HOW TO SPEAK

ABOUT ART
IN ENGLISH
4 И (Англ.)
П 61

Авторы:
М . М . Ф алькович, Е . М . Л ебединская,
Н . С. С т релкова, А . Д . Ц игельна я

Пособие по развитию навы ков устной речи. (How to

П 61 Speak a b o u t A r t in E nglish.) М ., «М еж дунар. отнош ения»,
1976.

216 с.; 1 л. ил.

На обороте тит. л. авт.: М. М. Фалькович, Е. М. Лебедин­

ск ая, Н. С. Стрелкова, А. Д . Ц игельная .
Пособие содержит материалы по истории живописи, скульптуры и архитек­
туры и имеет как практические, т ак и общеобразовательные ц ели . Имеющиеся
в пособии упраж нения рассчитаны на развитие навыков устной речи и перевода.

70104 — 015
П 003(01) — 76 44 - 7 6 4 И (Англ.)

© И здательство «Международные отношения», 1976 г.

 О Т А В Т О РО В

Н астоящ ее пособие “ H ow to S peak a b o u t A rt in E n g lish ”

предназначается д л я ш ирокого к р у га лиц, изучаю щ их ан гл и й ­
ски й я зы к на продвинутой стадии обучениям и имеет к а к обще­
образовательны е, т а к и чисто практические цели.
Л ю дям , изучаю щ им иностранны е язы ки и читающим лите­
р а т у р у на иностранны х язы к ах , необходимо иметь основные
сведения о к у л ь ту р е народов мира и, в частности, об их искус­
стве. П оэтому возни кла необходимость в создании пособия,
даю щ его, во-первы х, определенны е знан ия об основных н а ­
п р ав л ен и ях , крупнейш их м астерах и произведениях мирового
изобразительного искусства, во-вторы х, с л о в ар ь д л я вы р аж е­
ния соответствую щ их понятий и, в-третьих, систему у п р а ж ­
нений, обеспечиваю щ их закр еп лен и е сл о вар я и развитие навы ­
ков устной и письменной речи на базе этого сл о вар я.
П оскольку пособие предназначено д л я лиц, изучаю щ их
англий ский я зы к (и, соответственно, к у л ьт у р у стран ан гл и й ­
ского язы ка), разделы по английской и ам ерикан ской ж и в о ­
писи даны несколько ш ире, чем того требовали бы пропорции
подобной книги на другом язы ке. А так к а к предполагается,
что учащ иеся достаточно хорош о знаком ы с русской к у л ь т у ­
рой, особенно с ку л ьту р о й X IX — XX веков, раздел русского
искусства этого периода заним ает • сравнительно меньш е
места.
Пособие состоит из семи частей. В каж дой части имеются
тексты , пояснения географ ических и собственных имен, при-
текстовой сл о в ар ь и у п р аж н ен и я.
С ловарь (V o cab u lary N otes) определен исклю чительно те­
м атикой пособия и содерж ит, н ар яд у с русскими эк ви в ал ен ­
тами, пояснения понятия или термина, если содерж ание его
может быть неизвестно неспециалисту, а т а к ж е примеры на
словоупотребление.
И з словарны х значений вы бирались то лько те, которые
имеют отнош ение к ж ивописи, ску л ьп ту р е и архитектуре, а

3
т ак ж е помогают вести беседу и переводить тексты о худ ож н и ­
к а х и ск у л ьп то р ах , о произведениях изобразительного ис­
кусства и архитектуры . К ак прави ло, то или иное слово или
словосочетание вводится в таком контексте, которы й наиболее
полно раскры вает его значение (хотя оно могло встретиться
и раньш е).
В конце книги имеется русско-английский словарь-ин­
дек с, где приводятся отобранные по тематике пособия слова,
даю тся их англий ские эквиваленты и указы вается страница,
где учащ ийся м ож ет найти перевод данного слова, объясн е­
ние, его словосочетаемость, производные, примеры на его
употребление и т. п. Это сделано д л я удобства пользования
пособием и дает возм ож ность учащ ем уся познаком иться со
всем отобранным словарем д аж е в том случае, если какие-
либо разделы не бы ли им изучены .
У п раж нен ия строятся следую щ им образом: после каж дого
разд ел а, а в некоторы х сл у ч а я х после каж дого текста, даю т­
ся текстовые у п р аж н ен и я (W ork on th e T ex t), целью кото­
рых я вл яется р аскры ть содерж ание и язы к текста (или т е к ­
стов); после каж дой из семи частей даю тся у праж нения на
закреп лен ие вы деленны х слов и словосочетаний и на разви ­
тие ум ения проводить беседу и дискуссию по искусству, опи­
сы вать картины и други е произведения искусства. По мере
накопления учащ им ися сл о вар я и знан ий в данной области
увеличивается количество и повыш ается слож ность речевых
упраж нений .
Пособие предусм атривает т а к ж е развитие навы ков пере­
вода, поэтому к а ж д а я часть снабж ена текстам и и предлож е­
ниями д л я перевода с русского язы ка на английский, а в час­
т я х V , V I и V II т а к ж е имеются диалоги д л я двустороннего
перевода. П ри переводческой направленности обучения р еко­
мендуется проделы вать все эти упраж нения целиком; при
други х целях обучения из у п р аж н ен и й на перевод можно
переводить только ту часть, которая содерж ит отрабатываемый
словарь.
Д л я того чтобы пособием м огли пользоваться лица, само­
стоятельно изучаю щ ие англий ский язы к или соверш енствую ­
щие свои знан ия английского язы ка, переводческие у п р а ж ­
нения снабж ены клю чами (см. в конце книги). Кроме того, в
каж дом разделе предлагаю тся у праж нения на обратный пере­
вод на материале текстов, что такж е обеспечивает возмож ­
ность сам ообразования (обычно s ro уп р . I и II в разделах
“ W ork on th e T e x t” ).
 C O N T E N T S

Part I. ANCIENT AND MEDIEVAL ART . 7

§ 1. In tro d u ctio n (7). § 2. E g y p tian A rt (7). § 3. Greek

A rt (8). § 4. R om an A rt (12). § 5. The M iddle Ages (18).
§ 6 . G othic A rt (18). Medieval Russian Art: § 7. A rch itectu re
(23). § 8 . The Moscow K rem lin (25). § 9. C hurch P ainting
(27).

Part II. R EN A ISSA N C E ART .......................................... 39

§ 1. In tro d u c tio n (39). The Early Renaissance: § 2. G io tto

(39). § 3. M asaccio (40). § 4 . Van E yck (41). § 5 . B otticelli
(41). The High Renaissance: § 6 . L eonardo da Vinci (46).
§ 7. R aphael (52). § 8 . M ichelangelo B uonarroti (56). § 9.
T itia n (58). § 10. A lbrecht Diirer (60). § 11. P ieter B rue­
ghel th e E lder (61). § 12. El Greco (62).

P a rt III. XVII CENTURY A R T ................................................71 v

§ 1. In tro d u ctio n (71). § 2. C aravaggio (71). § 3. R ubens

(72). § 4. V elasquez (74). § 5. R em b ran d t (78). § 6. Vermeer
(81) .....................................................................................

P a rt IV. X V I I I — X IX CENTURY ART ..............................89

§ 1. In tro d u ctio n (89). § 2. H ogarth (89). § 3. Reynolds
(91). § 4. G ainsborough (92). § 5. C onstable (97). § 6. T urner
(98). § 7. Goya (102). § 8. D avid (105). § 9. Ingres (105).
§ 10 D elacroix (107). § 11. D aum ier (108).

P a rt V . FRENCH ART (X I X -X X C EN T U R IE S) . . . 119

§ 1. W hat is Im pressionism ? (119). § 2. The Science of C ol­

our (119). § 3. The Im pressionist P a le tte (121). § 4 . The Im ­
pressionist T echnique (121). § 5 . M anet (125). § 6 . Monet (128).
§ 7. R enoir (129). § 8. Degas (133). § 9 . R odin (135). § 10. Ce­
zanne (138). § 11. Van Gogh (139). § 12. G auguin (141).
§ 13. M atisse (144). § 14. Picasso (145)............................................

5
Part V I. R U S S IA N PAINTING (X I X -X X C E N T U R IE S) 157

§ 1. B rullov (157). § 2. K iprenski, T ropinin (157). § 3 . The

W anderers (158). § 4. Surikov (160). § 5. R epin (161). § 6. Se­
rov (162). § 7. Vrubel (162). § 8. F avorsky (164).

P a rt V II. AMERICAN ART ......................................................177

§ 1. The A rtist in A m erica (177). § 2. H om er (178). § 3. C assatt

(179). § 4. W histler (180). § 5. XX C entury A m erican Art
(183). § 6. W yeth (186).
I l l u s t r a t i o n s .................................................................................. 176____ 177
Suggested Key to T ranslation and Rendering:
P a rt I (194). P a rt II (195). P a rt III (196). P a rt IV (197).
P art V (199). P a rt VI (201).
Selected Bibliography ............................................................204
G lossary . . . ....................................................................... 207
 Part I.

ANCIENT AND MEDIEVAL ART

§ I. Introduction

T he beg in n in g of a rt can be traced b ack to th e preh isto ric

tim es w hen m a n used tools m ad e from wood, bone or stone, and
m odelled figures, drew or p a in te d his first p ic tu re s.
A t a m uch la te r stag e (20,000— 15,000 В. C .), m an made his
first attem pts a t fashio n in g a likeness in sculpture and p a in tin g .
U sing stone an d bone he carved sculpture in the round and in re­
lief, fashioned objects o u t of cla y an d o th er m a te ria l, and ad o rn ­
ed his bone tools w ith en g rav in g s. H e also covered th e w alls
of th e caves in w hich he liv ed w ith draw ings and p ain tin g s.
A p rim itiv e relig io u s in s tin c t seem s to h av e m o tiv a te d h im to
produce such w orks of a rt w hich w ere designed to secure success
in th e h u n t, th e m ain source of food for P a le o lith ic m an . T h a t
e x p lain s w hy th e m a jo rity of th e sc u lp tu res an d d raw n or p ain te d
pictu res rep resen t an im als, an d p a rtic u la rly those th a t fell a
prey to th e h u n te rs.
T he a rts of th e h isto ric era h a d th e ir o rig in in th e preceding
p reh isto ric c u ltu re s from w hich they derived both subject m atter
and style. A t the root of a ll artistic endeavour la y religion, assu m ­
ing th e form of anim ism , i. e. th e belief in th e a n im a tio n of
n a tu re , and fetish ism , i. e. th e w orship of su p e rn a tu ra l forces in
an im als and in a n im a te o b jects. A belief in th e after-life and
th e re su lta n t w orship of th e dead led to c u lts w hich offered vast
sources of inspiration to the arts. H uge tom bs an d tem ples were
b u ilt, and furnished w ith the offerings o f sculptors, painters and
craftsmen.
T he first tru ly organised n a tio n a l sta te s a n d w ith th em im p o r­
ta n t n a tio n a l c u ltu re s developed in th e areas w here A frica and
A sia m eet E urope: in E g y p t a n d M esopotam ia.

