscure local master, he arrived in Rome around 1590. Considered a revolutionary painter Caravaggio was the leading artist of the Naturalistic School. He lived on the fringe of respectable society. His short life was marked by violence and disaster. Caravaggio was a lifelong rebel against convention. He shocked conventional people by representing religious scenes in terms of daily life. He was in chronic trouble with authority and had to flee Rome in 1606 after he killed a man in a brawl over a tennis match. During the next years he wandered around Italy. Caravaggio died of malaria in his thirty-seventh year on his return journey to Rome, with a papal pardon in sight. Nevertheless the style of this unruly genius revolutionized European art.
In 1597 Cardinal del Mount obtained for Caravaggio the commission to paint three pictures of Matthew and scenes from his life for the Contarelli Chapel in the Church of San Luigi dei Francesi in Rome. The greatest of these is the Calling of Saint Matthew, painted about 1599-1600, an event often represented but never in this soul-stirring way. The background is a wall in a Roman tavern; a window is the only visible background object. Matthew is seated "at the receipt of custom" (Matthew 9:9) with three gaudily dressed youths at a rough table on which coins are visible; figures and objects are painted in a hard, firm style that seems to deny the very existence of Venetian colourism. Suddenly, Christ appears at the right, saying, "Follow me". His figure is almost hidden by that of Peter. Christ shows only his face and his right hand, illuminated by a strong light from an undefined source at the upper right.
Despite his oft-expressed contempt for Renaissance masters, Caravaggio often visually, as if in a vernacular translation, quoted Michelangelo Buonarroti. Christ points along the beam of light with a strikingly real hand whose gesture repeats that of God the Father in the Creation of Adam. Matthew points to his own breast as if to say, "Who, me?" In this realistic scene happens the triumph of divine love. Christ instils a new soul in Matthew.
In 1601 Caravaggio painted the Conversion of Saint Paul. It was a favourite subject during the Counter-Reformation. This scene was usually shown with a vision of Christ descending from heaven, surrounded by clouds and angels. Against a background of nowhere Saul has fallen from his horse toward us, drastically foreshortened. He hears the words; but his servant hears nothing and looks down at his master unable to account for the light that shines all around and has blinded Saul. In this picture climax reaches the stage of cataclysm.
Caravaggio's paintings were condemned by Bolognese artists and critics in Rome, and some were even refused by the clergy. Nonetheless, a decade after his tragic death Caravaggio's everyday naturalism, his hard pictorial style, his intense light-and-dark contrasts had inspired a host of followers in Rome, Naples, Spain, France, the Netherlands. His revolutionary art must be considered a major factor in the formation of two of the greatest painters in the 17-th century Rembrandt and Velazquez.
Make sure you know how to pronounce the following words:
Caravaggio [kOrOPvOdd?ou]; Rembrandt [Prembr{nt]; Matthew [Pm{iju]; Saul [s?l]; Lombardy [Plomb@di]; Netherlands [PneD@l@ndz]
NOTES
Calling of Saint Matthew - "Призвание апостола Матфея"
Conversion of Saint Paul - "Обращение Савла"
"at the receipt of custom" (Matthew 9:9) - "у сбора пошлин"
TASKS
I. Read the text. Make sure you understand it. Mark the following statements true or false.
1. Caravaggio's life was happy and eventless.
2. The style of this genius revolutionized European art.
3. Caravaggio never rebelled against convention.
4. The Calling of Saint Matthew is a realistic painting.
5. Saint Paul was pictured drastically foreshortened.
6. Caravaggio's naturalism inspired a great number of followers in Europe.
II. How well have you read? Can you answer the following questions?
1. Where was Caravaggio trained? What society did Caravaggio live in? What was Caravaggio's relationship with authority?
2. How did Caravaggio protest against convention?
3. How did Caravaggio arrange the figures in the Calling of Saint Matthew? What did Caravaggio deny in this painting?
4. What was Caravaggio's attitude to the Renaissance masters? How did Caravaggio quote Michelangelo in the Calling of Saint Matthew? What was the source of this quotation?
5. What was the favourite subject during the Counter-Reformation? How did Caravaggio picture it? Did Caravaggio paint Saul against a background of nowhere? Was it Caravaggio's greatest achievement? What were his other achievements?
6. How were Caravaggio's paintings treated by artists and critics during his life-time? Did this attitude change after his death?
III. i. Give Russian equivalents of the following phrases:
a background of nowhere; a hard, firm style; light-and-dark contrasts; pictorial style; drastically foreshortened; a long-life rebel; conventional people; to represent religious scenes in terms of daily life; an unruly genius; to obtain a commission; scenes from smb's life; to represent an event in the soul-stirring way; a background object; to deny the existence of; the realistic scene; Venetian colourism; to quote; gaudily dressed youths; a vernacular translation; the beam of light; to instil a new soul; to descend from heaven; an unidentified source of light; Renaissance masters.
ii. Give English equivalents of the following phrases:
изображать религиозный сюжет как повседневное событие; луч света; обыватели; венецианский колоризм; перевод на народный язык; вдохнуть новую душу; тяжелый, жесткий стиль; цитирование; изобразительный стиль; свет без указания источника; заказчики отказывались от картин; ниспровергать классические традиции художников Ренессанса; спустя десятилетие; излюбленный сюжет; божественная любовь; нейтральный фон; единственный различимый предмет на заднем плане; реалистические сцены; новаторское искусство.
iii. Make up sentences of your own with the given phrases.
