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5. To this day a "Jan Steen household" is the Dutch expression for the harmony of the perfect bourgeois household.
6. One of the greatest Dutch landscapes is the Avenue at Middelbarnis by Meyndert Hobbema.
II. How well have you read? Can you answer the following questions?
1. What system produced the "little masters"? In what did they specialize? Were all the "little masters" of high quality?
2. What was Jan van Goyen famous for? What did he like to paint? What is Van Goyen's masterpiece? What is depicted in this picture?
3. What did Jacob van Ruisdael paint in 1670? What is this landscape noted for? How is the immensity of the space increased?
4. What did Albert Cuyp paint in 1650? How did he intensify the space?
5. What is represented in the Linen Cupboard? How did De Hooch render the religious order of the bourgeois life? What did the painter show by means of pictures on the wall?
6. What kind of picture is the World Upside Down? What does it demonstrate?
7. What do Dutch still lifes depict? Who was one of the chief practitioners of Dutch still lifes ? What did he demonstrate in his paintings? What did he establish?
III. i. Give Russian equivalents of the following phrases:
genre scenes; a sense of composition and colour; translucent browns; still life; polished silver; the harmony of the bourgeois household; to establish the relationships between transparent and mat surfaces; vantage point; to be of extremely high quality; the realm of space and light; to appeal to the eye and the palate; to determine the mood of the scene; the celestial architecture of shifting clouds; dashing brushwork; windmills and spires; breakfast pieces; to make pictures lively; housemaid; a monochromatic vision; moralizing picture; carved and inlaid cabinet; according to the compositional principles; sketchy touches of the brush; to handle figures with conviction and power; burlesque; religious scenes; riverscapes; seascapes; travelscapes; hunting scenes.
ii. Give English equivalents of the following phrases:
оживить картину; стремительные мазки; царство пространства и света; система открытого рынка; "завтраки"; начищенное серебро; жанровая живопись; дорожный пейзаж; переместить сцену на кухню; моралистическая картина; морские битвы; эскизные мазки; специализироваться по отдельным видам тематики; шумные сцены в таверне; небесная архитектура движущихся облаков; чувство композиции и цвета; одноцветная картина; прославлять гармонию буржуазного быта; натюрморт; возродить поздне-готический бурлеск; резной инкрустированный комод; великолепная панорама; место, дающее хороший обзор.
iii. Make up sentences of your own with the given phrases.
iv. Arrange the following in the pairs of synonyms:
a) remote; to fluctuate; shimmering; burlesque; transparent; celestial;
b) to wave; distant; glowing; parody; translucent; heavenly.
IV. Here are names of the "Little Masters". Match them up to the titles of the paintings. Describe these works of art.
1. Pieter De riooch
2. W i I lem С laesz Heda
3. Jan van Goyen
4. Jan Steen
5. Aelbert Cuyp
6. Meyndert Hobbema
7. Jacob van Ruisdael
a. Landscape with Cattle
b. Still Life
c. Avenue at Middelbarnis
d. A View of Haarlem
e. The World Upside Down
f. Linen Cupboard
g. River Scene
V. Translate the text into English and Figures.
Станковая живопись - основное достижение голландского искусства XVII в. Бытовая живопись стала одним из ведущих жанров. В истории искусства создатели этого жанра называются "малыми голландцами". Голландцы хотели видеть в картинах весь мир. Каждый состоятельный (well-to-do) голландец считал картину лучшим украшением своего жилища. Большой спрос и связанная с этим конкуренция вызвали специализацию художников по отдельным видам тематики: одни писали портреты, другие - жанровые сцены, натюрморты, пейзажи: городские, сельские, дорожные. Расцвет пейзажной живописи в голландской школе относится к середине XVII в. Крупнейшим мастером реалистического пейзажа был Якоб ван Рейсдал.