§ 2. Egyptian Art

From the dawn of history E g y p tia n art tended towards m onu­

m ental form s of expression. A rch itectu re, serv in g p rim a rily th e
w orship of th e dead, th e s ta te relig io n an d th e g lo rific a tio n of
7
the ru le r, developed as an a rt th a t stro v e to overcom e th e tr a n ­
s ito ry n a tu re of life on e a rth . T he belief th a t an essen tial c o n d i­
tio n for th e posth u m o u s life of m an w as th e p reserv atio n of his
b o d ily rem ain s a n d th e ir safe p lacin g in a tomb which would
w ithstand the ravages o f tim e a n d h u m an interferen ce com pelled
th em to b u ild m assive sto n e to m b s. G ig an tic ro y a l p y ram ids
w ere m ade, first in a terraced form and th e n w ith sm ooth
sides, e ith e r p o in ted or tru n c a te d . T he sam e p rin cip les u n d erlay
th e a rc h ite c tu re of th e tem p les, w hich en sured for th e ru lers a
c o n tin u e d ex isten ce in th e beyond and th e la stin g favours of
th e gods.
T he w alls of th e tem ples w ere covered w ith p ic tu re s show ing
ev en ts in th e liv es of th e gods a n d th e kings. B oth in relief and
in p a in tin g , the m a in feature was outline draw ing, colour being
used sim p ly to fill in th e draw in g .
In its in itia l stag es E g y p tia n sc u lp tu re serv ed purposes
sim ila r to those of a rc h ite c tu re . I t depicted th e dead, th e reb y
g u aran teein g th e dead soul a posth u m o u s ex isten ce. B ut it was
also used to deco rate a rc h ite c tu re , sc u lp tu res of gods and p h a r-
aohs, u su a lly carv ed in h a rd sto n e, w ere placed close to th e te m ­
ples as im ages of th e deities an d kings.
E g y p tia n sc u lp tu re h a d alw ays show n a su rp risin g feeling
for realism , b o th in tin y statuettes an d m o n u m e n ta l sta tu e s as
seen for exam ple in the expressive sculptural portraits of K ing
A m enhotep IV, h is w ife N e fe rtiti an d th e ir c h ild re n and in the
s ta tu e tte s of K ing T u ta n k h a m e n .
T he a rt of a n c ie n t E g y p t is no dead or ex o tic th in g . I t was
from E g y p t th a t G reek a rt received its first stim u lu s.

§ 3. Greek Art

T he G reek c u ltu re of th e first c en tu ries a fte r th e G reek in ­

vasion of th e B a lk a n p en in su la is rep resen ted in sm all a rtis tic
o b jects ex ca v a ted from to m b s. The most usual art form s were
vase p a in tin g , m arked by geom etrical designs, and sm all religious
fig u rin es in clay.
V A rchaic Greek art (eighth c e n tu ry to second q u a rte r of fifth
c e n tu ry В. C.). D u rin g th e e ig h th c e n tu ry pottery expanded and
m ade use of a n im a l m o tifs (figures of griffons, sp h in x es, beasts
of prey, bird s, e tc .).
A m onum ental elem ent began to appear in Greek art ab o u t
600 В. C. w hen a rc h ite c tu re an d sc u lp tu re ceased to use wood
and c la y and began to m ake use of stone. T h e sm all s a n c tu a ry
s ta rte d to evolve in to the vast Greek temple.
 O ne of th e o ld est tem p le b u ild in g s, of w hich ch iefly s m a ll
fragm ents of th e sto n e s tru c tu re have su rv iv e d , is th e T em p le
of th e goddess H era a t O ly m p ia, a c o n stru c tio n w ith w ooden
p illa rs of a b o u t th e sev en th c e n tu ry В. C. T he w ooden p illa rs
w ere replaced aro u n d 600 В. C. by sto n e colu m n s, first m ono­
lith ic , la te r com posed of several segm ents, th u s g iv in g rise to the
D oric order in a rc h ite c tu re . To th is group of e a rly tem ples also
belongs th e T em p le of A pollo a t C o rin th , w here th e colum ns w ere
m ade of enorm ous m o n o lith s. The temples o f the Doric order re­
tained their solemn and rigid character dow n to classical tim es.
T he a rc h ite c tu ra l sty le of G reece as expressed in th e D oric
sty le developed in to an o th er order in th e s ix th c e n tu ry . In
th e G reek se ttle m e n ts of A sia M inor an d on th e A egean Islan d s
the Ionic order was evolved in w hich th e slen d er, ta ll colum ns
h av e deeply flu te d sh afts, a com plex base, an d on th e o rn a m e n t­
ed headpiece is a c a p ita l w ith a p air of o u tw a rd ly cu rling sp i­
ra ls c alled v o lu tes. T he o rig in of th e Ionic order can be traced
to th e influences of th e a rc h ite c tu re of W estern A sia, w ith its
p la n t elem ents in th e c a p ita l an d the relief decorations on the
frieze.
In th e e a rlie st periods th e G reeks h a d used m a in ly lim e­
sto n e for sc u lp tu re b u t w hen th e y discovered m a rb le th e y found
them selves d ealin g w ith a m a te ria l th a t w as te c h n ic ally and
a e sth e tic a lly su p erio r. T he b rittle n e s s of m a rb le set c e rta in lim its
to th e c o m p le x ity of th e figures, w h ile th e p o ssib ilities of a
precise and m eticu lo u s fash io n in g of th e form an d of th e sm ooth
surface of th e s ta tu e a m p ly m ad e up for a n y shortcom ings.
T he m ost sp e c ta c u la r successes w ere th e w ork of A ttic scu lp ­
to rs w ho solvecf the problems of d epicting physical shape by th e ir
a tte m p ts to c re a te figures in m o tio n w hich w ould be a r tis ti­
c a lly effective from a ll angles. T hese endeav o u rs w ere so w id e­
sp re ad tow ard s th e end of th e fifth c e n tu ry th a t even th e decora­
tio n on th e p ed im en ts of tem p les cam e to co n sist of free-standing,
three-dimensional statues.
F rom th e b eg in n in g of th e six th c e n tu ry onw ards vase p a in t­
in g began to use fig u re subjects w ith in a fram ework o f geometrical
design and ornam ental adornm ent. The m ost im p o rta n t them es
w ere those of m y th o lo g ical, cerem onial an d m oral su b jects, a
specific p ro d u ct of th e G reek im ag in atio n , an d m o stly in s p ir­
ed by epic lite ra tu re .
T he p a in te rs used b lack an d w h ite v a rn ish on th e red b ack ­
ground of th e vase, a p p ly in g silh o u e tte form an d scratc h in g
th e design in black.
T he invasio n of G reece by th e P ersian s an d th e subsequent

9
c o u n te r-a tta c k a n d ex p u lsio n of th e enem y from G reece, are
events w hich d iv id e th e arch aic from th e classical p eriod (from
480 to second q u a rte r of th ird cen tu ry ) in w hich G reek a rt
reached its c u lm in a tin g p o in t.
D esigners in G reece produced a rc h ite c tu ra l form s w hich p ro v ­
ed to be a b asic source for designs for th e follow ing tw en ty -fiv e
cen tu ries th ro u g h o u t th e w o rld .
T he P a rth e n o n , a tem p le h o n o u rin g th e goddess A th en a, w as
erected on th e A cropolis, a fo rtifie d h ill in A th en s, betw een the
years 447 an d 433 В. C. C o n stru cted in m arb le w ith in g en u ity
a n d s e n sitiv ity , it sta n d s, even in ru in s, as one of m a n ’s m ost
noble expressions. Possessing id e a l p ro p o rtio n s, a g ra n d eu r of
form , and a perfect harm ony between а л absolute sim p licity and
ornateness, th is G reek tem p le ach iev ed classical design perfec­
tio n . T he P a rth e n o n ’s designers o b ta in e d a v isu a l perfection w ith ­
in th e tem p le th ro u g h b o th h a rm o n y of p ro p o rtio n s an d n u ­
m erous su b tle co m p en satio n s for proper v isu a l reactio n s in v iew ­
in g an elo n g ated re c ta n g u la r tem p le. In th e low er area of th e
P a rth e n o n th e lo n g h o riz o n ta l step s w ere cu rv ed slig h tly u p ­
w ard to refu te a n a tu ra l o p tic a l illu sio n w hich w ould im p ly a
slig h tly concave m o v em en t in p erfectly s tra ig h t ste p s. The D or­
ic colum ns were designed to lean g e n tly inward, for perfectly
s tra ig h t p erp e n d ic u la r pillars w ould appear to sla n t forward. T he
colum ns also deceived an d sa tisfie d th e eye th ro u g h a lig h t
sw elling in the sh a ft w hich p rovides a v isu a l sen satio n of reg u ­
la rity w hen view ed from below .
T he fair n u m b er of m ore or less w ell preserved tem ples in
Greece an d S icily show m an y of th e d ifferen t form al v a ria n ts in
w hich th e tem p les of th e D oric order w ere b u ilt a t th is tim e.
In th e m id d le of th e fifth c e n tu ry th e re a p p eared scu lp to rs
w hose w orks w ere reg ard ed as unsurpassable by the ancients. A t
th is tim e th a t m a ste r of body m o v em en t, th e bronze caster M y­
ro n , produced his fam ous w ork, w hich has been copied m an y
tim es, th e “ D iscus T h ro w er” (“ D isco b o lu s” ). H ere for th e first
tim e th e body is depicted in contorted movement, an d the m echa­
nism of th e bones, ten d o n s, an d m uscles is s c ie n tific a lly a n a ­
lysed. N ot o n ly d id th e a r tis t c a tc h th e young m an a t th e very
m o m ent w hen he w as a b o u t to h u rl th e discus, b u t he also m an a g ­
ed to express the em otional tension of the m om ent. P o ly cletu s
w ho also w orked in bronze, achieved th e suggestion of m ovem ent
b y th e c o n tra st b etw een th e leg on w h ic h J h e w eig h t rested and
th e free leg as in h is fam ous s ta tu e of ffh ^ “ S pear B earer” .
O ne of th e g re a te st a rtis ts of th e tim es w as P h id ia s. Ju d g in g
by th e re p ro d u ctio n s of his sta tu e s of A th en a a t th e P a rth e n o n
10
an d Zeus a t O ly m p ia, P hidias m ust have been an a rtist of great
genius, whose w ork sum m ed up th e ach ievem ent of th e p a st. H is
scu lp tu res w hich are endowed w ith serene d ig n ity and lofty state­
liness rem ain ed u n su rp assab le m odels to be follow ed by th e a r­
tis ts of a n tiq u e c u ltu re .
It is ty p ic a l of th e fo u rth ce n tu ry th a t m an y gods d isa p p e ar­
ed from sc u lp tu ra l iconography, except for th e few w ho a p p e a l­
ed to a rt for a e sth e tic ra th e r th a n for relig io u s reasons.
M ost p o p ular w as th e figure of A p h ro d ite, w hich p rovided op­
p o rtu n itie s for th e g ra d u a l u n v e ilin g of th e fem ale figure. T he
ideal of th e b e a u tifu l body c o n tin u e d to d o m in a te , and y o u th ­
fulness co n tin u ed to be considered a necessary a d ju n c t, b u t sculp­
tors were alread y b eginning to ta k e an in te re st in th e body at
a m ore m a tu re age, and e v en tu ally in th e physical c h a ra c te ris­
tics of old age. R ealism found an open field for fu rth e r develop­
m en t. T he urge to present c h a ra c te ristic d e ta ils p e rm itte d the
in co rp o ratio n even of ugly featu res an d the deform ation of fa ­
cial expressions. A pow erful force w hich sc u lp tu re in h e rite d from
d ra m a tic lite ra tu re was th e en deavour to ex press em o tions. T he
body could now be tw iste d in to u n accustom ed poses an d the
play of th e h an d s an d faces m ade to assum e different expressions.
T he g re a t m aster of th e perio d , P ra x ite le s, in tro d u ced a love
for th e sensual aspects of th e h u m an body an d for calm m oods.
E ven th e copies of his lost w orks (as th e “ C n id ian A p h ro d ite ” )
re ta in , in reproductions made by ordinary craftsm en, so m ething
of th e en ch a n tin g m agic of his a rt, in w hich he b alan ced se n su a l­
ity and em o tio n , re a lism an d idealism w ith a d iscip lin e th a t
was s till co n d itio n ed by th e classical s p irit. T he g reatness of
P ra x ite le s’ a rt can be ap p reciated in th e s ta tu e of “ H erm es C ar­
ry in g th e In fa n t D io n y su s” , found in th e ru in s a t O lym pia.
The carefree, elegant posture o f the figure, th e b e a u ty of th e body
and th e sem i-veiled look in th e eyes show how far sc u lp tu re had
advanced in h u m an isin g th e gods.
T he high s ta n d a rd of sc u lp tu re a t th e v ery conclusion of the
classical period is show n by a num ber of o rig in a l w orks now in
existence. A m ong th em is th e p a rtia lly u n d rap ed “V enus of
M ilo” , w hich p ro b a b ly cam e from th e first h a lf of th e fourth
c en tu ry , an d “ T he W inged V icto ry of S am o th ra c e ” , a w ork
m ade tow ards th e end of th a t perio d . In th em the pose of the body
is given a forward movement o f extreme com plexity, heightened by
the flu id drapery of lig h t g arm en ts b o th of w hich are ach ieve­
m ents of fo rm id ab le v irtu o s ity .
C ertain changes in th e sy stem of orders to o k place in th e H el­
le n istic period. T he D oric order lost som e of its rig id ity , th e