IV. Here are descriptions of some of Caravaggio 's works of art. Match them up to the given titles.
1. Christ points along the beam of light with a strikingly real hand whose gesture repeats that of God the Father in the Creation of Adam.
2. Against a background of nowhere he has fallen from his horse toward us, drastically foreshortened.
a. Conversion of Saint Paul
b. Calling of Saint Matthew
V. Translate the text into English.
Микеланджело Меризи, известный как Караваджо, дал название реалистическому течению в искусстве, которое нашло последователей во всей Западной Европе. Караваджо брал темы из окружающей действительности. Реалистические принципы сделали Караваджо наследником Ренессанса, даже несмотря на то, что он часто выражал свое презрение к великим художникам Ренессанса. Караваджо утверждал принципы реалистического искусства, бросив вызов общепринятым нормам. Картины на религиозные сюжеты он писал как жанровые. Герои произведений Караваджо — картежники, гадалки, авантюристы. Их изображениями Караваджо положил начало бытовой живописи. Караваджо накладывал краску широкими мазками, выхватывая из мрака светом наиболее важные части композиции. Эта контрастность световых пятен создавала атмосферу внутреннего драматизма. Герои Караваджо помещены в простую обстановку. Иногда произведения Караваджо были настолько реалистичны, что заказчики отказывались от них. Искусство Караваджо породило истинных последователей его художественного метода, получившего название "караваджизма".
VI. Summarize the text.
VII. Topics for discussion.
1. Caravaggio's style and characters.
2. Caravaggio's mode of life and work.
3. Caravaggio's artistic legacy.
UNIT XI POUSSIN (1593/94-1665)
Nicolas Poussin is the embodiment of the Classical spirit. His paintings are the product not only of great imagination and pictorial skill but also of a discipline and control that grew firmer as the painter aged. Born in the small town in Normandy, Poussin went to Paris in his late adolescence. He had access to the royal collection of paintings where he was impressed by the works of Raphael and Titian, and to the royal library where he studied engravings after Raphael. After two trips to Italy, Poussin settled down in Rome in 1624. It was unlikely that he would ever enjoy official success. The world of nobles, popes, and monarchs was not for him. Poussin made only one large altarpiece for St. Peter's, and was dissatisfied with it.
An attempt by King Louis XIII to have Poussin work on ceiling painting for the Long Gallery of the Louvre ran afoul of the artist's refusal to consider ceiling paintings different from those on walls, and to turn over the execution of vast projects to assistants. The latter objection ruled out the customary colossal Baroque monumental commissions.
Poussin's paintings reflect his interest in antiquity and in Stoic philosophy. In his early work the Inspiration of the Poet, painted about 1628-29, Classical figures are arranged before a landscape in low afternoon light. Poussin attempted to recapture the magic of Titian through warm colouring unified by soft glazes and through subtle and surprising passages of lights and darks, especially the way light touches the edge of Apollo's lyre and part of his cheek, leaving the rest in shadow. This is an allegorical scene in keeping with seventeenth century ideas, the poet (it is easy to view him as a painter) owes his gifts to divine inspiration. About 1630 an illness gave Poussin a break during which he could formulate the theoretical basis of his art. Poussin abandoned his earlier lyrical style in favour of the grand manner, which required first of all a subject - drawn from religion, history or mythology -that avoided anything 'base' or 'low'. Poussin maintained that the subject must be so clarified in the painter's mind, that he will not block the essence of narrative with insignificant details. Then the painter must consider the conception, that is, the recounting of the story in an impressive way. Then the artist must devise the composition which must not be so carefully constructed that it looks laboured, but should flow naturally. Last comes the style or manner of painting or drawing.
At another point Poussin explained his theory of the modes of painting by analogy with the modes or scales in Greek music, and mentioned five, the Dorian, the Phrygian, the Lydian, the Hypolydian and the Ionic. He carried his ideas of the modes systematically into execution. His Rape of the Sabines, of about 1636-37, exemplifies the Phrygian mode adapted to 'frightful wars'. The picture fulfils all Poussin's requirements for the grand manner. The subject is lofty; the conception is powerful; the composition effortless and natural for all its references to ancient and Renaissance statuary figures and groups; and the style beyond all praise. The composition is staged in a limited space, flanked on one side by the temple portico in which Romulus stands and limited at the rear by a basilica.