Наивысшего расцвета достиг натюрморт. Виллем Хеда чаще всего изображает "завтраки": блюда с окороком или пирогом на скромно сервированном столе. С течением времени "завтраки" Хеды сменяются роскошными "десертами" Калфа. На смену простой утвари приходят мраморные столы, ковровые скатерти, серебряные кубки, хрустальные бокалы.
VI. Summarize the text.
VII. Topics for discussion.
1. Dutch landscape.
2. Dutch genre painting.
3. Dutch still-life.
UNIT XV HALS (1581/85-1666)
Recognized today as one of the most brilliant of all portraitists, Frans Hals was probably born in Antwerp and was brought to Haarlem as a child. Interested in human face and figure, Hals was blessed with a gift for catching the individual in a moment of action, feeling, perception, or expression and recording that moment with unerring strokes. Among his early commissions were group portraits of the militia companies that had been largely responsible for defending the new Dutch republic in the hostile world; these paintings radiate its self-confidence and optimism. Hals usually shows the citizen-soldiers in the midst of the banquets. The compositions, picturing a dozen or more males, mostly corpulent and middle-aged, each of whom had paid equally and expected to be recognizable, were not conductive to imaginative painting. The predecessors of Hals had composed these group portraits in alignments hardly superior compositionally to a modern class photograph. It was the genius of Rembrandt to raise them to a level of high drama. But Hals in his Banquet of the Officers of the Saint George Guard Company, of 1616 has a superb job within the limitations of the traditional type. The moment is relaxed, the gentlemen turn toward each other or toward the painter as if he had been painting the whole group at once, which was not certainly the case. Massive Baroque diagonals - the curtain pulled aside, the flag, the poses, the ruffs - tie the picture together into a rich pattern of white and flashing colours against the black costumes. Broad brushstrokes indicate the passage of light on colour with a flash and sparkle unknown even to Rubens.
The warmth of Hals's early style is seen in The Laughing Cavalier. The date 1624 and the subject's age 26 are inscribed in the background, and since the Cavalier's diagonal shadow also falls on it, it is clearly a wall. The Caravaggesque nowhere is thus converted into a definite here. The wall is irradiated with light and seems insubstantial. The armours proclivities of the young man are indicated by the arrows, torches and bees of Cupid and the winged staff and hat of Mercury embroidered in red, silver and gold on the dark brown of his slashed sleeve, with his glowing complexion, dangerous moustaches, snowy ruff and dashing hat, the subject is the symbol of Baroque gallantry. The climax of the painting is the taunting smile on which every compositional force converges.
The opposite of this glittering portrait is the sombre Malle Babbe, of about 1630-33. Nobody knows who the old creature was or the meaning of her nickname. Often called an "old crone" she might be from forty to sixty years old. Hals has caught her in the midst of a fit of insane laughter. Possibly she is a town idiot and the owl on her shoulder is a symbol of foolishness. The expression seized in a storm of strokes is rendered with a demonic intensity.
About 1664 when he was past 80, Hals showed a still different side of his character and ability in the Regentesses of the Old Man's Almshouse. Painted almost entirely in black and white and shades of grey, this solemn picture is united by diagonal movements. The painter had only devastated faces and white collars of the women as component elements. Each of the subjects has reacted in a separate way to age and experience, yet all participate in a calm acceptance of the effects of time. In its simplicity the composition shows an expressive depth unexpected in the generally excited Hals.
Make sure you know how to pronounce the following words:
Hals [h{ls]; Haarlem [PhOl@m]; Antwerp [P{ntwyp]; cavalier [k@v@Pli@]; banquet [Pb{nkwit]; regentess [PrOd?@ntis]
NOTES
Banquet of the Officers of the Saint George Guard Company - "Портрет офицеров гильдии святого Георгия "
The Laughing Cavalier - "Портрет молодого офицера"
Malle Babbe - "Мале Бабе"
Regentesses of the Old Man's Almshouse - "Регентши приюта для престарелых"
TASKS
I. Read the text. Mark the following statements true or false
1. Today Hals is recognized as the most brilliant portraitist.
2. Hals shows citizen-soldiers in the midst of the banquets.
3. Malle Babbe is a glittering portrait.
4. The warmth of Hals's early style is seen in the Regentesses of the Old Man's Almshouse.
5. The Laughing Cavalier is the symbol of Baroque gallantry.
6. The subjects of the Regentesses of the Old Man's Almshouse participate in a calm acceptance of the effects of time.
II. How well have you read? Can you answer the following questions?
1. What gift was Hals blessed with?
2. What were Hals's early commissions? Why were not Hals's portraits conductive to imaginative painting? How did Hals's predecessors compose their group portraits? Who could raise group portraits to a level of high drama?
