Файл: МИньяр-Белоручева от Джотто.pdf

Generated by Foxit PDF Creator © Foxit Software

http://www.foxitsoftware.com For evaluation only.

63

balanced in a series of interlocking pyramids that can be ranked with the greatest designs of the Renaissance. In light and dark the illusion of the picture is as real as the intimate and quiet mood. Velazquez's brush suggests the reality of objects through the sparks and reflections of light on hair, silk, flowers and embroidery, spots of light and colour set down by touches of the brush create the illusion of form. Las Meninas is the culmination of Velazquez's work. In this painting the artist demonstrates to all time the nobility of his art - a rank that no king can award.

Velazquez had no immediate followers, but the painters of succeeding centuries such as Goya and Manet highly esteemed him.

Make sure you know how to pronounce the following words:

Velazquez [viPl{skwiz]; Madrid [m@Pdrid]; Seville [s@Pvil]; Philip [Pfilip]; Mediterranean [medit@Preinj@n]; crown [Pkraun]; Order [Pþd@]; Santiago [s{ntiPÓg@u]; Chamberlain [P¶eimb@lin]; Arachne [@Pr{kni]; Goya [Pgoj@]; Manet [m{Pnei]

NOTES

Triumph of Bacchus - "Âàкх"

Surrender of Breda - "Ñдàчà Áреды"

The Weavers - "Ïряхи"

Las Meninas - "Ìенины"

TASKS

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

1. For twenty years Velazquez painted King Philip IV and members of the royal family and

court.

2.Velazquez adopted the characteristic machinery of allegorical figures, utilized by most Catholic painters of the seventeenth century.

3.Velazquez's Triumph of Bacchus contains numerous reminiscences of the Nertherlandish

masters.

4.The Surrender of Breda is a work of universal importance.

5.In The Weavers the central scene is depicted in the foreground.

6.In Las Meninas Velazquez shows the nobility of his art.

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

1.Where was Velazquez trained? What position did he obtain at the court?

2.Whose works did Velazquez distaste and whose paintings did he admire? What did Caravaggesques realism mean to Velazquez?

3.What did Velazquez depict in the Triumph of Bacchus? What shows that Velazquez is a Mediterranean painter?

Generated by Foxit PDF Creator © Foxit Software

http://www.foxitsoftware.com For evaluation only.

65

b.Surrender of Breda

c.The Weavers

d.Las Meninas

V. Translate the text into English.

Äиего Ðодригос де Ñильвà Âелàскес - выдàющийся художник "золотого испàнского векà", родился в Ñевилье, учился у местного художникà Ôрàнсиско Ïàчеко.

Â1626 г. Âелàскес переехàл в Ìàдрид и стàл придворным художником короля Ôилиппà IV. Â 1627 г. художник получил звàние гофмейстерà. Ïосле знàкомствà с Ðубенсом, который посетил Èспàнию в 1628 г. Âелàскес отпрàвился в Èтàлию, где провел три годà. Ðàботы итàльянских художников окàзàли большое влияние нà Âелàскесà. Åго стиль стàл более свободным и блестящим, колорит менее темным в тенях.

Âконце 20-х годов Âелàскес нàписàл кàртину "Âàкх". Ýту мифологическую сцену он интерпретировàл кàк жàнровую. Èдеàлизàции нет дàже в фигуре сàмого Âàкхà. Êонтрàсты светà и тени, золотистый тон - все типичные черты кàрàвàджизмà, переплетàются с хàрàктерными только для Âелàскесà чертàми.

Âпоследнее десятилетие жизни художник нàписàл три сàмых известных кàртины: "Âенерà с зеркàлом", "Ìенины", "Ïряхи". "Ìенины" - это, по своей сути, групповой портрет. Õудожник, à это àвтопортрет сàмого Âелàскесà, у мольбертà пишет короля и королеву, отрàжение которых зрители видят в зеркàле. Íà переднем плàне изобрàженà инфàнтà Ìàргàритà в окружении фрейлин, кàрлицы, придворных и собàки. Â дверях художник поместил фигуру кàнцлерà. Êомпозиция кàртины объединяет черты группового портретà и жàнровой кàртины. Âлияние Âелàскесà нà искусство последующих веков велико. Îн

вдохновлял художников от ромàнтиков до постимпрессионистов.

