Методическое пособие по практике устной и письменной речи английского языка для студентов III-IV курсов отделения романо-германской филологии

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SPEAKING

Ex. 1. Do you know how to appreciate a painting?

One needs the ability to appreciate and share the vision of artists, lacking such ability one may develop it. The best way to get understanding and greater enjoyment of art is to view many paintings, looking at them thoughtfully, honestly.

Do you agree that great works of art seem to look different every time you see them?

Ex. 2. Speak about Van Dyck's influence on English painting (for more detailed treatment see the Appendix). Make use of the following word combinations:

expressiveness, emotional impact, spirituality, harmony of colours, magnificent features, elegancy, individual traits.
Ex. 3. Render the text into English:

Дж. Тернер. «Заход солнца над озером»

Картина относится к числу поздних произведений Тернера, художника, чье искусство, особенно в последние годы жизни, было удивительно поэтично, соответствовало романтическим настроениям.

Основной целью художника стала передача тончайших ощущений от необычных явлений природы. Ее различных состояний. Он отказался от четких контуров, главным средством выражения для него стал цвет. Не случайно в это время он очень много работал в технике акварели. Один из исследователей творчества Тернера писал: «Тернер – безукоризненный рисовальщик, сознательно разучившийся своему мастерству, чтобы открыть возможность более эмоциональной, более прямой формы выражения.

Ex. 4. How do you understand the words which were engraved on Hogarth’s tomb?

"The Hand of Art here torfid lies

That traced the essential form of Grace;

Here Death has closed the curious eyes

That saw the manners in the face."

Ex. 5. Comment upon Hogarth's words.

"To nature and yourself appeal

Not learn "of others what to feel."

Ex. 6. Dickens and Thackery worshiped Hogarth's works and learned much from him. What could they learn from Hogarth?

Ex. 7. Learn to describe the pictures.

"OPHELIA" BY J. E. MILLAIS

"Ophelia" was painted in 1852. Millais found the stream that provided the setting for his painting near Ewell. Millais' painting is full of Shakespearean allusion: the rose in the dead Ophelia's hand is a reference to brother Laertes's description of her as "the Rose of May" and the robin in the undergrowth is a reminder of Ophelia's song. "For bonny sweet robin is all my joy." A true Pre-Raphaelite, Millais spent a great deal of time on the exact reproduction of the stream and the overhanging streams. Despite his care after it was exhibited the painting's colour deteriorated and Millais .was obliged to retouch it. The model was Elizabeth Siddal. Millais made her pose fully dressed in a bathtub, as a result of which she, not surprisingly, caught cold.

"THE MORNING WALK" BY TH. GAINSBOROUGH

Gainsborough is famous for his brilliant sense of composition, harmony and form.: In the foreground of the picture you see a pretty slim young woman of about 25 and an elegant young man. The woman has a very fashionable long dress on, her face is attractive. She has dreamy blue eyes and thick curly golden hair. As for the man, he is tall and handsome, the features of his face are pleasant and expressive. His eyes are dark, his look is proud, his mouth is rather large, his nose is straight, and he has; classical strong figure. I am sure that the young people are happy because they are young, they are in love, because the day is fine, and life is beautiful. It is an idyllic scene in a romantic landscape. Thanks to the soft colour treatment the picture has a lyrical and poetic atmosphere.

Ex. 8. Describe different pictures. Use the following words and word combinations:

to evoke, intense, to capture the sitter's vitality, to paint from life, penetrating studies of a character, special insight into the psychology, immediacy, spontaniety;
conception, brilliant, to portray ...with moving sincerity, poetic in tone and atmosphere, to anticipate, investigation of colour, range of colours, coloured patches;
vivid, life-like, supreme mastery of technique, to achieve lightness of tone, high artistic quality, to be impressed by, to retain freshness, to be fascinated by the subject;
pure, vivid, to break with the tradition, to place the figure against the landscape background, to look natural, intensity, to emphasize;
appeal, brilliance, primary colours, to convey, to produce impression, to acquire, to affect, to glorify, to render;
to render, soft, delicate colours, elegant gesture, spiritual face, a brilliant colourist, the impression of, airness and lightness;

7. to radiate, spirituality, to combine form and colour, harmonious unity, romantic, poetic in tone and atmosphere, to ignore the rules, the purest lyricist;

8. emotion, natural and characteristic pose, sharp psychological expressiveness, feeling of air, to convey, finished technique, to produce impression, to penetrate.