3. What is the Banquet of the Officers of the Saint George Guard Company noted for? What has Hals pictured in this work of art? What ties the picture together?
4. Where is the warmth of Hals's early style seen? How old is the subject? What makes the subject the symbol of Baroque gallantry? How did Hals interpret the Caravaggesque nowhere?
5. What is the opposite of The Laughing Cavalier? When was it painted? Whom has Hals depicted in it?
6. In what painting did Hals show a different side of his character? How old was he at that time? What did the painter show in this work?
III. i. Give Russian equivalents of the following phrases:
to catch the individual in a moment of action; group portraits in alignments; unerring strokes; a moment of perception; to be blessed with the gift; effects of time; to radiate one's self-confidence; Caravaggesque nowhere; a slashed sleeve; sketchy brushstrokes; armours proclivities; a taunting smile; to be irradiated with light; snowy ruff; a dashing hat; devastated faces; to be conductive to; the predecessors of the painter; show the citizen-soldiers in the midst of the banquets; to raise the portraits to a level of high drama; to tie the picture together; a glittering portrait; militia companies; a solemn picture; component elements.
ii. Give English equivalents of the following phrases:
опустошенные лица; быть наделенным даром; широкие мазки; сияющий портрет; лихо заломленная шляпа; круглый плоеный жесткий воротник; стрелковые гильдии; предшественники художника; след времени; полные, средних лет мужчины; связать картину воедино; насмешливая улыбка; изображать стрельцов в разгар веселого застолья; склонность к военному искусству; сиять самоуверенностью; групповой портрет, построенных в шеренгу людей; рукав с разрезами; эскизная манера письма; поздний период творчества; поднять на уровень драмы.
iii. Make up sentences of your own with the given phrases.
iv. Arrange the following in the pairs of synonyms:
a) strokes; radiate; traditional; indicate; predecessor;
b) conventional; precursor; brushwork; shimmer; show.
IV. Here are descriptions of some of Hals's works of art. Match them up to the given titles.
1. The model was caught in the midst of a fit of insane laughter.
2. The painter had only devastated faces and white collars of the figures as component elements.
3. The climax of the painting is the taunting smile.
4. Broad brushstrokes indicate the passage of light on colour with a flash and sparkle unknown even to Rubens.
a. The Laughing Cavalier
b. Banquet of the Officers of the Saint George Guard Company
c. Regentesses of the Old Man's Almshouse
d. Malle Babbe
V. Translate the text into English.
Франс Халс - крупнейший портретист Голландии XVII в. Халс написал серию групповых портретов. Это в основном изображения членов добровольных стрелковых гильдий города Гарлема. "Портрет офицеров гильдии святого Георга" (1616) является одним из лучших. Яркие краски, непринужденное расположение фигур - нравились современникам Халса. С полотен смотрят плотные, уверенные в своих силах люди средних лет. Халс изображает их обычно в товарищеской пирушке. Групповые портреты Халса - одно из высших достижений голландской живописи.
Индивидуальные портреты Халса носят черты жанровой картины. Лучшим примером этого является портрет старухи, "гарлемной ведьмы", Малле Баббе, с совой на плече. Эскизная манера была типична для Халса. Незадолго до смерти Халс написал два групповых портрета обитателей приюта для престарелых, в одном из которых он окончил свои дни. На портретах изображены старые люди, покорившиеся времени. Монохромный колорит портретов создает особый трагизм, подчеркивая драматизм судьбы самого больного, одинокого и нищего художника, создавшего свои самые драматические произведения на девятом десятке жизни.