A later work, the Holy Family on the Steps, of 1648, is probably in the Hypolydian mode, which 'contains within itself a certain sweetness which fills the soul of the beholders with joy. It lends itself to divine matters, glory and Paradise'. The pyramidal composition suggests the Madonna groups of Leonardo and Raphael which Poussin knew and studied. Like Tintoretto, he arranged little draped wax figures on a stage with the lightning carefully controlled and with a backdrop of landscape and architecture. He would experiment with figural relationships till he found the right grouping, then build a larger arrangement of modelled and draped figures and paint from it, referring to reality only when necessary. The grave, ideal quality of Poussin's art triumphs in Classical compositions arranged before simple, cubic architecture that bypasses the Baroque, the Renaissance, and the Middle Ages, going straight back to Roman models. While the faces of his figures often appear standardized and almost expressionless, the grandeur of Poussin's art appears in the balance of forms, colour, and lights. Such compositions inspired Ingres in the early 19-th century, formed the basis for the still life and figure paintings of Cezanne in the late 19-th and early 20-th centuries.
Make sure you know how to pronounce the following words:
Poussin [puPs{n]; Normandy [Pn?m@ndi]; lyre [Plai@]; Paris [Pp{ris]; Louvre [Pluvr@]; Greek [PgrOk]; Dorian [Pd?ri@n]; Phrygian [Pfrid?i@n]; Lydian [Plidi@n]; Hypolydian [haip@uPlidi@n]; Ionic [aiPonik]; Sabines [Ps{bainz]; Cezanne [seiPzOn]
NOTES
Inspiration of the Poet- "Вдохновение поэта"
Rape of the Sabines - "Похищение Сабинянок"
Holy Family on the Steps - "Святое семейство на ступенях храма"
TASKS
I. Read the text. Make sure you understand it. Mark the following statements true or false.
1. Nicolas Poussin embodies the Renaissance spirit.
2. Poussin made a lot of altarpieces.
3. Poussin was fond of ceiling painting.
4. Poussin invented five modes or scales in music.
5. Poussin formulated the theoretical basis of his art in 1648.
6. Poussin worked in the grand manner early in life.
II. How well have you read? Can you answer the following questions?
1. What do Poussin's paintings reflect?
2. What did Poussin attempt to recapture in the Inspiration of the Poett?
3. What were the main theoretical principles of Poussin's art? How did Poussin connect painting and music?
4. With what Poussin's painting is the Phrygian mode associated? Why? What is the subject of this painting?
5. Why is the Holy Family on the Steps associated with the Hypolydian mode? Whose influence can be traced in this painting?
6. How did Poussin paint his monumental compositions? Where does Poussin's art triumph? Where does its grandeur appear? Who was inspired by Poussin's compositions?
III. i. Give Russian equivalents of the following phrases:
the embodiment of the Classical spirit; pictorial skill; the royal collection of paintings; the theory of modes; to study engravings; to work on ceiling painting; by analogy with; the execution of vast projects; colossal Baroque monumental commissions; the interest in antiquity; to arrange figures before a landscape; passages of lights and darks; statuary figures; an allegorical scene; to be in keeping with; to owe one's gifts to; divine inspiration; to formulate a theoretical basis of; to abandon the lyrical style; wax figures; the essence of narrative; insignificant details; to bypass the Baroque; to devise a composition; the manner of painting.
ii. Give English equivalents of the following phrases:
интерес к античности; по аналогии с; божественное вдохновение; лира Аполлона; создать алтарный образ; обращаться к действительности; избегать низкого в искусстве; отказаться от лирического стиля; в соответствии с идеалами; восковые фигуры; вдохновлять художников; воплощение духа классицизма; претворить в жизнь грандиозные планы; расписывать потолок; сформулировать основы теории классицизма; теория музыкальных ладов; незначительные детали; торжество композиции классицизма.
iii. Make up sentences of your own with the given phrases.
iv. Arrange the following in the pairs of synonyms:
a) expound; soft; monarch; rule out; subtle; analogy;
b) sovereign; exclude; smooth; interpret; faint; comparison.
IV. Here are descriptions of some of Poussin's works of art. Match them up to the given titles and describe them.
1. It contains within itself a certain sweetness which fills the soul of the beholders with joy.
2. The light touches Apollo's lyre and part of his cheek
3 The subject is lofty, the conception is powerful, the composition effortless and natural.
a. Rape of the Sabines
b. Holy Family on the Steps
c. Inspiration of the Poet
V. Translate the text into English.
Никола Пуссен - создатель классического направления в живописи. Предметом искусства классицизма провозглашалось только прекрасное; идеалом классицизма служила античность. Пуссен интересовался античным искусством и искусством Возрождения. В 1623 г. Пуссен отправился в Италию. С 1624 г. он жил в Риме. Влияние караваджизма чувствуется в некоторых работах Пуссена. Темы полотен художника разнообразны: мифология, история. Ветхий Завет, Новый Завет. В начале 40-х годов в творчестве Пуссена произошел перелом.