VI. Summarize the text.

VII. Topics for discussion.

1.Velazquez's realism.

2.Velazquez's artistic heritage.

Generated by Foxit PDF Creator © Foxit Software

http://www.foxitsoftware.com For evaluation only.

66

UNIT XIV THE 'LITTLE MASTERS'

The open market system, under which Dutch pictures were sold, produced artists skilful in painting a particular type of subject. They specialized in landscapes, riverscapes, seascapes, cityscapes, travelscapes; skating scenes, moonlight scenes, shipping and naval battles; interiors, exteriors; gardens, polite conversations, parlour intrigue, housekeeping, tavern brawls; hunting scenes, churches, still lifes and portraits, single, double, or group.

At least forty of the 'little masters' are very talented.

An early leader of Dutch landscape painting, Jan van Goyen (1596-1656), was one of the Dutch masters to place human figures to a position in which they could no longer determine the mood of a scene but merely establish the scale. Van Goyen was fascinated by water. But the celestial architecture of shifting clouds was even more important than water in his landscapes. In River Scene, painted by Van Goyen shortly before his death, the land with fishermen's cottages, windmills, and a distant church, is visible only in tiny patches. All else is clouds and water, save for two boats moving slowly toward the centre. People are mere spots, as are the flying gulls. An almost monochromatic vision, limited to translucent browns in the foreground and grey greens elsewhere, is registered by means of light, shimmering water, and distant land.

A View of Haarlem, of about 1670, by Jacob van Ruisdael (1628/29-82), opens up an immense prospect from the vantage point of the dunes. The city appears only on the flat horizon, a sparkle of windmills and spires is dominated by the mass of the Great Church. The immensity of the space is increased by the light falling from between clouds on the farmhouses and the linens whitening in the foreground. The birds fly higher and the clouds seem more remote than in Van Goyen's picture.

One of the greatest Dutch landscapes is the Avenue at Middelbarnis, of 1689, by Meyndert Hobbema (1638-1709), Ruisdael's pupil. Constructed on the humble theme of a rutted country road plunging into the picture between feathery trees that have long lost lower branches for use as firewood, the spatial climax is compelling.

Albert Cuyp (1620-91), influenced by Dutch painters who had travelled in Italy, preserves a similar feeling for space in his Landscape with Cattle and Figures, of about 1650, which is intensified by the animals and people grouped in the foreground.

The art of Pieter De Hooch (1629-after 1684) glorifies the harmony of the perfect bourgeois household, with everything in its proper place and respect for cleanliness and order raised almost to a religious level. The Linen Cupboard, of 1663, is De Hooch's Baroque climax. In this picture, illuminated by an unseen window, De Hooch depicts the simple act of counting neatly folded sheets taken from their carved and inlaid cabinet in an interior whose cleanliness matches its perfect perspective and its clear bright colour; the black-and-white marble floor leads the eye through the door to the view across the street. By means of pictures on the wall the painter shows that art is a part of the ideal daily life.

The opposite of De Hooch's religious order is the disorder of Jan Steen (1625/26-79), who revived the humour of the Late Gothic burlesque. To this day a "Jan Steen household" is the Dutch expression for a house in which nothing goes right. Everything goes wrong in The World Upside Down, which is a parody on De Hooch's Linen Cupboard. It was also intended as a moralizing picture. Jan Steen, who kept a tavern, was never tired of representing the effects of visits to him. Here the scene shifts to the kitchen; the same lady of the house in the same costume as in De Hooch's Linen Cupboard has fallen asleep; beer runs from the keg over a floor strewn with garbage, a pipe and a hat; children, a pig, a dog, a duck, and a monkey are where they ought not to be and are

Generated by Foxit PDF Creator © Foxit Software

http://www.foxitsoftware.com For evaluation only.

67

doing what they ought not to do. The housemaid hands a glass of wine to her sweetheart, nobody pays any attention to an elderly man reading from a book or to an old woman trying to bring some order into the situation. To intensify the effect, Steen is treating his figures with conviction and vigour.