a
co lu m n becam e m ore slen d er, th e crossbeam s n arro w er, an d th e
spaces betw een th e colu m n s w ere en larg ed . T he m ore a d a p ta b le
Io n ic order w as u sed in creasin g ly in a rc h ite c tu re w ith g rea ter
v a ria tio n an d m ore o rn a m e n ta l featu res as seen, for exam ple,
in the C orinthian capital.
The secular architecture o f the H ellenistic period proved fa r
more v ita l. A few ex c a v a tio n s h av e rev ealed to us th e appearance
of H ellen istic tow ns such as P erg am u m , P o m p eii an d H e rc u ­
lan eu m . A m ong th ese one of th e m ost sig n ific a n t is P ergam um
w here larg e sectio n s of th e tow n w ere e x c a v a ted , in clu d in g the
ro yal palace, th e m ark et place, th e g ig an tic a lta r of Zeus w ith
its fam ous frieze an d reliefs, an d th e tem p le of A th e n a a t th e top
of th e h ill on w h ich th e tow n w as b u ilt.

§ 4. Roman Art

M any seeds, d eriv ed from e a rly G recian an d E tru sc an de­

signs, h ad a lre a d y been sow n in R om e w ith the erection of tem ­
ples such as J u p ite r C ap ito lin u s (509 В. C ., reco n stru cted in th e
first c e n tu ry A. D .)
B o th th e E tru sc a n influence, w hich led to w ard th e use of
ro u n d arches to secure v a u ltin g an d dom e c o n stru c tio n , and
G recian influence a re a p p a re n t in th e P a n th e o n (o rig in ally
b u ilt in 27 В. C. an d m o dified in 120 A. D .).
T he R om ans proved h ig h ly in v e n tiv e an d w h ile m ore concern­
ed w ith d e ta il, th e y w ere also m ore e x p e rim e n ta l th a n th e G reeks
in th e ir tem p le c o n stru c tio n . M o d ify in g a nd expanding ear­
lier form s to s u it th e ir purpose, th e R om ans often used nonsup­
p o rtin g colum ns fo r decorative effects, exposing th e m com pletely
or p a rtia lly em b ed d in g th em in w alls, and th e y also m ade e x te n ­
siv e use of a w ide ran g e of coloured m arb le. T h ey w ere m aster
b u ild ers, fu rth e r developing methods o f v a u ltin g large areas
w ith the round arch and the dome as w ell as p ro d u cing w ell-en­
gineered bridges, aq u ed u cts an d roads. By th e en d of th e fourth
c e n tu ry В. C. R om an engineers h a d m anaged to c o n stru c t e x te n ­
siv e p u b lic u tilitie s , such as th e p a v in g of th e V ia A ppia, th e
A p p ia n aqu ed u cts an d th e open d ra in for th e v a lle y betw een
th e h ills of R om e, sections of w h ich w ere su p p o rte d by arches.
Vast spaciousness and splendour w ere e v id e n t in th e bathhouses
of Rom e, an d th e y u su a lly c o n ta in e d lib ra rie s, lectu re room s,
and sta d iu m s in a d d itio n to fa c ilitie s for h o t or cold b ath s.
O ver n in e h u n d re d of these s tru c tu re s w ere erected before th e
decline of R om e in th e fifth c e n tu ry A. D. A t its h e ig h t th e E m ­
p ire h a d fifty th o u san d m iles of ex cellen t road s serv in g as in n u ­
12
m erable fingers of influence w hich c arried R o m an law an d cus­
tom s in to th e u n iv erse of th e an cien t d is ta n t provinces from E ng­
lan d and F ran ce to N o rth e rn A frica an d A sia M inor.
T he ev o lu tio n of new c o n stru c tiv e elem en ts w as aid ed by
im p o rta n t tech n ical discoveries. A p a rt from sto n e R om an a r­
c h ite c tu re soon began to m ake use of b rick s, w hich a t th e peak
of R om an a rc h ite c tu re becam e th e m ain b u ild in g m a te ria l b e­
cause of th e ir a d a p ta b ility . T h e in v e n tio n of con crete p ro ­
vid ed a m a te ria l th a t encouraged th e m o n u m e n ta l tendencies
of R om an arc h ite c tu re . A l l these technical innovations w ere used
to c reate in te rio r space.
In th e field of a rc h ite c tu re th e R om ans in a u g u ra ted a new
epoch th a t sto o d in sharp c o n tra s t to th a t of G reece; b u t in th e
fields of sc u lp tu re an d p a in tin g th e y succum bed to H ellenic
influences, even th o u g h th e y m anaged to im p rin t th e ir ow n c h a r­
a c ter upon a t le a st som e asp ects of a rtis tic w ork, th u s a d v an c ­
ing th e e v o lu tio n of w h a t th e y h a d borrow ed.
In its m a in c h a ra c te ristic s R om an a r t w as e sse n tia lly n a ­
tio n a l d esp ite its close co n n ectio n w ith H ellen ic a rt. I t brought
the classical tr a d itio n to a p o in t of e v o lu tio n a t w hich it was
cap ab le of ta k in g on a new d ire c tio n , an d th u s form ed th e s ta r t­
ing p o in t for th e a rt of th e M iddle Ages.

GEOGRAPHICAL A N D PR O PE R NAMES

В. C. ['b i: 's i :] = before C hrist O lympia [ou'iim pia] ист. О лим­

[bi'fa: 'k ra ist] до нашей эры пия (a v alley in ancient Greece
Paleolithic [.paeliou'HBik] палеоли­ w here a g reat num ber of tem ples,
тический (referring to the early alta rs and statu es were concen­
Stone Age) tra te d , th e place w here th e an­
Egypt ['iid g ip t] Египет cient O lym pic games were held)
M esopotamia ^ m e se p a 'te im ja ] Ме­ the Doric [ dorik] order дорический
сопотамия ордер
E gyptian [i'd 3 ip j(e )n ] египетский
AmenhotepIV ^ a im a n 'h o ta p ] Амен­
хотеп IV, also know n as Akh-
enaten [a:k 'n a :ta n ] Эхнатон
Nefertiti [/n e fi(r)'titi] Нефертйти
Tutankham en [Д 1Й а:Г )'ка:тэп] Ty-
танхамбн
the Balkan peninsula ['Ьэ:1кэп
pi'ninsjula] Б алкан ский полу­
остров
Hera ['Ы эгэ] Гера (a Greek god­
dess, identified by the R om ans DORIC IONIC CORINTHIAN
w ith Ju n o ['d g u m o u ] — Юнона)