Ex. 9. Discuss a portrait painting according to the following plan.

THE GENERAL EFFECT. (The title and the name of the artist. The period or trend represented. Does it appear natural and spontaneous or contrived and artificial?)
THE CONTENTS OF THE PICTURE. (Place, time and setting. The accessories, the dress and environment. Any attempt to render the emotions of the model. What does the artist accentuate in his subject?

3. THE COMPOSITION AND COLOURING. (How is the sitter represent... ed? Against what background? Any prevailing format? Is the picture bold or rigid? Do the hands (head, body) look natural and informal? How do the eyes gaze? Does the painter concentrate on the analysis of details? What tints predominate in the colour scheme? Do the colours blend imperceptible? Are the brushstrokes left visible?).

4. INTERPRETATION AND EVALUATION. (Does it exemplify a high degree of artistic skill? What feelings or ideas does it evoke in the viewer?)

CONVERSATION

Act out a conversation between two friends in an art gallery. Discuss the paintings you see there.

WRITING

Write an essay on the topic: Does painting have any advantages over photography in portraying people?

READING

TEXT 2.

Read and retell the short texts.

David Hockney

One of the members of the 60s pop art movement has gone on to become Britain's favourite modern painter. At the time, David Hockney (born 1937) fitted perfectly into that new, fashionable London scene.

He was young, well-dressed and gay, but came from a working-class background in Bradford in the north of England; so for rich Londoners he was a breath of fresh air. But, having followed a fashionable style at the beginning of his career, he has developed a very personal way of painting which puts him outside any modern art movement.

While younger artists have been playing around with all sorts of theories, political statements and attempts to shock the public, Hockney has just continued to produce lovely paintings with fabulous design sense and colours.

Like all great artists, Hockney had been through a number of periods in which he changed his style and experimented. For example, in the

1980s he did clever montages using photographs. He would take a lot of pictures of details of a person, an object or a scene. Then he reassembled all the photos in a free and inventive way, so that you can see the scene broken up - almost as in cubism.

But generally his work has been painting, often mixing graphic design with realism, and always with a supremely modern sense of colour. This is what has made him so popular with the public. His work can be seen everywhere: on posters, postcards, calendars and T-shirts as well as in art books, museums and galleries.

The latest in British art

For some years now, young British artists seem to have given up the traditional forms of drawing, painting and sculpture. If you go to an art college exhibition, you will probably see photos, videos, constructions with lights and sounds, live people performing, found objects and philosophical statements. Media attention is always on the new, the daring and the shocking, and art prizes often reward originality rather than old-fashioned taste and skill.

One of the current celebrities is Mona Hatoum, who made a video with tiny medical cameras inside her own body. Tracy Emin became quite famous for making a small gallery entirely devoted to things about herself: pictures of her, bits of her hair and objects of importance to her.

But unquestionably the biggest name is Damien Hirst, who won the important Turner Prize in 1995. He is a joker who actually makes fun of those who pay high prices for his work. His best-known piece was a 4.5-metre shark in a tank of formaldehyde.

Pickled sheep and bullet holes

Dead sheep, sharks and cows immersed in formaldehyde? A bullet would on a human head?

Such “art” drives animal rights activists nuts and is a guaranteed turn-off for a lot of other people, but it has succeeded in drawing attention to young British sculptors and painters. Attention is exactly what Damien Hirst, 29, ringleader of this new group of British artists, wants. He has developed his own method of selling his art, in the tradition of Andy Warhol. In 1988, he and some fellow student artists put together their own show, bypassing the established galleries.

