Западноевропейское искусство от Хогарта до Сальвадора Дали - страница 26

ii. Give English equivalents of the following phrases:

неотъемлемый элемент; упрощенные фигуры; зрительный порог; зрелый стиль; формирование нового стиля; постоянно изучать; сферические и цилиндрические фигуры; излюбленная тема; цветовые формы; не поддающиеся определению предметы; овладеть палитрой импрессионистов.

iii. Make up sentences of your own with the given phrases.

iv. Arrange the following in the pairs of synonyms:

a) to inflict; fatal; indispensable; imaginary; to develop;

b) unreal; essential; to impose; to improve; doomed.

IV. Here are descriptions of some of Cezanne's works of art. Match them up to the titles given below.

1. Cezanne's planes have built majestic cylinders from the arms and a fluted column from the body.

2. The painting shows three men sitting around a table, while a fourth gazes downward, arms folded.

3. The fantasy gave Cezanne the materials with which to build a grand imaginary architecture, composed of simplified figures.

4. The table disappears under the tablecloth at one level.

5. Nothing indicates the time of the day or even the season.

a. Still life with Apples and Oranges

b. Bathers

c. Woman with the Coffee-pot

d. Mont Sainte-Victoire

e. Card Players

V. Translate the text into English.

До конца жизни Поль Сезанн подписывал свои произведения «ученик Писсарро», таким образом подчеркивая свою связь с импрессионистами. Сам Сезанн не принадлежал к этому направлению. У Сезанна нет картин сложного содержания. Наиболее сильная сторона таланта Сезанна – колорит. В передаче цветом реальности выявляются геометрические фигуры природных форм. «Все в природе лепится в форме шара, конуса, цилиндра; надо научится писать на этих простых фигурах, и, если вы научитесь владеть этими формами, вы сделаете все, что захотите». Взамен кажущейся случайности импрессионистов Сезанн принес чувство массы, выразительность образов.

Элементы абстрагирования, заложенные в искусстве Сезанна, позволили его последователям считать его основоположником абстракционизма.

VI. Summarize the text.

VI. Topics for discussion.

1. Cezanne's artistic concepts.

2. Cezanne and Cubists.

3. Cezanne's as the forerunner of Abstract painting.

Henry Toulouse-Lautrec, born to one of the oldest noble families in France, broke both his legs in early adolescence, and they never developed properly. For the rest of his brief existence he remained a dwarf, alienated from his family's fashionable life. He learned to paint, and took refuge in the night life of Paris, which he depicted with consummate skill – scenes of cafes, theatres, and cabarets. All of his portrayals are prompted by the same uncritical acceptance of the facts of Parisian night life that he wished for his own deformity and found only in this shadowy world. At the Moulin Rouge, of 1892, was influenced by Degas, whom he deeply admired. Toulouse-Lautrec's line was sure, almost as much as that of his idol, but his tolerant humanity was entirely his own. The little artist can be made out toward the top of the picture in profile, just to the left of centre alongside his towering cousin and constant companion. It is significant that, to reinforce the psychological impact of the picture, Toulouse-Lautrec extended it on all four sides, particularly at the bottom and at the right. The plunging perspective of a balustrade in the added section pushes the little group huddled about the table into the middle distance, while it forces toward us with startling intensity the face of a heavily powered entertainer, so lighted from below that the shadows are green. Toulouse-Lautrec's smart and vivid drawing style, his brilliant patterning, and surprising colour contrasts were the dominant influence in Paris when in 1900, eight years after the picture was painted, the young Pablo Picasso arrived from Spain.

Make sure you know how to pronounce the following words:

Toulouse-Lautrec; Degas; Picasso; adolescence; alienated; balustrade; cabaret; cafe; dwarf; profile; psychological

At the Moulin Rouge