Искусство Халса имело большое значение для развития портрета, бытового жанра, пейзажа и натюрморта в целом.
VI. Summarize the text.
Vll. Topics for discussion.
1. Hals's style and characters.
2. Hals's artistic achievements.
UNIT XVI REMBRANDT (1608-1669)
Rembrandt van Rijn is the greatest Dutch master, one of the supreme geniuses in the history of art. To this day the art of Rembrandt remains one of the most profound witnesses of the progress of the soul in its earthly pilgrimage toward the realization of a higher destiny. The son of a prosperous miller, Rembrandt was born in Leiden in 1608. He was trained as a painter by two minor local artists. His rapid success promoted him to move to Amsterdam in 1631.
In 1632 Rembrandt's worldly success was assured. He had more commissions and pupils than he could accept. He married Suskia van Uylenburg, the lovely daughter of a wealthy family. He bought a splendid house, started a collection of paintings and rarities.
The universal artist dealt with many world subjects. Rembrandt painted, engraved and drew more than eighty self-portraits. Rembrandt was a master of portraiture. He created around fifty portraits.
The best group portraits painted by Rembrandt are the Anatomy Lesson of Dr. Tulp, of 1632, and The Night Watch, of 1642. In the former Rembrandt has not only painted faces, beards and lace ruffles, he has given the composition a new drama. Mystery dominates in his painting, reminding the living of their own inevitable destiny. As for The Night Watch, the members of the Company of Captain F.B. Cocq were dissatisfied with the colossal group portrait. The subject of the painting is the formation of the militia company for a parade. Through wonderful effective lightning Rembrandt has turned a narrative prose into a dramatic poetry. Real events are submerged in the symphonic tide of the colouring. All the men paid equally to have themselves depicted, yet some are sunk in a shadow, one man is concealed except for his eyes. It was inevitable that Rembrandt would lose popularity as a portrait painter, although not at once.
In Amsterdam Rembrandt began to paint in a highly imaginative Baroque style. He was influenced by Caravaggio's sharp light-and-dark contrasts and by Rubens's spiral compositions. A brilliant example of this is the Angel Leaving Tobit and Tobias, of 1637. Rembrandt has followed the book of Tobit available to him as a source in the Apocrypha. The formerly blind Tobit cured by the Archangel Raphael, prostrates himself in gratitude, while his son Tobias looks upward in wonder at the departing figure. Seen sharply from the back the angel is taken from the sight into an open cloud in a flash of light. Along with luminary effects goes a new technical freedom. The smooth, detailed early manner is gone. The forms are quickly sketched.
In 1642 Saskia died. Rembrandt's commissions slackened off as a result of his unconventional painting. In 1655 Rembrandt found himself in the midst of several financial troubles. At that period he painted The Polish Rider. The precise meaning of this painting has not been determined. Probably it is an allegory of the man's earthly journey, its many dangers and uncertain destination. In the grim and rocky valley a pool can be seen. Against the dark hill there is a hut. Near the crest there is a ruined castle. The youth rides in light, alert, with his weapons at ready. The figure and his horse stand forth in a new sculptural grandeur, intensified by the fact that many of the impastos have been laid on with a palette knife. The artist carved the pigments, especially in the dark rocks and the bony forms of the horse.
Etching played a special role in Rembrandt's vast production. He produced more than 290 etchings. For him it was an independent art form. The painter was unique in exploring various etching techniques. His etchings differed from those of his contemporaries in the loose, freehand style. Rembrandt had a large collection of drawings and prints by other artists including Man-tegna, Carracci, Titian, Raphael and Bruegel. He used their works for inspiration, but there was also an element of competition: Rembrandt tried to surpass his predecessors.