В 1640 г. Пуссен приехал в Париж по приглашению короля Людовика XIII. Первый период творчества Пуссена завершился, когда в буколические темы ворвалась тема смерти. В 40-50-е годы колористическая гамма Пуссена становится все сдержанней. Основное внимание уделяется рисунку и скульптурности форм. Лучшими у позднего Пуссена остаются пейзажи, в которых человек трактуется как часть природы.
VI Summarize the text.
VII Topics for discussion
1. The theoretical basis ofPoussin's art.
2. The role of music in Poussin's paintings.
3. Poussin's artistic influence.
UNIT XII RUBENS (1577-1640)
Peter Paul Rubens exercised in Flanders a great stylistic authority. Born near Cologne, the son of a Protestant emigre from Antwerp, he spent his childhood in Germany. He received a thorough grounding in Latin and in theology, spent a few months as a page to a countess, and grew up as an unparalleled combination of scholar, diplomat and painter. Rubens spoke and wrote six modern languages, and was probably the most learned artist of all time. His house in Antwerp was a factory from which massive works emerged in a never-ending stream. Although most paintings were designed by Rubens in rapidly painted colour sketches on wood, all the large ones were painted by pupils and then retouched by the master.
Rubens was the man of extraordinary character and intelligence. One visitor recounted how Rubens could listen to a reading of Roman history in Latin, carry on a learned conversation, paint a picture, and dictate a letter all at the same time.
Rubens first emerged on the international scene during his visit to Italy in 1600 where he remained for eight years. Artistically Rubens was an adopted Italian, with little interest in the Early Netherlandish masters. With indefatigable energy he set out to conquer the fortress of Italian art. He made hundreds of drawings and scores of copies after Roman sculpture as well as paintings.
An early work in Antwerp Cathedral, the Raising of the Cross, a panel more than fifteen feet high, painted in 1609-10, shows the superhuman energy with which Rubens attacked his mighty concepts. This central panel of a triptych is a complete picture in itself. There is no hint of Caravaggio's psychological interests. The executioners, whose muscularity recalls Michelangelo's figures, raise the Cross, forming a colossal pyramid of struggling figures. In this painting the typical High Renaissance interfigural composition is transformed into a Baroque climax.
The power of Rubens can be seen at its greatness in the Fall of the Damned, painted about 1614-18, a waterspout of hurling figures raining down from Heaven, from which the rebels against divine love are forever excluded.
As his style matured, Rubens's characteristic spiral-into-the-picture lost the dark shadows of his early works and took on a Titianique richness of colour.
In 1621-25 Rubens carried out asplendid commission from Maria de'Medici, dowager Queen of France, widow of Henry IV, and regent during the minority of her son Louis XIII. Twenty one large canvases represent an allegorized version of the Queen career, showing her protected at every point by the divinities of Olympus. The series were originally installed in a ceremonial gallery in the Luxembourg Palace. All the canvases show the magnificence of Rubens's compositional inventiveness and the depth of his Classical learning; but Henry IV Receiving the Portrait of Maria de ' Medici is one of the best. The ageing King, whose helmet and shield are taken by Cupids, is advised by Minerva to accept as his second bride the Florentine princess, whose portrait is presented by Mercury, as Juno and Jupiter smile upon the proposed union. The happy promise of divine intervention; the youthful figure; the grandeur of the armoured king, and the distant landscape make this painting one of the happiest of Rubens's allegorical works. The Queen never paid for the series. But when she was driven out of France by her former protege Cardinal Richelieuw, she took refuge in Flanders. Rubens helped to support her during her twelve years of exile - a remarkable tribute not only to the generosity of a great man but also to the position of a Baroque artist who could finance a luckless monarch.
In 1630, then 53 years old Rubens married Helene Fourment, a girl of 16. The artist's happiness received its perfect embodiment in the Garden of Love painted about 1638, a fantasy in which seven of the Fourment sisters are happily disposed throughout the foreground before the fantastic fountain-house in Rubens's own garden in Antwerp. Cupids fly above the scene with bows, arrows , a rose garland, and torches, and on the right sits a statue of Venus astride a dolphin. All the movements of Rubens's colour, all the energy of his composition are summed up in the radiance of the picture, the happiest Baroque testament to the redeeming power of love.