13
the Ionic [ai'onik] order ионичес­
кий ордер
the Corinthian [ka'rinOjen] order
Коринфский ордер (an elabo­
ratio n of th e Ionic order charac­
terized by a bell-shaped cap ital
w ith rows of acanthus leaves)
Apollo [э'рэкш ] Аполлон (a Greek
god, identified by the Rom ans
w ith Phoebus ['fi:bas] — Феб)
the Aegean [ir'd g u an ]
острова в Эгейском море
Attic I'aetik] аттический, афин­
ский
Athens ['aeSinz] г. Афины
the Parthenon ['pa:0inan] Парфе­
нон
Athena [э'вкп э] Афина (the Greek
goddess of w isdom , identified
by the R om ans w ith M inerva
[m i'naive] — Минерва)
the Acropolis | э 'kropalis] А крополь
Myron I'm aiaran] Мирон (the great
Greek sculptor of the 5th cen­
tu ry B.C., a contem porary of
P h id ias f'fidiaes] — Фидий and
Polycletus ^p o li'k li.-tis] — По­
ликлет)
“ Discus Thrower” «Дискобол»
“ Spear Bearer’ ['spia 'bear a]
«Копьеносец» («Дорифор»)
Zeus [zju:s] Зевс (the Greek god •
of th u n d er and lightning, iden­
tified by the R om ans w ith J u ­
piter I d^u ipita] Юпитер)
Aphrodite [^aefra'daiti] Афродита
(the Greek goddess of love and
b eauty , identified by the Ro­
m ans w ith Venus)
Praxiteles [praek'sitali:z] П ракси­
тел ь (the Greek scu lptor of the
4 th century B.C.)
Cnidian ['naidian] Aphrodite, or
Aphrodite of Cnidus ['n aid as] Аф­
родита Книдская
Hermes ['ha:m i;z] Гермес (a Greek
god, messenger of the gods,
identified by the R om ans w ith
M ercury ['m a:k ju ri] — Мер­
курий)
Dionysus l,d aia'n aisas] Дионис
(the G reek god of wine, id e n ti­
fied by the R om ans w ith Bacchus
['baekas] — Вакх)
14
Venus of Milo ['vi:nas 9 v 'mailou]
Венера М илосская
Samothrace I'ssemoufireis'] о-в
Самофракия; “ The W inged Vic­
tory of S am othrace” Н ика Ca-
мофракийская
Hellenistic [,h e li'n istik ] эллинис­
тический, относящ ийся к эл ­
линизму (о культ уре, ст иле и
т. п.); H ellenism ['helinizm ] эл ­
Islands линизм
Pergamum ['paigam am ] ист. г.
Пергам (also known as Perga-
mos)
Pompeii [pam 'peii] ист. г. Помпеи
Herculaneum ^ h a rk ju 'le in ja m ] ucm.
г. Геркуланум
Grecian |'g ri:$ an ] греческий (о
стиле, культ уре и от. п.)
Etruscan [i'trA skan] этрусский
Jupiter Capitolinus I'd ju rp ita
k a'p ita la in a s] Юпитер Капи­
толийский
A. D. I'e i'd i:] = anno D omini
['aenou 'd am in ai] лат. нашей
эры
the Pantheon |p aen '0 ian | Пантеон
(a tem ple dedicated to the w or­
ship of all gods)
the Via Appia ['via'aepia] Виа
Аппиа (also the A ppian Way,
betw een Rome and Capua)
Hellenic [h e 'li:n ik ] эллинский,
греческий
VOCABULARY NOTES
§ 1. art n искусство: a work of
~ произведение искусства; the
Fine A rts (or the Arts), visual
~ s изобразительное искусство;
applied ~ прикладное искус­
ство; decorative — декоратив­
ное искусство; popular (folk)
~ народное искусство; attrib.
use: an art school, gallery, ex­
hibitio n .
N o t e : The noun art, especially
when used as an uncountable
noun, generally applies to the
visual arts, and not to music,
singing, or dancing. It may also
mean искусство, мастерство,
умение.
artistic а художественный, ар­
 тистический; inartistic а м ало­
художественный, антихудож е­
ственный
model ['m odi] tit, vi лепить, мо­
делировать, выделывать: to
~ an object, a figure, a h e a d , etc.
(in clay, w ax, etc.). S y n . to
fashion; modelling n моделиро­
вание, лепка, лепн ая работа
(the a rt of fashioning objects
in clay, w ax, etc.), e.g. He stu d ­
ied m odelling and p ain tin g
under a w ell-know n a rtist. The
m odelling of the torso is superb.
N o t e : th e w ords to model and
modelling are also used about
p a in tin g to denote the tech ­
nique aim ed at giving the illu ­
sion of volum e and depth, in
co ntrast to fla t treatm en t,
likeness n 1) сходство; 2) изобра­
жение, портрет: to fashion a
~ in sculpture and p ain t, e.g.
The m odelling of the head is
perfect, and it is a good lik e­
ness, too.
carve v t, vi вырезать, резать: to
~ an object out of wood, stone
or bone; to ~ a design, a pictu re
on th e surface of wood, stone or
bone; carver n резчик; carving
n резьба, резная работа
sculpture ['skA lptSe] n 1) скуль­
птура, ваяние (as the a rt of
fashioning objects out of clay,
bone, wood, stone,etc.); 2) с к у л ь ­
птура (изваяние): a piece of
~ ; sculptor n скульптор, в ая ­
тель; sculptural а скульптур­
ный: a ~ p o rtra it; a ~ group
round n круг: sculpture in th e ~
к р угл ая, трехмерная ск у л ь­
птура (a form of sculpture in
w hich an object is m eant to be
viewed from all sides (con trast­
ed w ith relief — рельеф); to
be carved, m odelled, done in
th e ~
relief n рельеф (изображение):
high ~ горельеф, высокий ре­
льеф; low — or bas- ~ still at the height of his crea­
['b a :riyli:f] барельеф, низкий
рельеф; to be carved, m odelled,
done in ~ (contrasted w ith sculp­
ture in the round); attrib-
use: decoration, ornamentation
engrave vt гравировать, резать:
to ~ designs, figures, sym bols
on wood, bone, stone, m etal,
on a m etal p late (for p rin tin g ),
etc.; engraving n 1) грави рова­
ние; 2) гравю ра, эстамп, оттиск
с гравюры; engraver п гравер
represent v t изображ ать, рисовать,
e.g. The a rtist represented his
wife as th e Goddess of Spring.
S y n . to depict, po rtray ; rep­
resentation n изображение: a
realistic, life-like, fa ith fu l ~
of sm th ., sm b’s life, etc. р еа­
листичное, жизненное, точное
изображение. S y n . depiction,
portrayal
B u t : The E nglish for “ Н а к а р ­
тине изображ ен крестьянин (лес
пруд и т. п .)” is “ In th e p a in t­
ing we can see a p easan t (a
wood, a pond, etc .)” .
subject matter тема, содержание,
e.g. The w orship of su p e rn a tu ­
ral forces determ ined th e sub­
ject m a tte r of an tiq u e art. S y n .
subject n 1) тема, содержание,
сюжет; 2) изображаемое, об­
раз
artistic endeavour художественное
творчество, e.g. All forms of
artistic endeavour are encourag­
ed in th e Soviet U nion.
N o t e : o th er E nglish e q u iv a ­
lents of th e R ussian noun твор­
чество: 1) progress through
life — a career, e.g. I read a book
about the career of a fam ous
p ain ter (composer, w riter, sing­
er, etc.); 2) a product of the
im agination or in te lle c t—work(s)
or painting(s), sculpture(s),
(also w ritings, com positions,
etc.), e.g. In L e v itan ’s p ain tin g s
one feels th e a rtis t’s deep love for
Russian landscape; 3) the abil­
ity to create — creative powers,
e. g. At th e age of six ty he was
tiv e powers,
tomb [tu:m ] n гробница, склеп,
мавзолей, надгробный памят­
ник; tombstone п надгробная
 плита, надгробный памятник
temple п храм
craft п ремесло, искусство, ис­
кусное мастерство; craftsman
п ремесленник, искусный мас­
тер
§ 2. monumental а 1) монумен­
тальны й; 2) торжественный,
величественный: ~ sculpture
(large-sized) монументальная
скульптура (contrasted w ith
life-size scu lp tu re and figu­
rines, statu ettes); ~ pain tin g
м онум ентальная живопись
(обычно настенная, фреско­
вая); ~ forms монументальные
формы, образы; monumentali-
ty п монументальность, вели­
чие
architecture ['a:kitekt$a] п архи­
тектура, зодчество; architect п
архитектор, зодчий; architec­
tural [_,a:ki'tektSaral] а архи­
тектурны й: ~ elem ents, pro­
portions, masses (объемы); —
design архитектурный проект,
замысел
withstand the ravages of time про­
тивостоять разруш ительному
действию времени
pyramid ['piram id ] я пирамида
terraced а террасированны й, сту­
пенчатый: а ~ park, law n, tow ­
er, pyram id
truncatedi ['trA flkeitid] а усеченный
outline n контур, очертание: to
draw in ~ draw ing контур­
ное изображ ение, письмо (a
sty le of draw ing th a t gives
on ly lines of th is kind, w ith no
shading)
pharaoh ['fearou] n фараон
§ 3. design n 1) рисунок, узор,
e.g. 1 like th e design on the
vase; 2) проект, план, замысел
(творческий), Чертеж, эскиз,
конструкция;^ design v t проек­
тировать, конструировать; de­
signer п конструктор, проек­
тировщ ик, строитель
figurine ['figjuri :п] п статуэтка,
ф игурка. S y n . s ta tu e tte [.stae-
tju 'e t]
pottery n 1. гончарное дело; 2) гон­
чарные изделия, керамика
motif [m o u 'ti:f] п 1) основная тема
сюжет, мотив, лейтмотив: re­
ligious ~ s in p ain tin g ; anim al
~ s in vase p ain tin g; th e ~ of
th e com position, etc.; 2) о р н а­
мент, узор
evolve vt, vi развивать(ся), р а з ­
р аб аты ваться ): to ~ a new
m ethod, theory, style; to ~ in ­
to sm th, to ~ through th e ages
pillar n столб, колонна (m ade of
stone or wood)
column n колонна (usually made
of stone, used to su p p o rt or de­
corate a b uilding, or stan d in g
alone as a m onum ent)
rigid ['rid 3 id] а строгий, суро­
вый, ж есткий: ~ form, rules,
discipline, style, character; ri­
gidity n строгость, суровость,
жесткость, скованность: the
~ of form , style, etc.
fluted ['flu :tid ] а рифленый, желоб­
чатый: a ~ colum n, shaft ко­
лонна с каннелюрами
base n основание, фундамент,
пьедестал, цоколь: th e — of а
pyram id, statu e, colum n, p il­
lar, wall
ornament ['o:nam ent] v t украш ать.
S y n . to adorn; ornament n
украш ение; ornamented у к р а ­
шенный, разукраш енны й, со­
держащ ий различные украш е­
ния: a rich ly ~ ceiling, surface,
etc.; ornamental а орнаменталь­
ный (служ ащ ий украшением),
декоративный: an ~ frieze,
railin g , cap ital
capital n капитель (the top p art
of a column)
volute [v a'lju :t] n волюта, спи­
раль, завиток
frieze n фриз, бордюр
limestone n известняк
marble n мрамор
pediment ['p ed im an t] n фронтон
(a tria n g u la r p a rt a t th e top of
th e front of a building)
figure n фигура (изображение че­
ловека): ~ scu lp tu re (sculp­
tu re p o rtray in g hum an beings);
~ subjects, etc.
classical а классический: ~ art,
style, arch itectu re, etc.; clas*

16
 sicism I'klaesisizm ] n класси­
цизм
ornate [o:'neit] а изысканно (пыш­
но), цветисто украш енный;
ornateness п 1) пышное, цветис­
тое украш ение; 2) перегру­
женность деталями, пышная ор­
наментовка
pediments
elongated ['h b rjg e itid ] а удлинен­
ный; elongation п удлиненность,
удлинение, удлиненная форма
concave ['k o n 'k eiv ] о вогнутый
the ancients п pi древние народы
bronze п бронза: а ~ caster скуль­
птор, специалист по литью из
бронзы
model ['m odi] n 1) модель, образец;
2) натурщ ик, натурщ ица; 3) ж и ­
в ая модель, натура
antique [aen'ti:k] а древний, ан­
тичный; an tiq u ity [aen'tikw iti]
п древний мир, античность
facial expression выражение лица
posture п поза; elegant ~ изящ ­
н ая поза. S y n . pose
heighten v t усиливать: to ~ an
im pression, effect, to •— a col­
our, etc., e.g. The colour of
th e h at is heightened by the
co n trastin g blue of the sky. S y n .
to enhance
fluid drapery плавно спадающие
одежды
secular f'sekjula] а светский, не-
церковный, граж данский, мир
ской. A n t. ecclesiastical
§ 4. erect v t воздвигать: to ~
tem ples, m onum ents, pyram ids,
etc.; erection n строительство
reconstruct v t 1) перестраивать, ре­
конструировать; 2) восстанав­
ливать, реставрировать. S y n .
to reb u ild , to restore
arch [a:t$] n арка, дуга (как фор­
ма и как структурный элемент):
a round ~ кр у гл ая арка; а
p ointed — остроконечная,
стрельчатая арка; a triu m p h al
~ триумф альная арка
v au lt [vd:It] п свод; v au lt v t по­
крывать сводом, возводить свод;
vaulted а сводчатый: а ~ roof,
ceiling, nave (неф)
vaulting п сводчатое покрытие
dome п купол; domed а куполо­
образный; с куполом
space п пространство, простор;
interior ~ внутреннее про-
• странство; spacious ['sp eijas] а
просторный: а ~ room , hall,
b uilding, etc.; spaciousness n
простор, широта, наличие сво­
бодного пространства; sp atial
['sp e i$э1] а пространственный,
относящийся к пространству;
существующий в пространстве:
~ relatio n sh ip ; ~ rh y th m , u n i­
ty
concrete п бетон