Dutch still lifes were often intended to appeal to the eye and the palate at once. Some are crowded with an unappetizing profusion of fruit or game, but the most tasteful and tasty are those restricted to the makings of between-meals snacks (they are traditionally referred to as 'breakfast pieces'). White wine, a bit of seafood or ham, lemon, pepper, and salt are the subjects, along with polished silver, crystal goblets and a rumpled tablecloth. The spectator is tantalized not only by the delicacy with which the carefully selected objects arc painted, but also by the expensive carelessness with which a lemon has been left partly peeled and a silver cup overturned.

Willem Heda (1599-1680/82) was the master of still life. In his Still Life, despite limitations of subject matter, he demonstrates an unexpected eloquence in the rendering of golden light, as well as sensitivity in establishing the precise relationships between transparent, translucent, reflecting, and mat surfaces - a silent drama of pure sense presented in the style of a Caravaggio religious scene against the typical background of nowhere, fluctuating between shadow and light.

Make sure you know how to pronounce the following words:

Hobbema ['hobim@]; Hals [h{ls]; Cuyp [kaip]; Ruisdael [PraIzdÓl]; Haarlem [PhÓl@m]; genre [PÆÓnr@]; burlesque [býPlesk]; fluctuate [Pflök¶ueit]; eloquence [Pel@kw@ns]; palate [Pp{lit]; horizon [h@Praizn]; tantalise [Pt{nt@laiz]; monochrome [Pmon@kr@um]

TASKS

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

1.Jan van Goyen placed figures to a dominant position.

2.Heda's still-lifes are referred to as "breakfast pieces".

3.De Hooch represented genre scenes of the lower classes life.

4.Jacob van Ruisdael was the best Dutch landscape painter.

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?

Generated by Foxit PDF Creator © Foxit Software

http://www.foxitsoftware.com For evaluation only.

68

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 кàртину; стремительные мàзки; цàрство прострàнствà и светà; системà открытого рынкà; "зàвтрàки"; нàчищенное серебро; жàнровàя живопись; дорожный пейзàж; переместить сцену нà кухню; морàлистическàя кàртинà; морские битвы; эскизные мàзки; специàлизировàться по отдельным видàм темàтики; шумные сцены в тàверне; небеснàя àрхитектурà движущихся облàков; чувство композиции и цветà; одноцветнàя кàртинà; прослàвлять гàрмонию буржуàзного бытà; нàтюрморт; возродить поздне-готический бурлеск; резной инкрустировàнный комод; великолепнàя пàнорàмà; место, дàющее 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 Ñ laesz Heda

3.Jan van Goyen

4.Jan Steen

5.Aelbert Cuyp

6.Meyndert Hobbema

Generated by Foxit PDF Creator © Foxit Software

http://www.foxitsoftware.com For evaluation only.

69

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.

Ñтàнковàя живопись - основное достижение голлàндского искусствà XVII в. Áытовàя живопись стàлà одним из ведущих жàнров. Â истории искусствà создàтели этого жàнрà нàзывàются "мàлыми голлàндцàми". Ãоллàндцы хотели видеть в кàртинàх весь мир. Êàждый состоятельный (well-to-do) голлàндец считàл кàртину лучшим укрàшением своего жилищà. Áольшой спрос и связàннàя с этим конкуренция вызвàли специàлизàцию художников по отдельным видàм темàтики: одни писàли портреты, другие - жàнровые сцены, нàтюрморты, пейзàжи: городские, сельские, дорожные. Ðàсцвет пейзàжной живописи в голлàндской школе относится к середине XVII в. Êрупнейшим мàстером реàлистического пейзàжà был ßкоб вàн Ðейсдàл.

Íàивысшего рàсцветà достиг нàтюрморт. Âиллем Õедà чàще всего изобрàжàет "зàвтрàки": блюдà с окороком или пирогом нà скромно сервировàнном столе. Ñ течением времени "зàвтрàки" Õеды сменяются роскошными "десертàми" Êàлфà. Íà смену простой утвàри приходят мрàморные столы, ковровые скàтерти, серебряные кубки, хрустàльные бокàлы.

VI. Summarize the text.

VII. Topics for discussion.

1.Dutch landscape.

2.Dutch genre painting.

3.Dutch still-life.