Make sure you know how to pronounce the/allowing words:
Antwerp [P{ntwyp]; Luxembourg [Ploks@mbyg]; Cologne [k@Pl@un]; Protestant [Pprotist@nt]; emigre [Pemigrei]; Medici [Pmedi¶O]; dowager [Pdau@d?@]; protege [Ppr@ute?ei]; Richelieuw [PrOS@ljy]; Juno [Pd?unou]; Minerva [miPnyv@]; Flanders [PflOnd@z]; Louis[Plui]; regent [PrOd?@nt]
NOTES
Raising of the Cross - "Воздвижение креста"
Fall of the Damned - "Падение проклятых"
Garden of Love - "Сад наслаждений"
TASKS
I. Read the text. Mark the following statements true or false.
1. Peter Paul Rubens was the most educated person of his time.
2. Rubens was fond of High Renaissance masters.
3. As Rubens's style matured, it took on a richness of colour.
4. Rubens's figures were disembodied and mystical.
5. In 1621-25 Rubens carried out a splendid commission from Louis XIII.
6. Rubens depicted the major Roman gods in the portrait of Maria de' Medici.
II. How well have you read? Can you answer the following questions?
1. When and where did Rubens first emerge on the international scene? Where was Rubens educated?
2. What could Rubens allegedly do at one and the same time? How did Rubens produce his works of art?
3. What is represented in the Raising of the Cross? What kind of painting is it? Where can the power of Rubens be seen? What is depicted in this painting?
5. How did the Michelangelo and the Titian influence Rubens's works of art? In what way did Rubens's works differ from the masterpieces of the Renaissance masters?
6. What do twenty one large canvases present? What is the best painting? What does it portray? What gods and goddesses are depicted there? How are they shown? What do they symbolize? What makes this painting one of the happiest of Rubens's allegorical works? How long did Rubens support the dowager Queen of France? What did it show?
7. What is represented in the Garden of Love? What received its full embodiment in this picture?
III. i. Give Ritssian equivalents of the following phrases:
to exercise a great stylistic authority; a page to a countess; a never-ending stream of works; colour sketches on wood; a helmet and a shield; to emerge on the international scene; indefatigable energy; to raise the Cross; to make copies after Roman sculpture; the superhuman energy; the central panel of a triptych; to carry out a commission; dowager Queen of France; to be protected at every point by the divinities; a ceremonial gallery in the palace; conipositional inventiveness; Classical learning; the divine intervention; the years of exile; executioners; a tribute to; a Baroque artist; to receive its embodiment in; the Baroque testament; the energy of the composition; final coating; the redeeming power of love; Caravaggio's psychological interests; a complete picture in itself; a pyramid of struggling figures.
ii. Give English equivalents of the following phrases:
появиться на международной арене; монументальные произведения; годы ссылки; композиционная изобретательность; классическое образование; неуемная энергия; пользоваться большим авторитетом; нескончаемый поток работ; быть защищенным со всех сторон божествами; самостоятельная картина; палачи; сделать множество рисунков; копировать древнеримские статуи; центральная часть триптиха; выполнить заказ; вклад в; могущественный заказчик; парадная галерея дворца; божественное вмешательство; получить воплощение в; напоминать фигуры Микеланджело; искупляющая сила любви; богатство цвета; вдовствующая королева; цветные наброски на дереве.
iii. Make up questions with the given phrases.
iv. Arrange the following in the pairs of synonyms.
a) regent; to recount; testament; canvas; splendid; executioner;
b) murderer; queen; magnificent; to tell; picture; will.
IV. Here are descriptions of some of Rubens's works of art. Match them up to the given titles..
1. Cupids fly above the scene with bows, arrows, and torches,
2. Grotesque figures rain down from Heaven.
3. The executioners form a colossal pyramid.
4. The gods advise the King to accept her as his second bride.
a. Henry IV Receiving the Portrait of Maria de' Medici
b. Raising of the Cross
c. Garden of Love
d. Fall of the Damned
V. Translate the text into English.
Питер Паул Рубенс, крупнейший фламандский художник XVII в., был одним из самых образованных людей своего времени. Первые годы своей творческой жизни Рубенс провел в Италии. В Венеции он изучал работы Тициана, в Риме - произведения Микеланджело. В Италии Рубенс быстро стал знаменитым. С 1601 г. он - придворный художник герцога Гон-зага в Мантуе. В 1608 г. Рубенс вернулся на родину во Фландрию. Он много работал над монументальными произведениями. На одном из них - алтарном образе "Воздвижение креста" - изображен распятый Христос. В 1621-1625 гг. Рубенс получил заказ на цикл из 21 картины "Жизнь Марии Медичи" от французской королевы, вдовы Генриха IV, для украшения Люксембургского дворца. Это - блистательное творение монументально-декоративного искусства. Здесь наряду с аллегорическими образами и мифологическими персонажами Рубенс изобразил реальные исторические лица.
Искусство Рубенса - типичное выражение барокко. Художник часто писал картины на сюжеты античных мифов. Рубенс оказал большое влияние на последующее развитие западноевропейского искусства.
VI. Summarize the text.
VII. Topics for discussion.
1. Rubens's mode of life and production system.
2. Rubens's style and characters.
3. Rubens as a Baroque painter.
UNIT XIII VELAZQUEZ (1599-1660)
Diego Rodriguez de Silva у Velazquez was the greatest Spanish painter. Born in Seville, Velazquez studied with the local Mannerist Francisco Pacheco. In 1623 Velazquez was appointed court painter and settled permanently in Madrid. By 1627 he was established in the royal household and got the rank of court chamberlain. It gave him a residence attached to the palace and a studio inside it. For more than 30 years Velazquez painted King Philip IV and members of the royal family and court, produced historical, mythological, and religious pictures. His paintings were influenced by Rubens and the Venetian artists.