One especially provocative piece by Hirst was a 14 foot shark preserved in a tank of bluish formaldehyde entitled “The Physical Impossibility of Death in the Mind of Someone Living”. Hirst followed up with more pieces featuring dead animals – including a cow and a calf, sawn in half. Its title: “Mother and Child Divided”.

Now Hirst and friends are coming to the U. S. The Walker Art Center in Minneapolis will stage a major exhibit in October – “Brilliant”: New Art from London”

If you want to go and see Hirst’s pickled sheep, it’s currently on exhibit at the Chicago Museum of Contemporary Art. The piece was recently vandalized by enraged animal rights activists, but it has since been restored.
CONVERSATIONS

Put the jumbled conversations into the correct order.

(1)

a. I went and saw an exhibition at the Hayward Gallery earlier in the week. 

b. So, do you recommend it, then? 

c. Quite good, actually, the photos were really great, quite amazing – some of them. 

d. Oh, really? It sounds quite interesting. What was it like? 

e. Yes, you should go and see it. 

f. It was a collection of photos from the first lunar landing. 

g. Oh, did you? What was it? 

(2)

a. I went and saw that new exhibition at the National Gallery the other day. 

b. Oh, that was a collection of Flemish paintings from

the seventeenth century. 

c. Oh, did you? Which one’s that again? 

d. Well, I didn’t think much of it myself. It was all a bit dull, you know. 

e. No, I’d give it a miss, if I were you – unless you really like that sort of thing, of course 

f. Oh really? What was it like? 

g. So, you wouldn’t recommend it, then? 
SPEAKING

- Here are some strange works of art. You are a gallery guide. Give a short talk on one of them.

A bathroom. You look into it through a hole in the door.
Little bottles containing things from the artist’s body – hair, skin, etc.
A bed covered with pages from the Bible.
A broken television.
A Christmas tree hanging upside down.
A real homeless man standing by the wall in the art gallery.

-Most of these strange works are trying to communicate ideas, rather than be ‘beautiful’. They have a message. Is this the right thing for art to do?

-Janice Jeavons, a London art critic says: “People have been making paintings and sculptures for thousands of years. You can’t do anything new with them. It’s time to experiment with new media.” Do you agree?

-Should critics, or the public, tell artists what to do? Or should artists be completely free to do whatever they like?

-Many famous artists from the past were considered strange and revolutionary in their time. Think of Pablo Picasso or Salvador Dali. Do you think Damien Hirst will be famous 100 years from now?

-What strange and original work of art would you like to do yourself?

LISTENING

Listen to Tony Sotelo, a graffiti artist in New York. Is he proud of what he does, or does he feel like a criminal?

Here are some comments from the people in New York. Do you think Tony would agree or disagree with them? Write A (agree) or D (disagree).

‘Graffiti makes the town look better’.
‘Doing graffiti can be dangerous’.
‘Most graffiti artists are paid for their work.’
‘Felt tip pens are just as good as spray cans.’
‘The important thing is to write your ‘tag’ – your name – for everyone to see.’
‘Graffiti artists have a better attitude than ‘normal’ painters.’

Do you agree with Tony Sotelo that graffiti is the art of the people, that it is ‘democratic’?

CONVERSATION

Roleplay this situation:

An angry shopkeeper finds a graffiti artist spraying the side of the shop – not just a ‘tag’, but a big, colourful mural. Instead of running away the artist stays and argues with the shopkeeper.

Act out the parts of the artist and the shopkeeper.
WRITING

A fried of yours is in trouble for doing a graffiti on the wall of the school. Write a letter to the headteacher, defending your friend.
Write a magazine article with the title Graffiti – the Art of the 21^st Century.

READING

TEXT 3. GUERNICA

A This passage describes Pablo Picasso's Guernica, which was painted after the bombing of a Basque town during the Spanish Civil War. The painting itself is nearly eight metres across, but the reproduction below gives an idea of what it looks like and will help you to follow the description in the first two paragraphs.

