Западноевропейское искусство от Хогарта до Сальвадора Дали - страница 9

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

iv. Arrange the following in the pairs of synonyms.

a) ferocity; lineal; parody; supreme; squad; commission; achievement; monster; evil;

b) satire; order; immoral; viciousness; hereditary; beast; exquisite; unit; feat.

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

1. This painting is the earliest explicit example of «social protest» in art.

2. Goya unmasked these people as evil.

3. The first section, dealing with events from daily life, is surpassed by the second, devoted to fantastic events.

4. The monsters take over entirely.

5. This work of art is an allegory of Time which engulfs us all.

6. This picture is an unconventional portrait of the duchess of Alba.

a. Maja Desnuda

b. Saturn Devouring one of his Sons

c. Los Disparates (The Follies)

d. The Third of May, 1808, at Madrid: The Shooting on Principe Pio Mountain

e. Los Caprichos (The Caprices)

f. Family of Charles IV

V. Summarize the text.

VI. Translate the text into English.

Франсиско Гойя, величайший художник Испании, работал на рубеже XVIII и XIX вв. Придворный живописец испанского короля Гойя, чтобы скрыть истинный смысл своих произведений, был вынужден прибегать к аллегориям. В знаменитой серии офортов «Каприччос» художник изобразил кошмарный мир чудовищ и уродов. «Каприччос» включает 80 листов. Это обвинительный акт церкви, дворянству, абсолютизму – миру зла, лицемерия и фанатизма.

Значительное место в творчестве Гойи занимают портреты. В них наиболее ярко проявился блестящий талант живописца. В одних портретах Гойя сумел показать красоту людей богатой духовной жизни. В других – мастер изобличил моральное падение стоящих у власти людей. Таков «Групповой портрет короля Карла IV».

В период борьбы испанцев против наполеоновского вторжения Гойя создал одно из наиболее выдающихся своих произведений – «Расстрел испанских повстанцев французами в ночь на 3 мая 1808 г.», в котором изобразил трагическую развязку мадридского восстания и раскрыл могучий дух непокоренного народа.

Искусство Гойи предваряло романтизм – новое художественное направление в западноевропейском искусстве.

VII. Topics for discussion.

1. Goya's portraits.

2. Goya's engravings.

3. Goya as a forerunner of Romanticism.

Eugene Delacroix was one of the leading French and European painters for more than a generation. He was a real Romantic – solitary, moody, imaginative, profoundly emotional. Although Delacroix admired Italian art and wanted to go to Italy, he never went there; his journeys were to England, Belgium, Holland, Spain and North Africa. His life was marked by few external events. His real life, of great intensity, was lived on the canvas. «What is most real in me," he wrote, «are the illusions I create with my painting; the rest is shifting sand». In the course of his life he produced thousands of oil paintings and water-colours and innumerable drawings, and not long before his death he claimed that «in the matter of compositions I have enough for two human lifetimes; and as for projects of all kinds, I have enough for four hundred years.» Delacroix wanted to paint scenes of emotional or physical violence. Often he drew his subjects from English poetry, especially Shakespeare and Byron, and from medieval history. He admired Beethoven, but his idol in music was «the divine Mozart». His lifelong loyalty to the sixteenth century Venetians and to Rubens constantly strengthened.

In the Bark of Dante, of 1822, Delacroix illustrates a moment from the Divine Comedy in which the poet, accompanied by Virgil, is steered across the dark tides of the lake surrounding the city of Dis, attacked in the sulphurous dimness by damned souls rising from the waves against a background of towers and flames. In this painting Delacroix has broken up the pyramidal grouping, and is more concerned with effects of colour and of light and dark than with form. Some of the drops of water are painted in pure tones of red and green. Delacroix's basic compositional principle is a series of free curves, arising from the central area and always returning to it. This painting was highly praised.