Velazquez never deserted the integrity of his own style. He did not adopt the characteristic devices of allegorical figures, columns, curtains of boiling clouds utilized by most Catholic painters of the seventeenth century. Velazquez was attached to nature.
He visited Italy twice and expressed a frank dislike for Raphael and thus for the Italian idealism. Velazquez admired Titian and copied Tintoretto as an exercise in freedom of the brush. Throughout his life Velazquez was deeply concerned with the principles of composition and design.
When Caravaggesques realism penetrated Spain, it was felt by the young Velazquez as a liberation. Velazquez's interpretation of this movement was original. His Triumph of Bacchus, of about 1628, contains numerous reminiscences of Titian's Bacchanal of the Andrians, reinterpreted in basically Caravaggesques terms. Bacchus is a rather soft Spanish youth, with a towel and a cloak around his waist, as if he had just climbed out of a neighbouring stream. Crowned with wine leaves himself he mischievously puts a crown upon a kneeling worshiper, who is a simple Spanish peasant. Other peasants are gathered around. One peasant with bristling moustache and a hat pushed back hands a cup of wine toward a spectator, while another tries to grab it. The proletarian invitation to join in the delights of wine is painted with a brilliance unequalled by any other Latin painter of the seventeenth century. Yet the emphasis of the solidity of flesh and rough clothing shows that Velazquez is a Mediterranean painter.
The Surrender of Breda, of 1635, is a magnificent painting. It is remarkable for its excellent equilibrium. The groups of Spanish victors and defeated Dutchmen are scrupulously equalized. The surrender is carried out with dignity unlike in the conventional representations of the glorification of the victors and the disgrace of the conquered.
After the second trip to Italy (1649-51) Velazquez painted his most complex imaginary picture, based on the myth of Arachne, The Weavers, c.1656. The central scene, the moment when Minerva turns Arachne, a mortal girl who challenged the goddess of spinning and weaving to a contest, into a spider — is depicted in the background. In the foreground the weaver's workroom is produced so convincingly that in later centuries this painting was taken for a large genre scene. The emotion of the workshop, the spinning of the wheel, the handling of the tale as an ordinary event, make this painting one of the most outstanding of Velazquez's mythological works.
Velazquez's masterpiece, and one of the most extraordinary paintings of the seventeenth century is Las Meninas (The Ladies-in-waiting), of 1656. It was initially titled The Portrait of the Family. The painter is depicted in his studio in the royal palace, at work upon a canvas, so large that it can only be this very picture, unique in scale in his entire production. In the centre the light falls on the glittering figure of the five-year-old princess, who has paid the painter a visit, accompanied by two ladies-in-waiting, one of whom kneels to give her a cup of water. On the right two dwarfs are portrayed; one is gently teasing with his foot an elderly dog. Through the open door in the background wall light falls on a court official, pausing for a moment, on the steps. Most important of all the mirror alongside the door reflects the King and Queen. who also honour the painter with their presence. Despite the apparent ease and informality of the subject, the picture is carefully balanced in a series of interlocking pyramids that can be ranked with the greatest designs of the Renaissance. In light and dark the illusion of the picture is as real as the intimate and quiet mood. Velazquez's brush suggests the reality of objects through the sparks and reflections of light on hair, silk, flowers and embroidery, spots of light and colour set down by touches of the brush create the illusion of form. Las Meninas is the culmination of Velazquez's work. In this painting the artist demonstrates to all time the nobility of his art - a rank that no king can award.
Velazquez had no immediate followers, but the painters of succeeding centuries such as Goya and Manet highly esteemed him.
Make sure you know how to pronounce the following words:
Velazquez [viPl{skwiz]; Madrid [m@Pdrid]; Seville [s@Pvil]; Philip [Pfilip]; Mediterranean [medit@Preinj@n]; crown [Pkraun]; Order [P?d@]; Santiago [s{ntiPOg@u]; Chamberlain [P¶eimb@lin]; Arachne [@Pr{kni]; Goya [Pgoj@]; Manet [m{Pnei]
NOTES
Triumph of Bacchus - "Вакх"
Surrender of Breda - "Сдача Бреды"
The Weavers - "Пряхи"
Las Meninas - "Менины"
TASKS
I. Read the text. Make sure you understand it. Mark the following statements true or false
1. For twenty years Velazquez painted King Philip IV and members of the royal family and court.
2. Velazquez adopted the characteristic machinery of allegorical figures, utilized by most Catholic painters of the seventeenth century.
