Западноевропейское искусство от Хогарта до Сальвадора Дали - страница 27

– «Мулен Руж»

I. Read the text. Make sure you understand it. Mark the following statements true or false.

1. Toulouse-Lautrec's parents were French aristocrats.

2. Toulouse-Lautrec took refuge in the wilderness.

3. Toulouse-Lautrec depicted poplars and cathedrals.

4. At the Moulin Rouge was influenced by Renoir.

5. Degas admired Toulouse-Lautrec's works of art.

6. Toulouse-Lautrec's line resembled that of Cezanne's.

II. How well have you read? Can you answer the following questions?

1. Why was Toulouse-Lautrec alienated from his family's fashionable life?

2. What did Toulouse-Lautrec like to depict? Why?

3. Who was Toulouse-Lautrec's idol?

4. What is represented in Toulouse-Lautrec's At the Moulin Rouge? How did the painter depict himself and his cousin in this picture?

5. What did Toulouse-Lautrec do to reinforce the psychological impact of this picture? What did Toulouse-Lautrec do to impress the observer?

6. What was the dominant influence in Paris in 1900? Who was influenced by Toulouse-Lautrec's works of art?

III. i. Give Russian equivalents of the following phrases:

for the rest of one's existence; to take refuge in; uncritical acceptance; to be influenced by; tolerant humanity; it is significant that; the psychological impact; at the bottom of the picture; surprising colour contrasts; the dominant influence; to extend the picture on all four sides; the plunging perspective; to light from below; drawing style; at the right.

ii. Give English equivalents of the following phrases:

неожиданные цветовые контрасты; раздвинуть картину с четырех сторон; терпимость; осветить снизу; психологическое влияние; глубинная перспектива; знаменательно то, что; основное влияние; в течение оставшейся жизни; найти убежище в; стиль рисунка; быть под влиянием.

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

iv. Arrange the/allowing in the pairs of synonyms:

a) noble; existence; alienated; humanity; deformity; idol; tolerant;

b) ugliness; aristocratic; life; favourite; patient; hostile; kindness.

IV. Translate the text into English.

Анри Тулуз-Лотрека историки искусства называют постимпрессионистом. Он работал в основном в графике и оставил острые, доходящие до гротеска образы. Это в основном литографии, посвященные типажам парижской богемы. Тулуз-Лотрек делал плакаты с изображением знаменитых танцовщиц и певиц кабаре. В «Мулен де ла Галетт» и «Мулен Руж» художник экспрессивно и драматически изобразил веселье Парижа.

Многочисленные рисунки, эстампы, литографии свидетельствуют о Тулуз-Лотреке как о выдающемся рисовальщике XIX века.

V. Summarize the text.

VI. Topics for discussion.

1. Toulouse-Lautrec's style and characters.

2. Toulouse-Lautrec as a great draughtsman.

Paul Gauguin, a French painter, sculptor and printmaker, was a founder of modern art. A successful businessman without any artistic training Gauguin began painting as an amateur while working as a stockbroker. He soon met Pissarro and Cezanne, as well as the Impressionists. Gauguin absorbed their ideas and techniques and from 1879 to the last Impressionist exhibition in 1886 showed regularly with this group.

Paul Gauguin lived a life that reads like a classic tale of the misunderstood, and uncompromising artist, searching for verities against all odds. He was born in Paris and four years of his childhood lived in Peru (he was partly of Indian origin); six years of his youth he spent as a sailor and was incurably drawn to the exotic and the faraway.

For Gauguin painting itself became identified with his wanderlust and drew him away from all his daily associations. In 1883 he gave up his business career and his bourgeois existence to devote his life to art. Gauguin was convinced that European urban civilisation was incurably ill. His life was nomadic; he moved back and fourth between villages in Brittany and the island of Martinique. Impoverished, deadly ill, and in trouble with the law, Gauguin died on the Marquesas Islands.

Gauguin's departure from Western artistic tradition was prompted by the rebellious attitude that impelled his break from middle-class life. But Gauguin, too, was not an Impressionist at heart. He sought art using ideas rather than the tangible world as a starting point. In this he was influenced by the artist Emil Bernard and by the Symbolist poets Rimbault and Baudelaire. Joining him in renouncing naturalism were the Symbolists, and van Gogh.