Before you read it, discuss your reactions to the picture with a partner.

Guernica is the most powerful invective against violence in modern art, but it was not wholly inspired- by the war: its motifs - the weeping woman, the horse, the bull - had been running through Picasso's work for years before Guernica brought them together. In the painting they become receptacles for extreme sensation - as John Berger has remarked, Picasso could imagine mare suffering in a horse's head than Rubens normally put into a whole Crucifixion. The spike tongues, the rolling eyes, the frantic '.splayed toes and fingers, the necks arched in spasm: these would be unendurable if their tension were not braced against the broken, but visible, order of the painting.

... it is a general meditation on suffering, and its symbols are archaic, not historical: the gored and speared horse (the Spanish Republic), the bull (Franco) louring over the bereaved, shrieking woman, the paraphernalia of pre-modernist images like the broken sword, the surviving flower, and the dove. Apart from the late Cubist style, the only specifically modern elements in Guernica are the eye of the electric light, and the suggestion that the horse's body is made of parallel lines of newsprint like the newspaper in Picasso's collages a quarter of a century before. Otherwise its heroic abstraction and monumentalized pain hardly .seem to belong to the time of photography and bombers. Yet they do: and Picasso's most effective way of locating them in that time was to paint Guernica entirely in black, white, and grey, so that despite its huge size it retains something of the grainy, ephemeral look one associates with the front page of a newspaper.

B Highlight these words in the description above and explain their meanings:
invective motifs receptacles archaic bereaved paraphernalia ephemeral
C Now read the continuation of the passage and write your answers to the questions that follow, using your own words as far as possible.
Guernica was the last great history-painting. It was also the last modern painting of major importance that took its subject from politics with the intention of changing the way large numbers of people thought and felt about power. Since 1937, there have been a few admirable works of art that contained political references - some of Joseph Beuys's work or Robert Motherwell's Elegies to the Spanish Republic.But the idea that an artist, by making painting or sculpture, could insert images into the stream of public speech and thus change political discourse has gone, probably for good, along with the nineteenth-century ideal of the artist as public man. Mass media took away the political speech of art. When Picasso painted Guernica, regular TV broadcasting had been in existence for only a year in England and nobody in France, except a few electronics experts, had seen a television set. There were perhaps fifteen thousand such sets in New York City. Television was too crude, too novel, to be altogether credible. The day when most people in the capitalist world would base their understanding of politics on what the TV screen gave them was still almost a generation away. But by the end of World War II, the role of the 'war artist' had been rendered negligible by war photography. What did you believe, a drawing of an emaciated corpse in a pit that looked like bad, late German Expressionism, or the incontrovertible photographs from Belsen, Maidenek, and Auschwitz? It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and without bombast, that art could morally influence., the world. Today, the idea has largely been dismissed, as it must be in a mass media society where art's principal social role is to be investment capital, or, in the simplest way, bullion. We still have political art, but we have no effective political art. An artist must be famous to be heard, but as he acquires fame, so his work accumulates 'value' and becomes, ipso facto, harmless. As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power. If the Third Reich had lasted until now, the young bloods of the Inner Party would not be interested in old fogeys like Albert Speer or Arno Breker, Hitler's monumental sculptor; they would be queuing up to have their portraits silkscreened by Andy Warhol. It is hard to think of any work of art of which one can say, This saved the life of one Jew, one Vietnamese, one Cambodian. Specific books perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920s is that they thought such a work of art could be made. Perhaps it was a certain naivete that made-them think so. But it is certainly our loss that we cannot.

(from The Shock of the New by Robert Hughes)

Before 1937, when Guernica was painted, how did artists believe that they could make political statements?
How do people in the West nowadays form their, political opinions, according to the writer?
Why did it become meaningless to paint scenes of war during World War II?

What is the function of art in the modern capitalist world?
What is the role of art in politics nowadays?

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Методическое пособие по практике устной и письменной речи английского языка для студентов III-IV курсов отделения романо-германской филологии

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