3. Velazquez's Triumph of Bacchus contains numerous reminiscences of the Nertherlandish masters.
4. The Surrender of Breda is a work of universal importance.
5. In The Weavers the central scene is depicted in the foreground.
6. In Las Meninas Velazquez shows the nobility of his art.
II. How well have you read? Can you answer the following questions?
1. Where was Velazquez trained? What position did he obtain at the court?
2. Whose works did Velazquez distaste and whose paintings did he admire? What did Caravaggesques realism mean to Velazquez?
3. What did Velazquez depict in the Triumph of Bacchus? What shows that Velazquez is a Mediterranean painter?
4. What is pictured in the Surrender of Breda? In what way does it differ from other pictures of this kind?
5. What makes The Weavers Velazquez's most complex allegorical painting? What legend was the basis of this work of art?
6. What does Las Meninas portray? What makes Las Meninas Velazquez's masterpiece? What are the figures depicted in this picture doing? What is Las Meninas (a group portrait, a self-portrait or a genre painting)?
III. i. Give Russian equivalents of the following phrases:
to be appointed court painter; to settle permanently in; royal household; to get the rank of; Court Chamberlain; a residence attached to the palace; members of the royal family and court; the integrity of one's style; the characteristic devices; allegorical figures; to be attached to nature; freedom of the brush; throughout the life; principles of composition; Caravaggesques realism; numerous reminiscences; a Mediterranean painter; to fall under the influence of; the studio in the royal palace; to work upon a canvas; to create the illusion of form unique in scale; to pay the painter a visit; dwarfs; to honour the painter with the presence; informality of the subject; interlocking pyramids.
ii. Give English equivalents of the following phrases:
целостность стиля; иллюзия формы; члены королевской семьи и двора; принципы композиции и рисунка; предшествующий век; получить должность; придворный художник; ряд пересекающихся пирамид; карлики; в светотени; аллегорические образы; типичные атрибуты; гофмейстер; свобода мазка; многочисленные цитаты из; постоянно поселиться в; трактовка направления; средиземноморский художник; уникальная по масштабу картина; почтить своим присутствием студию художника.
iii. Make up sentences ofyour own with the given phrases.
iv. Arrange the following in the pairs of synonyms:
a) local; court; trip; interpret; supreme; reminiscences; dwarfs; demonstrate; appoint; attain;
b) royal household; render; exquisite; quotations; Lilliputians; show; place; gain; journey; native.
IV. Here are descriptions of some of Velazquez's works of art. Match them up to the given titles..
1. The mirror alongside the door re- flects the King and Queen, who honour the painter with their presence.
2. Crowned with wine leaves himself he mischievously puts a crown upon a kneeling worshiper.
3. The painting is noted for its clas- sical equilibrium.
4. This painting is one of the most significant of Velazquez's mythological works.
a. Triumph of Bacchus
b. Surrender of Breda
c. The Weavers
d. Las Meninas
V. Translate the text into English.
Диего Родригос де Сильва Веласкес - выдающийся художник "золотого испанского века", родился в Севилье, учился у местного художника Франсиско Пачеко.
В 1626 г. Веласкес переехал в Мадрид и стал придворным художником короля Филиппа IV. В 1627 г. художник получил звание гофмейстера. После знакомства с Рубенсом, который посетил Испанию в 1628 г. Веласкес отправился в Италию, где провел три года. Работы итальянских художников оказали большое влияние на Веласкеса. Его стиль стал более свободным и блестящим, колорит менее темным в тенях.
В конце 20-х годов Веласкес написал картину "Вакх". Эту мифологическую сцену он интерпретировал как жанровую. Идеализации нет даже в фигуре самого Вакха. Контрасты света и тени, золотистый тон - все типичные черты караваджизма, переплетаются с характерными только для Веласкеса чертами.
В последнее десятилетие жизни художник написал три самых известных картины: "Венера с зеркалом", "Менины", "Пряхи". "Менины" - это, по своей сути, групповой портрет. Художник, а это автопортрет самого Веласкеса, у мольберта пишет короля и королеву, отражение которых зрители видят в зеркале. На переднем плане изображена инфанта Маргарита в окружении фрейлин, карлицы, придворных и собаки. В дверях художник поместил фигуру канцлера. Композиция картины объединяет черты группового портрета и жанровой картины. Влияние Веласкеса на искусство последующих веков велико. Он вдохновлял художников от романтиков до постимпрессионистов.
VI. Summarize the text.
VII. Topics for discussion.
1. Velazquez's realism.
2. Velazquez's artistic heritage.
UNIT XIV THE 'LITTLE MASTERS'
The open market system, under which Dutch pictures were sold, produced artists skilful in painting a particular type of subject. They specialized in landscapes, riverscapes, seascapes, city-scapes, travelscapes; skating scenes, moonlight scenes, shipping and naval battles; interiors, exteriors; gardens, polite conversations, parlour intrigue, housekeeping, tavern brawls; hunting scenes, churches, still lifes and portraits, single, double, or group.
At least forty of the 'little masters' are very talented.