W O RK ON THE TEXTS
I. Translate the italicised words and phrases from the texts, then, w ithout
consulting the texts, translate them back into English.
II . Answer the follow ing questions:
1. W h a t w ere som e of th e form s of a rtis tic endeav our in pre­
h isto ric tim es? 2. W h a t d id th e a rts of th e h isto ric e ra derive
th e ir su bject m a tte r a n d s ty le from ? 3. H ow d id th e belief in
th e afte r-life in fluence E g y p tia n a rt? 4. W h a t w as th e m ost
p o p u la r a r t form in e a rly G reek c u ltu re ? 5. W h a t a rc h ite c tu ra l

17
s ty le w as evo lv ed in th e six th c e n tu ry В. C.? 6. W h en and w here
w as th e P a r th e n o n erected? W h a t can you say a b o u t its style?
7. W ho w ere th e g re a te st G reek scu lp to rs of th e fifth c e n tu ry
В. C. an d w h a t pro b lem s in d e p ic tin g p h y sical sh ap e did th ey
solve? 8. W h a t changes cam e a b o u t in G reek sc u lp tu re d u rin g
th e fo u rth c e n tu ry ? 9. H ow d id R o m an a rc h ite c tu re differ from
G reek a rch ite c tu re ? 10. W h a t im p o rta n t te c h n ic a l discoveries
aid ed th e e v o lu tio n of new c o n stru c tiv e elem ents?
I I I . Retell the texts in detail.
IV. Give a brief sum m ary of the texts.

§ 5. The Middle Ages

M edieval a rt was alm ost exclusively ecclesiastical, and its
c e n tre of a c tiv itie s was th e ch u rch . A rc h ite c tu re concen­
tra te d on c re a tin g a H ouse of G od. F ro m e a rly C h ris tia n ity th e
M iddle Ages in h e rite d tw o m a in ty p es of ch u rch b u ild in g s —
the elongated basilica and the circular church. T he b asilica, h a v ­
in g proved s u ita b le th ro u g h o u t long c en tu ries of C h ristia n w or­
sh ip , becam e th e m a in form in R om anesque a n d G o th ic a r ­
c h ite c tu re an d its d e riv a tio n . C ircu lar churches, also ad o p ted
from C h ristia n a n tiq u ity , w ere used o n ly for special purposes. T his
ty p e becam e p o p u la r esp ecially in th e B y z a n tin e e ast serving
as private places o f worship in palaces an d castles or as funeral
chapels. T here are o n ly a few ex am p les in W estern E urope.

§ 6. Gothic Art
G o th ic a rc h ite c tu re was b o rn o u t of th e experiences gained
d u rin g th e fin a l p hases of R o m anesque a rc h ite c tu re . T he new
a rc h ite c ts to o k over m a n y featu res of L ate R om anesque a rc h i­
te c tu re , su b je c tin g th e m , how ever, to a new id e a l of stru c tu ra l
lig h tn e ss, less m assive, an d d em an d in g m ore so p h istic a te d form s.
G o th ic a rc h ite c tu re en d eav o u red to o rganise th e space of th e b a ­
silic a in to a u n ity , in w hich th e sig n ifican ce of th e w alls w as m in ­
im ised, and th e b u ild in g w as ra ise d to so arin g h eights, stres­
sin g the vertical p rin cip le throughout in the com positional rhythm
o f a ll parts of the structure. T h e fin a l an d p re d o m in a n t aim w as
th e a tta in m e n t of im a g in a ry sp ace, e le v a tin g m a n ’s m in d in to
th e su p e rn a tu ra l sphere.
T he tw elfth c e n tu ry m ark ed th e b eg in n in g of a g re at m ove­
m en t in relig io u s c o n s tru c tio n in th e form of c a th e d ra ls, w hich
p roved th e g re a te st design ach iev em en t of th e age. These ornate
structures, w ith th e ir g re a t em p h asis on v e rtic a l m ovem ent,

18
 paid v isu al hom ag e to th e C h ristia n G od th ro u g h form s v a stly
d ifferent from th o se p re v io u sly raised to h o nour p ag an gods of
G reece an d R om e. G o th ic designers c reated a u n iq u e m eans of
enclosing huge areas of o v erh ead space an d a tta in e d g re at h eig h ts
th ro u g h th e d ev elo p m en t of pointed arches a n d buttresses. P o in te d
arches, w ith th e ir steep le effects, p e rm itte d g re a te r h e ig h ts th a n
w ere o b ta in a b le w ith th e ro u n d arch p re v io u sly em p lo yed b y th e
R om ans or w ith th e G reek m eth o d of c o n stru c tio n , w hich con­
siste d of v e rtic a l posts su p p o rtin g o v erh ead h o riz o n ta l beam s.
I t also m ade possible rib b e d v a u ltin g com posed of a fram ew ork
of arches w hich acted as rib s . B u ttresses, m asses of m asonry
w hich acted as e x te rio r side rib s, w ere devised to p erm it th e ca ­
th e d ra l to be sh e a th e d w ith th in m asonry an d sto n e w alls w hich
could be fre q u e n tly pierced to a d m it lig h t. B o th pinnacled and
solid buttresses, as w ell as fly in g buttresses w h ic h acted as half
a rch es, were incorporated into Gothic construction. T hey played
a prim e role in su p p o rtin g an d rein fo rcin g th e c a th e d ra l w alls
by c o u n te ra c tin g th e th ru s t ex erted by rib v a u ltin g an d roof
ag a in st th e th in w alls.
T he R heim s C a th e d ra l, erected betw een 1211 and 1430, illu s ­
tra te s one of m a n ’s m ost noble v en tu res an d serves as an ex cel­
len t ex am p le of th e s tru c tu re s m ed iev al m a n raised to p raise
h is God.
An ex a m in a tio n of th e fagade in d ic a te s c e rta in q u a litie s
in h eren t in G o th ic ch u rch design. T he low er p o rtio n of th e fa­
cade c o n ta in s huge p o rta ls w hich p ro v e to be g ran d an d im posing
en tra n c e w ays. D ire c tly ab ove th e m ain p o rta l a huge rose w in ­
dow appears, flan k ed b y m o n u m en tal tow ers w hich reach far
above th e m a in p o rtio n of th e c a th e d ra l. T he tow ers c re a te v er­
tic a l th ru sts co m p ellin g th e eye to follow th e form deep in to th e
heavens. In th e o rig in al designs, spires w ere to be included to
fu rth er increase th e aspect of h eig h t achieved by th e tow ers.
The circular stained-glass rose window possesses a bar tracery
sym bolic of a flow er’s form . T racery con sists of sto ne bars or
m ouldings w hich w hen fitte d to g eth er p ro v id e d eco ratio n and
a m eans of su p p o rtin g large areas of sta in e d glass. T he rose w in ­
dow and .the stain ed -g lass w indow s along th e c a th e d ra l’s sides
flood, the church w ith tin te d lig h t p ro v id in g lum inous richness
to th e in te rio r. M inor tow ers, w ith decorative pinnacles enriched
w ith crockets, carved stone foliage, add accents to th e m ain tow ers,
an d niches c o n ta in in g re lig io u s s ta tu a ry are in co rp o rated in
th e facade.
In the R heim s Cathedral subject m atter is extensive; ap p lied
designs range fro m flo ra l patterns carved in stone to a portrayal