Probably in 1669, the year of his own death, Rembrandt painted the Return of the Prodigal Son. This painting stands at the ultimate peak of Christian spirituality, illuminating the relationship of the Self to the Eternity and can be interpreted as union with divine love. This parable was a favourite in the Baroque art. In Rembrandt's dark background one can distinguish two dim faces, a seated figure, and more brightly lighted the law-abiding eldest son. In a spontaneous gesture of loving forgiveness, the gentle, aged father comes into light to press to his bosom the cropped head of his ragged son. Faces are reduced. Only the hands of the father and the tired feet of the son are painted in detail. The painting is an allegory of the earthly pilgrimage of man finding rest and meaning in divine redemption. Rembrandt's language in this work is entirely that of colour and texture. Rich tans and ochres in the prodigal's worn garments are inundated by the glowing red of his father's festal cloak against the deep brown of the encompassing dark; solid masses in thick impastos gleam against the translucent glazed.
The biblical theme was very important to Rembrandt. In 1634 the artist created the Holy Family, John the Baptist Preaching, Ecce Homo. In Ecce Homo Jesus stands before Pilate, the procurator, the man who is to judge him. Pilate, convinced of Christ's innocence, presents him to the people with the words "See, the man!" - in Latin: "Ecco Homo". But the people and the priests cry out that Jesus must be crucified. The Passion of Christ was a popular subject. Rembrandt painted a series of seven pictures illustrating this episode. Abraham's Sacrifice was produced by Rembrandt in 1635. In Christ Appearing to Mary Magdalen, of 1638, Rembrandt shows Mary's shock of recognition.
Moses Breaking the Tablets was created in 1659. The Old Testament recounts that Moses led the children of Israel out of Egypt and through the wilderness. At Mount Sinai he received God's laws - the Ten Commandments - written on 'stone tablets'. But while Moses was on the mountain the people built an idol: a golden calf. When Moses came down from the mountain he saw the people dancing around the idol. In the anger he smashed the stone tablets. Rembrandt illustrates the moment just before Moses threw down the tablets.
Besides many paintings of biblical scenes Rembrandt took themes from mythology. In Diana Bathing with her Nymphs, with the Stories of Acteon and Callisto, c. 1634, Rembrandt combined two stories taken from Ovid's Metamorphoses. In the Rape of Ganymede, of 1635, the artist shows how Jupiter, turned into an eagle, carries Ganymede off to Olympus, to place him later in the Heavens as one of the signs of the Zodiac, Aquarius.
Rembrandt was not understood in his own life-time. He died in poverty. But it is the spirituality of his art that distinguishes Rembrandt from his Dutch contemporaries and makes him the greatest artist of the world.
Make sure you know how to pronounce the following words:
Rembrandt [Prembr{nt]; Leiden [Plaid@n]; Amsterdam [{mst@Pd{m]; Metamorphoses [met@Pm?f@sis]; commandment [k@PmOndm@nt]; Sinai [Psainai]; Ovid [Povid]; Pilate [Ppail@t]; Apocrypha [@Ppokrif@]; Abraham [Peibr@h{m]; pilgrimage [Ppilgrimid?]; archangel [?kPeind?@l]; Aquarius [@Pkwe@ri@s]; Jupiter [d?upit@]
NOTES
Anatomy Lesson of Dr. Tulp - "Урок анатомии доктора Тулпа"
The Night Watch - "Ночной дозор"
The Polish Rider - "Польский всадник"
Return of the Prodigal Son - "Возвращение блудного сына"
Holy Family - "Святое семейство"
John the Baptist Preaching - "Проповедь Иоанна Кресги-теля"
Abraham, 's Sacrifice - "Жертвоприношение Авраама"
Moses Breaking the Tablets - "Моисей, разбивающий скрижали "
Christ Appearing to Mary Magdalen - "Явление Христа Марии Магдалине"
Rape of Ganymede - "Похищение Ганемеда"
Diana Bathing with her Nymphs, with the Stories of Act eon and Callisto - " Диана, купающаяся с нимфами"
Self-Portrait - "Автопортрет"