An early leader of Dutch landscape painting, Jan van Goyen (1596-1656), was one of the Dutch masters to place human figures to a position in which they could no longer determine the mood of a scene but merely establish the scale. Van Goyen was fascinated by water. But the celestial architecture of shifting clouds was even more important than water in his landscapes. In River Scene, painted by Van Goyen shortly before his death, the land with fishermen's cottages, windmills, and a distant church, is visible only in tiny patches. All else is clouds and water, save for two boats moving slowly toward the centre. People are mere spots, as are the flying gulls. An almost monochromatic vision, limited to translucent browns in the foreground and grey greens elsewhere, is registered by means of light, shimmering water, and distant land.
A View of Haarlem, of about 1670, by Jacob van Ruisdael (1628/29-82), opens up an immense prospect from the vantage point of the dunes. The city appears only on the flat horizon, a sparkle of windmills and spires is dominated by the mass of the Great Church. The immensity of the space is increased by the light falling from between clouds on the farmhouses and the linens whitening in the foreground. The birds fly higher and the clouds seem more remote than in Van Goyen's picture.
One of the greatest Dutch landscapes is the Avenue at Middelbarnis, of 1689, by Meyndert Hobbema (1638-1709), Ruisdael's pupil. Constructed on the humble theme of a rutted country road plunging into the picture between feathery trees that have long lost lower branches for use as firewood, the spatial climax is compelling.
Albert Cuyp (1620-91), influenced by Dutch painters who had travelled in Italy, preserves a similar feeling for space in his Landscape with Cattle and Figures, of about 1650, which is intensified by the animals and people grouped in the foreground.
The art of Pieter De Hooch (1629-after 1684) glorifies the harmony of the perfect bourgeois household, with everything in its proper place and respect for cleanliness and order raised almost to a religious level. The Linen Cupboard, of 1663, is De Hooch's Baroque climax. In this picture, illuminated by an unseen window, De Hooch depicts the simple act of counting neatly folded sheets taken from their carved and inlaid cabinet in an interior whose cleanliness matches its perfect perspective and its clear bright colour; the black-and-white marble floor leads the eye through the door to the view across the street. By means of pictures on the wall the painter shows that art is a part of the ideal daily life.
The opposite of De Hooch's religious order is the disorder of Jan Steen (1625/26-79), who revived the humour of the Late Gothic burlesque. To this day a "Jan Steen household" is the Dutch expression for a house in which nothing goes right. Everything goes wrong in The World Upside Down, which is a parody on De Hooch's Linen Cupboard. It was also intended as a moralizing picture. Jan Steen, who kept a tavern, was never tired of representing the effects of visits to him. Here the scene shifts to the kitchen; the same lady of the house in the same costume as in De Hooch's Linen Cupboard has fallen asleep; beer runs from the keg over a floor strewn with garbage, a pipe and a hat; children, a pig, a dog, a duck, and a monkey are where they ought not to be and are doing what they ought not to do. The housemaid hands a glass of wine to her sweetheart, nobody pays any attention to an elderly man reading from a book or to an old woman trying to bring some order into the situation. To intensify the effect, Steen is treating his figures with conviction and vigour.
Dutch still lifes were often intended to appeal to the eye and the palate at once. Some are crowded with an unappetizing profusion of fruit or game, but the most tasteful and tasty are those restricted to the makings of between-meals snacks (they are traditionally referred to as 'breakfast pieces'). White wine, a bit of seafood or ham, lemon, pepper, and salt are the subjects, along with polished silver, crystal goblets and a rumpled tablecloth. The spectator is tantalized not only by the delicacy with which the carefully selected objects arc painted, but also by the expensive carelessness with which a lemon has been left partly peeled and a silver cup overturned.
Willem Heda (1599-1680/82) was the master of still life. In his Still Life, despite limitations of subject matter, he demonstrates an unexpected eloquence in the rendering of golden light, as well as sensitivity in establishing the precise relationships between transparent, translucent, reflecting, and mat surfaces - a silent drama of pure sense presented in the style of a Caravaggio religious scene against the typical background of nowhere, fluctuating between shadow and light.
Make sure you know how to pronounce the following words:
Hobbema ['hobim@]; Hals [h{ls]; Cuyp [kaip]; Ruisdael [PraIzdOl]; Haarlem [PhOl@m]; genre [P?Onr@]; burlesque [byPlesk]; fluctuate [Pflok¶ueit]; eloquence [Pel@kw@ns]; palate [Pp{lit]; horizon [h@Praizn]; tantalise [Pt{nt@laiz]; monochrome [Pmon@kr@um]
TASKS
I. Read the text. Make sure you understand it. Mark the following statements true or false.
1. Jan van Goyen placed figures to a dominant position.
2. Heda's still-lifes are referred to as "breakfast pieces".
3. De Hooch represented genre scenes of the lower classes life.
4. Jacob van Ruisdael was the best Dutch landscape painter.
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