19
 of the virtues o f labcur w hich are stressed th ro u g h p easants
presented in bas-relief, th re sh in g g ra in in th e fields.
F a r up in th e tow ers of th e c a th e d ra l e x ists a w him sical w orld
of fan tasy . G ro tesq u e sto n e figures, h a lf-m a n a n d h alf-b east,
im ag in ary an im als, b ird s, an d a h o st of o th e r stra n g e form s are
perched on th e b a lu stra d e s of th e tow ers. G argoyles, w a te r­
spouts carved to rep resen t dem ons, also ran g e over th e up p er s u r ­
faces of th e c a th e d ra l. F ar below th is im a g in a tiv e w orld a
sto n e p ro phet secure in th e facade, seem s to peer a t th e en circlin g
F rench tow n.
T he new sty le of a rc h ite c tu re cre a te d a new dem an d for m o n u ­
m en tal figure sc u lp tu re . I t w as on th e p o rta l of th e G o th ic c a ­
th e d ra l th a t m ed iev al sc u lp tu re began an existen ce in d ep en d en t
of a rc h ite c tu ra l functio n s: a rc h ite c tu re an d sc u lp tu re h ad b e­
com e eq ual p a rtn e rs. The sm a ll colum ns o f the recessed portals
were decorated w ith statues w h ich g ra d u a lly increased in volum e
to achieve n a tu ra l th ree-d im en sio n al form s. T h is gave sc u lp tu re
th e rig h t to an in d ep en d en t existen ce. F ollow ing th e v e rtic a l
rh y th m of th e p o rta l jam b s the statues, a t first, were s tiff and rig ­
id, b u t soon th e figures began to assum e v ita lity , th eir lim bs
becam e free, th e d rap eries began to b illo w an d h an g in folds
follow ing th e m ov em en ts of th e bodies an d lim b s. To begin w ith ,
th e head s an d bodies w ere m ere typ es, b u t soon th e y began to
achieve in d iv id u a lity an d to show c h a ra c te ristic s of age and
s ta tu s w h ile th e d em an d for th e p o rtra y a l of m e n ta l q u a litie s
led to th e ex pression of psychological valu es.
T he grow th of m o n u m en tal sc u lp tu re g re a tly in fluenced th e
w ork of carv ers in w ood, iv o ry an d bone: it gave a new stim u lu s
to th e a rt of th e g o ld sm ith , w hich follow ed a d evelopm ent
p a ra lle l to th a t of sc u lp tu re . Wood, ivory or bone carving flourish­
ed especially a t the tu rn o f the fourteenth century w hen there
w as a g re at dem an d for sm all sta tu e s of M adonnas and of c ru ­
cifixes in te n d e d for p riv a te dev o tio n s, as w ell as for a lab aster
reliefs and m in ia tu re copies Of a lta r d ip ty c h s an d trip ty c h s.
C raftsm en, often of g re a t c re a tiv e pow er, pro d u ced w orks of
ra re perfectio n for th e w e a lth y . T h is a rt form c re a te d a p ro to ty p e
for th e w orkshops w hich sa tisfie d th e w ider dem ands of th e
tow n and c o u n try sid e . As tim e ad v an ced sc u lp tu re an d a rc h ite c ­
tu re began to follow d ifferen t p a th s, each assum ing g reater in d e ­
pendence, an d so allo w in g th e sc u lp to r to aim a t a m ore d e ta il­
ed re a lism . T h is e m a n c ip a tio n w as esp ecially e v id e n t in to m b ­
sto n e sc u lp tu re , w here, before th e m id d le of th e fo u rteen th cen ­
tu ry , a tte m p ts w ere b ein g m ad e to d ep ict th e deceased in a re ­
a lis tic m an n er.
20
 GEOGRAPHICAL A N D PROPER NAMES
Christianity [,k risti'aen iti] хрис­
тианство
Romanesque [/o u m s'n e s k ] роман­
ский; романский стиль (the
sty le of build in g p revalent in
W estern E urope betw een the
classical and G othic periods, a
characteristic of w hich w as v a u lt­
ing construction and round
arches)
Gothic I'ga0ik] готический; готи­
ческий стиль: the H igh (or
VOCABULARY
§ 5. medi(a)eval [/ m edi'i:v(9)l] a
средневековый
ecclesiastic (al) [iyk li:zi'aestik (a)l]
а духовный, религиозный, цер­
ковный. A n t. secular
basilica [ba'zilika] n базилйка
(in ancient Rom e an oblong rec­
ta n g u la r hall w ith double colon­
n ade and apse (апсида) used for
judicial assem blies; a church b u ilt
on such a plan)
circular ['sa:kjula] а круглы й (в
плане): a ~ church, tower,
tem ple
chapel ['t$aep(3)l] n 1) часовня,
небольш ая церковь, молельня;
2) придел (a sm all p art or d iv i­
sion of a large church having
an altar)
§ 6. cathedral [k a '0 i: drsl] n собор,
кафедральный собор
pagan i'p eig sn ] а языческий; n
язычник
enclose v t 1) огораж ивать, о к р у ­
ж ать; 2) о к руж ать, окайм лять,
заклю чать в рамки; enclosed
space замкнутое пространство;
enclosure п 1) огороженное
место, замкнутое пространство;
2) окаймление, обрамление
buttress п контр^юрс (a su p p o rt
b u ilt against th e w all): flying
— арочный контрфорс, аркбу­
тан
steeple n шпиль, пирам идальная
крыш а (a high tower, especially
Late) G othic (style, period) вы­
сокая (поздняя) готика
Byzantine [bi'zaentain] византий­
ский (the B yzantine sty le in
arch itectu re is characterised by
a central dome over a square
space, w ith mosaic in cru statio n
and m arble veneering of the
w alls); Byzantium [bi'zaentiam ]
Византия
Rheims [ri:m z] г. Реймс
NOTES
one w ith a spire, usu ally on a
cathedral)
rib n ребро, нервюра; ribbed a
ребристый, рубчатый, рифле­
ный: rib(bed) v a u ltin g сводча­
тое потолочное покрытие с реб­
ристым каркасом
masonry ['m eisanri] п каменная
(кирпичная) кладка; stone­
mason каменщик
pinnacle ['p in ak l] п шпиц, ба­
шенка (a sm all slender tow er
or tu rre t b u ilt to o rnam ent a
roof, bu ttress, etc.); pinnacled
а украшенный башенками, о к ан ­
чивающийся шпицем
incorporate v t вклю чать, объеди­
нять, соединять, вводить как
составную часть, e.g. The
first bu ild in g incorporating G o th ­
ic characteristics was the Abbey
of St Denis,
facade [fa'sa:d] n фасад
portal n портал, главный вход;
recessed ~ перспективный пор­
тал (отодвинутый в глубину)
rose window (архит.) окно-роза
(a round o rn am en tal w indow ,
usually of stain ed glass)
spire n ш пиль, игла, стрела (a
tall stru ctu re, set on a tower,
w hich narrow s to a point)
stained glass 1) цветное стекло;
2) витраж ное стекло; stained-
glass window витраж
21
bar n перекладина, полоса; pi. niche [ni:$] п ниша
решетка statuary п (собир.) скульптуры ,
tracery n 1) узор, рисунок; ск ульптурн ая группа: fine
2) аж урная кам енная работа a fine piece of ~
mould п форма; mould v t отливать

A, Steeple
A, Buttress В, Spire
В, Flying buttress

floral а цветочный, из цветов, с

в форму; придавать форму, цветами: а ~ design, p a tte rn
формовать; moulding п pattern п 1) образец; 2) узор, ри­
1) формовка, отливка; 2) леп­ сунок: the ~ of a c arp et, cloth,
etc.
ное украш ение
gargoyle ['g a :g o il] n горгулья (a
w aterspout carved from stone,
usually in the form of a g ro ­
tesque hum an being or anim al,
to carry off rain w ater from the
roof of a' cathedral)

rose window

interior [in 'tisria ] Ь внутренний;

th e — surface, w all, repairs;
— scenes (живопис.) бытовые
сценки (из домашней жизни);
interior п внутрен няя сторона,
часть; интерьер
crocket п готический орнамент
в виде листьев Gargoyle

22
ivory ['aivari] n слоновая кость
goldsmith n золотых дел мастер,
ювелир; silversmith п серебря­
ных дел мастер
crucifix ['kru:sifiks] п распятие
altar ['э:Иэ] п алтарь (the most sa­
cred p a rt in C hristian churches);
altarpiece запрестольный образ
diptych ('d ip tik ] n диптих a)
p ain tin g , especially an a lta r-
piece of tw o leaves, closing like
a book)
triptych ['trip tik ] n триптих
(pain tin g or carving on three
panels side by side)

WORK ON THE TEXTS

I. Translate the italicised words and phrases from the texts, then, without
consulting the text, translate them back into English.
II. Answer the following questions:

1. W h a t w as th e c e n tre of a rtis tic a c tiv itie s in th e M iddl

Ages? 2. W h a t tw o m a in ty p e s of church b u ild in g s w ere in h e rit­
ed from e arly C h ristia n ity ? 3. W h a t w ere th e p e c u lia ritie s of
G o th ic arc h ite c tu re ? 4. W h a t is a b u ttre ss? E x p la in its fu n ctio n .
5. W hy can w e sa y th a t th e R heim s C a th e d ra l is one of m a n ’s
ric h e st acco m p lish m en ts in design? 6. W h a t cre a te d a new de­
m an d for m o n u m en tal figure scu lp tu re? 7. W h y d id a rc h ite c tu re
and sc u lp tu re becom e equ al p artn ers? 8. H ow did figure scu lp ­
tu re begin to ach iev e in d iv id u a lity ? 9. W h y was th e a rt of
th e g o ld sm ith an d th e wood an d bone carv ers g iven a new
s tim u lu s a t th e tu rn of th e fo u rteen th c e n tu ry ?
II I . Retell the texts in detail.
IV. Give a brief summary of the' texts.

Medieval Russian Art

§ 7. Architecture

In e arly tim e s, w ooden s tru c tu re s w ere favoured in R ussia,

an d in her “ w ooden age” she o rig in a te d a n d developed c e rta in
basic form s, later to be echoed in m asonry. In th e larger centres,
wooden and m asonry architecture developed sid e b y side, one s tim ­
u la tin g and g ra tify in g th e love for v e rtic a lity an d sle n d er­
ness, th e o th e r sa tisfy in g a y e a rn in g for m assiveness, m o n u m en tal-
ity , and lavish decoration in the expression o f power and splen­
dour. W estern E u ro p e know s re la tiv e ly little of R u ssia ’s
a rc h ite c tu re , esp ecially th e an c ie n t w ooden stru c tu re s. T he
few re m ain in g exam ples of th e m (now in R osto v , K izhi and also
in th e m useum s of w ooden b u ild in g s in N ovgorod, K ostrom a an d