Suskia van Uylenburg - Саския ван Эйленборх
TASKS
I. Read the text. Make sure you understand it. Mark the following statements true or false.
1. Rembrandt painted, engraved and drew more than eighty portraits and fifty self-portraits.
2. The Night Watch by Rembrandt was a traditional portrait of the citizen-soldiers in alignment.
3. Mystery dominates in the Anatomy Lesson of Dr. Tulp.
4. The Return of the Prodigal Son is a brilliant example of the highly imaginative Baroque painting.
5. In the Polish Rider the figure and his horse stand forth in a new sculptural grandeur.
6. Rembrandt was not fond of etching.
II. How well have you read? Can you answer the following questions?
1. What does Rembrandt's art remain to this day?
2. Was Rembrandt a master of portraiture? What portraits did he create? What are Rembrandt's best group portraits? What dominates in the Anatomy Lesson of Dr. Tulp?
3. What is the subject of The Night Watch Were the commissioners satisfied with this Rembrandt's work of art? What did they expect? How are they depicted?
4. Why did Rembrandt begin to lose popularity as a portraitist?
5. What is the best example of Rembrandt's highly imaginative painting in the Baroque style? What is represented in this painting?
6. What did Rembrandt paint in 1655?
7. How is The Polish Rider interpreted? How is the youth portrayed? What technique did Rembrandt use in this painting?
8. What role did etching play in Rembrandt's production?
9. What does the Return of the Prodigal Son represent? When was it created? How is the painting interpreted?
10. What mythological paintings did Rembrandt execute?
11. What distinguishes Rembrandt from his contemporaries?
III. i. Give Russian equivalents of the following phrases:
a self-portrait; a study; a master of portraiture; to portray the subjects; a shoulder-length portrait; a half-length portrait; life-size pictures; group portraits; effective lightning; a narrative prose; an imaginative style; luminary effects; a parable; a technical freedom; unconventional painting; to lay on the impastos; a palette knife; to carve the pigments; to produce etchings; to surpass the predecessors: 'stone tablets'; colour and texture; rich tans and ochres; the encompassing dark; to gleam against the translucent glazed; spirituality of the art; the Ten Commandments.
ii. Give English equivalents of the following phrases:
скрижали; прокуратор; библейская тема; окружающая чернота; мастихин; техника офорта; превзойти предшественников; законопослушный; создавать офорты; терять популярность; гамма красок; притча; наложение красок густым слоем; сюжетно-тематический; этюд; многочисленные произведения нетрадиционная живопись; изобразительный стиль; автопортрет; портрет во весь рост; поясной портрет; погрудный портрет; групповой портрет; Десять Заповедей.
iii. Make up questions with the given phrases.
iv. Arrange the following in the pairs of synonyms.
a) carve; dim; various; theme; spiritual; law-abiding;
b) chisel; conventional; diverse; subject; dusky; religious.
IV. Insert the missing prepositions. Translate the text..
Saint Paul at his Writing-Desk, was painted by Rembrandt c. 1629/30. The pious Paul was a fervent opponent ... the Christian religion.... a journey to combat the Christians he was blinded and thrown ... ... a supernatural power. This event changed Paul totally. The enemy ... Christianity became Apostle: now he travelled to spread the Word. Here Rembrandt painted St Paul seated ... his desk ... the corner ... a room. His left hand is illuminated ... a light coming forth ... ... the book ... the desk. This book, and the sword hanging... the wall are the attributes ... St. Paul. The sword refers ... his beheading, while the book refers ... his conversion.
V. Insert the articles whenever necessary. Translate the text..
Rembrandt's Belshazzar's Feast, was created in 1635. ... Babylonian king Belshazzar [belPS{z@] is celebrating with his nobles, wives and concubines. Everyone is drinking wine from ... vessels stolen from ... Temple in Jerusalem. Suddenly ... divine hand appears and starts writing ... strange script. Daniel was able to decipher ... text: which reads, "Mene mene tekel ufarsin". ... text in Hebrew letters foretold ... death of Belshazzar and ... end of his empire. ... Belshazzar's feast was a warning in ... 17-th century usage: profane feasts always end in ruin. Here Rembrandt portrayed ... dramatic moment. He was ... master when it came to paint violent emotions.