23
 S uzdal), testify to th e sk ill an d ta s te of her b u ild ers in the com­
position and g ro u p in g o f the architectural masses, th e keen sense
of p ro p o rtio n , expressiveness a n d silh o u e tte , an d th e g ift for
m erging an d h arm o n isin g th e b u ild in g proper w ith th e la n d ­
scape.
O ne of th e best know n R u ssian church b u ild in g s in the n o rth ­
e rn sty le is th e C hurch of th e Intercession on th e N erl (Pokrova
na N erli). A ccording to archeologists, it was m uch bigger in the
tw e lfth c e n tu ry w hen it w as b u ilt. S u rrounded "by an open g a l­
lery and m o u n ted on a high k n o ll, it h a d a b road staircase lead ­
ing up from th e w a te r. T o d ay it sta n d s alone in th e m id st of
low , green m eadow s, th e sm all lak e below reflectin g its ch aste
w h ite w alls an d sin g le dom e. In th e 800 years of its existence, it
has undergone o th e r changes. T h e old belfry is gone, th e h e lm e t­
sh ap ed dom e has been replaced b y a bulb o u s cu p o la, and in th e
process of re p a irs, th e rest of th e roof was a lte re d so th a t the
sq u a re ped estal th a t h e ld up th e slender d ru m w as covered over
w ith sh eet m e ta l. A nd y et th is church, in its serene n a tu ra l s e t­
tin g , is one of th e m ost p oetic c reatio n s ever to com e down to us
o u t of th e p ast.
I t is not a larg e ch u rch , an d fa irly sim p le in p lan , w ith the
cu b ical basic s tru c tu re u su al for th e N o rth . B u t th e fam iliar
shapes have a new look, n o t so a u stere as th e e a rlie r N ovgorod
churches, nor y e t so proud an d im posing as those in V lad im ir.
I t is lig h t and g raceful, and th is is due in large p a rt to th e change
in p ro p o rtio n s. E ach facade is m ade up of th ree sections div id ed
v e rtic a lly by slender colum ns, an d h o riz o n ta lly connected by a
d eco rativ e b a n d of b lin d arcad in g of th e sam e w h ite stone as
th e w all itself. T h is w as th e arran g em en t in N ovgorod and V la ­
d im ir as w ell, b u t because th e w alls here lean v ery s lig h tly in ­
w ard , because th e p illa rs, b o th those se p a ra tin g th e w all sec­
tio n s and those in th e frieze, are close to g eth er, because th e h o ri­
z o n tals in ev ery p a rt of th e facade are v isu a lly b ro k en up w hile
th e v e rtic a ls are a c c e n tu ate d , th e s tru c tu re as a w hole seem s
h a rd ly to touch th e ground. As for th e roofing, it is v a u lte d , so
th a t each of th e v e rtic a l w all sections ends in a b lin d arch, w ith
long, narrow w indow s and sm all scu lp ted figures high up in
th e arch to b reak th e m onotony of th e sm ooth w h ite surface. Such
are th e d e ta ils of th e a rc h ite c tu re ; th e illu sio n , how ever, is one
of s u b tle harm o n y an d effortless grace.
T he b u ild ers of m ost of th e V la d im ir an d S uzdal churches
a d o p ted th e general features of the square pla n , w ith three altar
apses and the fo u r colum ns supporting a fla t cupola w ith its cir­
cular drum . In ste a d of th e b rick used so w id ely in B y zan tin e
24
 and K ievan ch urches they used c u t stone; th e y also used carved
stone em bro id eries uncom m on in B y zan tiu m .
T he C hurch of S t B a sil’s in Moscow is p erh ap s as u n iq u e in
the field of m aso n ry as is th e C hurch of th e T ra n sfig u ra tio n on
Kizhi Island in th e field of w ooden a rc h ite c tu re . I t is b a sica lly
cross-shaped, th e arm s of th e cross e x te n d in g from a sq u are cen ­
tre. The m ain chu rch over w hich rises th e c e n tra l tow er is cov­
ered w ith a tent-shaped roof and crowned w ith a g ilt cupola. A t
each arm of th e cross, along th e p rin c ip a l ax is is an o ctag o n al
church. Four o th e r secondary ch u rch es (tw o sq u are an d tw o
of irregular shape) are along th e diagonal ax is. A ll these elements
are placed over a tall, vaulted substructure — th e ty p ic a l low er
sto ry of the R u ssian w ooden churches. T he p y ra m id a l b elfry
a t th e so uth-east corner is se p a ra te from th e ch u rch . T he p la n and
th e general m assing of th e elem en ts are u n u su a l, n o t o n ly in th e
accepted concept of church design b u t in th e d is trib u tio n of the
m ain masses.
T he m ain chu rch is of sto n e an d b ric k an d covered w ith stu c ­
co. In the sev en teen th c e n tu ry , th e e n tra n c e s tru c tu re , o rig ­
in a lly w h ite, w as p a in te d in v a rie g a te d colours, th e stairw ays
were roofed over, th e sheet iron covering of th e cupolas was re ­
placed w ith tile , and the old belfry was replaced w ith the present
tentroofed bell tower.
S t B asil’s embodies the characteristic architectural features of
the wooden churches of north-east Russia, translated into masonry.
T he sam e m ethod is used to form th e tra n s itio n from th e m assive
base to a sm aller octagon su p p o rtin g th e te n t-sh a p ed sp ire,
su rm o u n ted b y a sm all, bulbous cupola. T he eleven steeples are
b anded togeth er lik e an im m ense b u n d le of fa n ta stic a lly sh ap ed
p la n ts. The eig h t cupolas d o m in a te d by th e c e n tra l p y ra m id are
a ll of the sam e general silh o u e tte , b u t are d ifferent in design,
as if to single o u t each of th e com ponent ch urches in th e co m plex.
Som e w ith their twisted, variegated shapes are rem iniscent of orien­
ta l turbans, som e are decorated w ith ribbed or interlacing designs,
o thers are faceted, g iv in g the appearance o f pineapples. S till a n ­
o th e r has im brications rem iniscent of the aspen shingles of the
wooden churches. A ll th e cup o las are bulbous an d project beyond
th e d iam eter of th e dru m . This diversity of form s and decorative
features is further heightened by the lavish use of coloured tile.
§ 8. The Moscow K rem lin
In 1474 Iv a n I I I sent a m ission to I ta ly to fin d th e best
a rc h ite c tu ra l an d engineering ta le n t a v a ila b le . T hey b ro u g h t
back w ith them R odolfo A risto te l F io ra v a n ti of B ologna w ho
25
w a s a t once an a rc h ite c t, an egineer, an expert in m ilita ry fo rti­
fications and m etal casting. M ost of th e o th e r a rc h ite c ts ro u nded
u p by th e v ario u s em bassies of th e Moscow g ran d prince w ere
n o rth e rn Ita lia n s , m a in ly from M ilan (M arco Ruffo, P ie tro
S olario, etc.).
T he Ita lia n s in tro d u c e d a new concept o f the fortress w all,
q u ite different in c h a ra c te r from th a t of th e o ld R u ssian w hite-
sto n e K rem lins. S to n e was g iv en u p in fav o u r of b rick. H ence­
fo rth stone was to be used fo r w all bases, decorative bands, cornices,
and various ornam ental features. T he graceful rise of th e w alls
an d tow ers is th e re s u lt n o t o n ly of th e fine p ro p o rtio n s and sle n ­
derness of th e ir a rc h ite c tu ra l elem en ts, b u t also of the special
bricklaying technique em ployed.
T he six te e n th -c e n tu ry K rem lin h ad , on c e rta in of its m ore
v u ln e ra b le sides, double and trip le w alls battlem ented and stud­
ded w ith towers, barbicans and drawbridges.
E ach tow er of th e K rem lin is com posed of tw o p rin c ip a l p a rts:
a massive square or circular base erected in the reign of Ivan I I I
an d a su p e rstru c tu re ad ded to it a t th e end of th e sev e n tee n th
ce n tu ry .
T he bases differ in size an d p ro p o rtio n s; b u t in a ll of them , es­
p e cially in th e square tow ers, th e re are c e rta in s im ila ritie s of
ex te rio r ap p earan ce as w ell as of th e ir in n er stru c tu re . T he
differences are m ore a p p a re n t in th e su p e rstru c tu re s, w hose
form s and a rc h ite c tu ra l tre a tm e n t are q u ite v a rie d .
A ll th e five K rem lin g ate tow ers — th e S p assk aia (S av io u r’s)
T ro itsk a ia (T rin ity ), N ik o lsk aia, B o ro v itsk aia an d T a in itsk a ia
(Secret) — inclu d e th e m a in to w er w ith its su p e rstru c tu re , a n d
a b arb ica n tow er in fro n t coverin g an d p ro te c tin g th e e n tra n c e
gates.
T he m ost re m a rk a b le of th e e n tra n c e g a te tow ers is th e Spas­
sk a ia T ow er, w ith a sm all tw o -sto ry b a rb ic a n ann ex tow er a t
th e fro n t of th e stru c tu re . Over th e S passkiye G ates rise th e ten-
sto rey m ain tow er a n d steep le. The long, vaulted entrance passing
through the barbican tower an d th ro u g h th e s u b stru c tu re of th e
m ain tow er, is d eco rated w ith se v e n te e n th -ce n tu ry frescoes.
The S passk aia Tow er is th e han d so m est of th e K rem lin ’s
n in e te en tow ers. In 1625, in place of the original battlements,
a su p e rstru c tu re of sto rie d g alleries, balconies, d eco rativ e p a ra ­
pets, a slender octagonal belfry, and an open arcaded lantern topped
by a spire w ere added to th e tow er. F ly in g b u ttresses su p p o rt th e
ta ll su p e rstru c tu re ; turrets, pinnacles, clustered columns, carved
pilasters decorate the various receding stories. A ll th is w ealth and
v a rie ty of a rc h ite c tu ra l an d d e co rativ e featu res c o n d itio n e d th e
26
p a tte rn of R u ssia n a rc h ite c tu ra l th o u g h t of th e sev en teen th
and e ig h tee n th ce n tu rie s.
N orth of th e S p assk aia T ow er, b eh in d th e p resent L enin
M ausoleum , is th e S en ate T ow er, so nam ed because of its p ro x ­
im ity to th e form er S en ate B u ild in g th a t is now th e seat of th e
S oviet G o v e rn m e n t. In 1918, on th e first an n iv e rsa ry of th e R ev ­
o lu tio n , a sy m b o lic bas-relief by th e sc u lp to r K onenkov was
placed on th e tow er w all as a m o n u m en t to hon o u r th e fallen
rev o lu tio n a rie s b u rie d a t th e foot of th e w all.
T he K rem lin w all grow s low er near th e b u lw a rk a t th e n o r­
th e rn corner w h ere th e m assiv e Corner A rsenal Tow er sta n d s.
A t th is p o in t th e w all tu rn s to th e so u th -w est along th e now
in v isib le N eg lin n aia R iv er.
T he T rin ity Tow er an d G ates are in th e w est w all of th e K rem ­
lin . T he road from these g ates leads across th e T ro itsk y B ridge,
the parapets o f which are furnished w ith battlem ents and embra­
sures sim ila r to th e w alls of th e K rem lin. T his b rid g e crossed the
N e g lin n aia R iv e r, w hich form erly p layed an im p o rta n t role
in th e defense of th e K rem lin . A t th e w est end of th e B ridge is th e
K u ta fia Tow er, a p ic tu re sq u e m assive tw o -sto ry s tru c tu re su r­
m o u n te d w ith b a ttle m e n ts a n d em brasures.
T he B o ro v itsk iy e G ates are near th e south-w est angle of the
K rem lin , th e s ite of th e first se ttle m e n t on th e K rem lin h ill
an d once a dense forest. T he w all of th e K rem lin, th ick er here
th a n elsew here, is p e n e tra te d by th e arched g ate. U nlike the
o th e rs, this gate is surm ounted by no tower. S lig h tly to th e south
s ta n d s the B o ro v itsk a ia Tow er, w hich is d ifferen t from a ll the
o th e r tow ers of th e K rem lin in s ty le of a rc h ite c tu re . T he pro p o r­
tio n s of th is tow er are p a rtic u la rly im pressive, th e m ost s tr ik ­
ing fea tu re being th e su p e rstru c tu re . A bove a large and ta ll
base fo u r successive square, terraced elements rise one out of the
other, g ra d u a lly d im in ish in g in size. A circle of handsom e arches
and an octag o n al g reen -tiled sp ire top th is to w er, w hich form s a
b e a u tifu l p y ra m id . T he form s of its a rc h ite c tu ra l elem ents have
u n d o u b te d ly been influenced b y th e s p irit of m ed iev al R u ssian
w ooden churches.

§ 9. Church Painting

In th e ir ic o n -p a in tin g th e N ovgorodians were endowed w ith

an exceptionally acute sense o f colour and an in n a te u n d e rsta n d in g
of its use. T he p a in tin g s th e y produced h av e v iv id , lum inous
tones w hich, for a ll th e ir differences, harm onise w ith out losing
a n y of their forcefulness.

27
 I t m ay h a v e been th is feeling for colour a n d love of icons
th a t led, e a rly in th e fo u rteen th c e n tu ry , to th e in tro d u c tio n in ­
to churches of th e iconostasis, or screen se p a ra tin g th e body of th e
church from th e sa n c tu a ry , on w hich the icons were arranged in
tiers in a carefully prescribed order. T here are u su a lly th ree a n d in
th e larger churches as m an y as five tie rs of icons in an ico n o sta­
sis, the panels occupying the lower tiers being considerably larger
in size th a n th o se on th e u p p er ones. O n e n te rin g a church th e
eye is in s ta n tly d raw n to th is v a st ex panse of p a in te d p ictu res,
th e effect of w hich largely depends upon th e im m ecfiate im p res­
sion created by their tonal harmonies and linear rhythm .
T he a rtis ts of N ovgorod included in their range of subjects
a ll the m ajor iconographic scenes w hich h a d becom e tra d itio n a l
th ro u g h o u t th e G reek-O rthodox w orld, b u t th e ir p ra c tic a l a t­
titu d e to life led th em to becom e p a rtic u la rly devoted to th e
sa in ts whose p atro n ag e, th e y th o u g h t, was lik e ly to prove es­
pec ially helpful to th em in th e ir d a ily o ccu p atio n s.
T h eir a p p re c ia tio n of ancient feats o f valour is reflected in sev­
eral of th eir icons, n o ta b ly in th a t illu s tra tin g th e b a ttle w hich
th e ir an cesto rs fought in 1169 a g a in st th e S u zd alian s w ho are
th re a te n in g N ovgorod’s independence. The mass o f contemporary
detail is fascinating; e q u a lly e x c itin g is the a rtist's superb use of
colour, the flu en cy o f his line, an d th e sp irit of c h iv a lry w ith w hich
h e has invested th e scene. A lth o u g h the composition is lacking in
depth, it shows a d efin ite feelin g fo r life and m ovement, and its
s lig h tly arch aic sim p lic ity in no w ay detracts fro m the beauty of
the rhythm ical design.
T he co n ta c ts w hich w ere m a in ta in e d betw een N ovgorod and
C o n sta n tin o p le m ay h av e been p a rtly resp o n sib le for b rin g in g
to N ovgorod from his n a tiv e B y z a n tiu m one of th e g rea te st re ­
ligious p a in te rs of th e fo u rteen th c e n tu ry , a G reek called T heo­
phanes. H e a rriv e d in a b o u t th e y ear 1370. H is re m a rk a b le gen­
ius an d superb a r tis tr y em erge so clearly from th e very sm all
n u m b er of his w orks th a t su rv iv e th a t th ey suffice to place him
in th e forefront of h is co n tem p o raries. T hough G reek by b irth
a n d o u tlo o k a n d , assuredly C onstantinopolitan in his artistic
training, on s e ttlin g in N ovgorod, T heophanes becam e su bject
to th e process of change w hich w as la te r so fre q u e n tly to affect
foreign a rtis ts w o rk in g in R u ssia. As a re su lt, alth o u g h he has
gone down in history as Theophanes the Greek, he nevertheless be­
longs q u ite as m uch to R ussian a rt as h is six te e n th -c e n tu ry c o u n t­
ry m an , T heotocopoulos, w ho is also know n as “ th e G reek” ,
does to S pain.
T heophanes im pressed a ll those w ho m et h im by his in te llec­