VI. Here are descriptions of some of Rembrandt's works of art. Match them up to the given titles.
1. It is an allegory of the man's earth ly journey.
2. Mystery dominates in this painting, reminding the living of their own inevitable destiny.
3. The angel is taken from the sight into an open cloud.
4. The subject of the painting is the formation of the militia company for a parade.
5. This painting stands at the ultimate peak of Christian spirituality.
6. The text in Hebrew letters foretold the death.
a. Return of the Prodigal Son
b. Angel Leaving Tobit and Tobias
c. The Polish Rider
d. Belshazzar's Feast
e. Anatomy Lesson of Dr. Tulp
f. The Night Watch
VII. Translate the text into English.
Рембрандту ван Рейну удалось раскрыть сложный внутренний мир человека. Рембрандт писал жанровые и религиозные сцены, портреты, автопортреты.
Традиционная для голландского искусства тема группового портрета в картине Рембрандта "Урок анатомии доктора Тульпа" приобретает новый характер. Картина воспринимается не как групповой портрет, а как жизненный эпизод. В "Ночном дозоре" Рембрандт остановился на моменте, когда по сигналу тревоги на площадь выходят стрелки. В результате получился не групповой портрет, а полная жизненной убедительности сцена. Последней наиболее значительной работой художника является "Возвращение блудного сына".
Рембрандт был выдающимся мастером офорта. Его офорты на самые различные темы: портреты, пейзажи, бытовые и религиозные сцены - отличаются смелостью и разнообразием художественных приемов.
Богатые голландские бюргеры - основные заказчики Рембрандта - не поняли гениального художника. Трагически одиноким, почти нищим умер Рембрандт в 1669 году.
VIII. Summarize the text.
IX. Topics for discussion.
1. Rembrandt's portraits.
2. Rembrandt's biblical paintings.
3. Rembrandt's mythological paintings.
4. Rembrandt as the greatest artist of the world.
VOCABULARY
A
accomplish [@PkompliS] v - завершить
Advent ['{dv@nt] - 1. Рождественский пост; 2. Второе пришествие Христа
against; ~ the deep brown -на фоне темно коричневого alignments; in ~ -построенные в шеренгу allegorical; ~ works-аллегорические произведения allude; to ~ - ссылаться на
Almighty - Всевышний
aloof [@Pluf] - далекий
altar [P?lt@] - алтарь
altarpiece - алтарный образ
analysis -анализ; ~ of character - анализ образов
angels [Peind?@lz] - ангелы
annunciation A. -Благовещение
anticipate - предвосхищать
antique - античный
antiquity; classical ~ -классическая античность
apostle [@Pposl] - апостол
apprentice - подмастерье
apse - апсида; in the ~ - в апсиде
arch [OtS] – арка
archaic [OPkeiik] - архаичный
archangel [OkPeind?@l] -архангел
architect - архитектор
architecture - архитектура
arrange v - расположить; to ~ frescoes - расположить роспись
arrangement - расположение
art - искусство; applied ~ -прикладное искусство art gallery - картинная галерея
art historians - искусствоведы
artist - художник; graphic ~ , black and white ~ -график artistic; ~ tradition -художественная традиция
Arts - изобразительное искусство
assumption; A. - Успение, Вознесение
attention - внимание;
attenuated [@Ptenjueitid] - бесплотный, невесомый
authentic [?Pientik] - подлинный
authenticity [?PienPtis@ti] - подлинность
B
bacchanal [Pb{k@nl] - вакхический; вакханальный
background - задний план, фон; in the ~ - на заднем плане; against the blue ~ - на голубом фоне; the landscape ~ - пейзажный фон; а ~ object -фоновый предмет; the Caravaggesque ~ = the ~ of nowhere - нейтральный фон; perspective ~ - фоновая перспектива
banquet [Pb{nkwit] - пирушка
baptise - крестить
baptism В. - крещение
Baptist -креститель
Baroque [b@Prok] - Барокко
barrel vault- цилиндрический свод
barren [Pb{r@n] - бесплодный
bas-relief- барельеф
base n - пьедестал
base v; on - основываться на
basic a; ~ principles of - основные принципы
betray; to ~ the cause - предать дело
Bible [Pbaibl] - Библия
biblical [biblikl] - библейский
bier [bi@] - гроб
bishop - епископ
black and white - черно-белый
bless - благословлять
brawl [br?l]; tavern ~ s-шумные сцены в таверне
breakfast pieces - "завтраки"
brilliance, brilliancy -интенсивность (цвета красок)
brilliant - великолепный
bring (hold) together -объединять
broad; ~ style, technique -свободная манера письма; ~ strokes - свободные мазки
bronze - бронза
brush - кисть; sketchy touches of the ~ эскизные, контурные мазки
brushing - манера
brushstroke - мазок, the ~ s are free and sweeping – мазки свободны и размашисты; broad ~s - широкие мазки
brushwork - 1. мазки; dashing ~ - стремительные мазки; 2 манера
bulbous - луковичный
bury [Pberi] - погребать
burial [Pberi@l] - погребение
burlesque [byPlesk] - пародия
bust [Pbost]-6rocr
buttress [Pbotris] - контрфорс
Byzantine [biPz{ntain] - Византийский
С
с. = circa [Psyk@] около, приблизительно (о дате)
canvas [Pk{nv@s] - холст; on ~ - на холсте
capital - капитель
capture - передать
cardinal - кардинал
caricature (cartoon) -карикатура
cartoon- картон; on ~ - на картоне
carve - ваять, вырезать (из камня, дерева, кости); ~ а statue - изваять статую
carver - резчик
caryatids [k{riP{tidz] -кариатиды
cast [t] n - слепок
cast v - 1. ваять из бронзы; 2. бросить
castle [kOsl] - замок
catch v - передать; ~ a likeness - передать сходство
cathedral - собор
ceiling; ~ frescoes (painting) - плафон; потолочная роспись
celebrated - знаменитый; ~ picture - знаменитая картина
ceremonial - парадный; ~ portrait - парадный портрет; ~ gallery - парадная галерея; ~ representation of smb - парадное изображение к.-л.
chamberlain [P¶eimb@lin] -камерарий
chapel [P¶{pl] - капелла
character - образ (изображаемое лицо)
characteristically - в основном
chariot [P¶{ri@t] - колесница
chisel v - вырезать резцом; ваять из камня, дерева, кости
Christian [Pkristj@n] n -христианин; а - христианский
Christmas [Pkrism@s] -Рождество Христово
circular - круглая (в плане)
citizen-soldiers - стрельцы стрелковой гильдии
cityscape - городской пейзаж
coat - слой; ~ of paint - слой краски; primary ~ -первоначальный слой; final ~ - последний слой
cockleshell n - раковина моллюска
colour n - цвет, краска; glowing ~ - яркие краски; primary ~ - основной цвет; secondary ~ - сложный цвет; a riot of ~s, a wide ~ scheme (range) - богатство красок; richness of ~ - богатство красок
colour a; ~ sketches on wood - цветные наброски на дереве
column [Pkol@m]- колонна
commandment [k@PmOndm@nt] - заповедь; the Теп С. - десять заповедей
commission n - заказ; to obtain (get) a ~ - получить заказ; early ~s - первые заказы
commission v - заказать
commissioner - заказчик
companion; ~ pieces - парные произведения
compare to - сравнить с
composition - композиция; to arrange a ~ - составить композицию
compositional inventiveness - композиционная изобретательность
concave- вогнутый
conceal [k@nPsOl] v - скрывать
concept - замысел
conception- замысел
conductive; ~ to - склонный к
construct v; ~ the landscape in the studio- создавать пейзаж в студии
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