28
 tu a l a tta in m e n ts . H is know ledge of p h ilo so p h y and h is love of
discussion m ade h im renow ned, b u t it w as his artistic achievements
w hich aroused th e deep re sp e c t an d a d m ira tio n of th e R ussians.
Novgorodian w a ll-p a in tin g s d a tin g from the tw elfth to the f i f ­
teenth century are as v a lu a b le a e sth e tic a lly as th e panel p a in t­
ings, and alm o st as num erous. R ussian ch ro n iclers associate
T heophanes w ith th e d eco ratio n of five N ovgorodian churches,
b u t of th e p a in tin g s he p roduced th ere, o n ly those which he exe­
cuted in 1378 in the Church o f the Transfiguration survive.
In N ovgorod, T h eo p h an es’ in sp ired , spontaneous method of
w orking is reflected in the nervous, sweeping character of his
brushstrokes as w ell as in his profuse use of h ig h lig h ts. H e m o u ld ­
ed his drap eries w ith a classic sweep an d he gave his scenes col-
, our schemes in which shades o f violet and blue, and even silver often
predom inate. T he so p h istic a tio n of his p a le tte is m atched by his
sk ill in p re se n tin g his figures th re e -q u a rter face as w ell as fron­
ta lly , endow ing each w ith a vivid personality.
T hough th e closing years of T h eophanes’ life are lin k ed w ith
M oscow, w here he died, an d w here his asso ciatio n w ith th e young
R u ssian m onk, A ndrei R u b lev , w as to prove sig n ific an t, th is
p eriod is less im p o rta n t to h is ow n d evelopm ent th a n th a t w hich
he sp e n t in N ovgorod.
T heophanes m ade a p rofound im pression on his M uscovite
co n tem p o raries; he ta u g h t th e m th e v alu e of freedom of ex pres­
sion and th e im p o rta n c e of resp o n d in g to th e d ic ta te s of in sp ira ­
tio n ; and A ndrei R u b lev , R u ssia ’s g reatest ico n -p ain ter, w ould
seem to hav e been one of th e first to respond to th is ap p ea l.
T hough R u b le v m u st s till h av e been fa irly young in 1405,
w hen he acted as ju n io r a ssis ta n t to T heophanes, three icons in
the festival tier o f the iconostasis o f the C athedral o f the A n n u n c ia ­
tion are generally ascribed to h im , th e y are those of th e N a tiv ity ,
th e B ap tism , an d th e T ra n sfig u ra tio n . In 1408 R u b lev , th is
tim e assisted b y h is friend, th e m onk D aniel C horny, was engaged
on th e m urals in th e C a th e d ra l of th e A ssu m p tio n a t V lad im ir,
w hen he p ro b a b ly also produced his version of th e icon of th e
V irgin of V la d im ir as w ell as th e superb icons in th e iconostasis
of th e C hurch of th e S avvino-S torozhevsk M onastery. In 1422
R u b le v was asked to re tu rn to his form er m o n astery a t Zagorsk
to red ecorate th e w alls of th e C a th e d ra l of th e T rin ity w hich had
to be re b u ilt follow ing a fire, a n d it was w h ilst he was engaged
o n th is ta sk th a t he p a in te d his m ost fam ous icon, th a t of th e “ 01d
T estam en t T r in ity ” . T he su b je c t is th e v is it of th e th ree angels
to A braham . In th is icon, th e severe sym b o lism an d th e B yzan­
tin e tra d itio n h av e been tran sfo rm ed in to so m eth in g m ore in ti­

29
m a te ly hu m an . In th e b e a u ty of th e colours, the s p iritu a lity of
the faces, an d th e q u ie t c o n c e n tra tio n expressed in th e th re e fig­
ures, we can o b serve a d is tin c t n o n -B y z a n tin e feeling. R u b ­
lev’s “ T r in ity ” is one o f the great creations o f m edieval R ussian
p a in tin g . In it we h av e th e u n e a rth lin e ss th a t is th e icon’s h ig h ­
est m e rit.
Though so little survives of R u b lev’s work, it suffices to estab­
lish h im as one of the world’s great artists. H is u n assu m in g , se­
ren e, pro fo u n d ly d ev o u t p e rso n a lity ra d ia te s from h is p a in tin g s.
H is inner fire and artistic in teg rity are a tte s te d by th e absence
of a ll tra c e of th e influence of even as pow erful a n a r tis t as Theo-
phanes, for it w as in b ro ad en in g h is o u tlo o k an d g iv in g h im assu r­
ance ra th e r th a n in m o u ld in g h is s ty le th a t th e G reek left his
m a rk on R u b lev . T h ere is th u s no tra c e in th e l a tte r ’s w ork of
T h e o p h a n es’ nervous, im pressionistic brushstrokes, of his c o n tra st
of lig h t an d sh ad e, nor of his fondness for strik in g highlights. In
R u b le v ’s p a in tin g , th e delicacy of line is of such im p o rtan ce
th a t it reduces th e figure to a fla t, silhouette-like outline w hich
serves to stress th e personage’s u n e a rth lin e ss. R u b le v ’s d eli­
cate, superbly harm onious colour schemes em phasize th is o th e r­
w o rld lin ess, w h ilst a t th e sam e tim e endowing the figures w ith
the su b sta n tia lity necessary to m ake them convincing. R u b le v ’s
sty le , in elim in a tin g a ll unnecessary detail, helps focus a tte n tio n
on h is deep ly re lig io u s ap p ro ach w ith o u t, how ever, u n d u ly em ­
phasizin g it. T he d elicacy of h is c h a ra c te r a n d his h a n d alik e
helps to im bue R u b lev s work w ith profound sp iritu a lity and grace,
y et it is th e fervour of h is fa ith , expressed as it is w ith com ple­
te n a tu ra ln e ss an d a w in n in g innocence, as w ell as his tenderness,
u n ta in te d b y s e n tim e n ta lity , w h ich , w ith th e su p p o rt of his
lum inous, tru ly celestial colour, endow his works w ith immense
forcefulness.
GEOGRAPHICAL A N D PROPER NAMES

the Church of the Intercession (of Theophanes [Bi'ofenis] Феофан

the Holy Virgin) on the Nerl the Cathedral of the Annunciation
Х рам П окрова на Н ерли (близ [a ^ A n si'eiJn ] Благовещ енский
Владимира) собор
(the Church of) St Basil’s [seint the Nativity [n a 'tiv iti] Рождество
beizlz] Собор В асилия Б л а ­ the Baptism ['baeptizm ] Крещение
женного the Cathedral of the Assumption
the Transfiguration [,traensfig- Успенский собор
ju 're i $n] П реображ ение; the “The Virgin of Vladimir” «Вла­
Church of the Transfiguration димирская Богоматерь» (ико­
П реображ енская церковь на)
the Palace of Facets Грановитая the Cathedral of the Trinity Троиц­
П алата кий собор

30
the “Old Testament Trinity” «Вет­
хозаветная Троица» (на ико­
не изображены три ангела, под
видом которых, согласно древ­
ней легенде, божество явилось
Аврааму)
VOCABULARY NOTES
§ 7. lavish l'laevi$] а пышный, бо­
гатый, обильный, щедрый: ~
decoration, ornam entation, c lo th ­
ing, furnishings, etc.
decoration n 1) украшение; 2) уб­
ранство; 3) роспись; decorate
v t 1) украш ать; 2) расписывать
(стены и т. п.).
decorative а декорати вн ы й :~ art,
details декоративное искусство,
детали
architectural masses архитектурные
объемы (формы); well-balanced
~ (forms, volum es)
belfry [ 'belfri] n колокольня
bulbous а луковичный. S y n . on­
ion-shaped (cupola) луковичная
(главка)
drum n барабан, (обычно) цилин­
дрической формы, e.g. The cu ­
pola rests on a cylindrical drum ,
plan n план: in — в плане
(viewed from above); circular
(square) in ~
austere [a:s'tia] а строгий, простой
(без роскоши, украшений)
decorative band орнаментальный
пояс
blind arcading колончаты й пояс,
аркатурный фриз
roofing п покрытие, кровля
blind arch here: закомары
apse [aeps] n апсида, алтарный
выступ на восточной стороне
храма (The a lta r apse is sep a ra ­
ted from the nave by the iconos­
tasis)
embroidery {-ies) n украш ения,
here: in tricately carved areas
(резные украш ения на больш их
поверхностях)
tent (-shaped) roof шатер, тип вы­
сокой, крутой многоскатной
крыши пирамидальной формы;
a tent-roofed tower ш атровая
Abraham ['eibrahaem ] Авраам,
ветхозаветный п атр и ар х , кото­
рый, якобы , первый познал лж и ­
вость служ ения идолам и постиг
существование единого бога.
башня; a tent church ш атровая
церковь
gilt а позолоченный; gild vt
(по)золотить; gilding п позолота
octagon ['ak tag an ] п восьмерик,
восьмигранник; octagonal
[ak'taeganal] а восьмиугольный,
восьмигранный
square п четверик, квадрат
(vaulted) sub-structure (сводчатая)
подклеть; superstructure п н ад ­
стройка, часть здания выше
фундамента
stucco I'stAkou] п ш тукатурка;
stucco а оштукатуренный, e.g.
The w alls are of stucco. The
stucco w alls have a stone foun­
dation,
bell tower звонница
be reminiscent of напоминать,
иметь сходство с, e.g. This
church is rem iniscent of (the)
early G othic,
interlacing n переплетение; in­
terlacing а переплетающийся
imbrications n pi орнамент в виде
чешуи
aspen shingles «лемех»; деревянная
черепица для кровли круглы х
поверхностей
diversity п (of forms, genres, etc.)
разнообразие, многообразие
(форм, ж анров и т. д.)
§ 8. cornice п карниз, свес
battlement п 1) парапетная стен­
ка с бойницами; 2) зубчатая сте­
на; battlemented а зубчатый, с
бойницами
barbican п барбакан, постройка,
обороняю щ ая ворота или мост
drawbridge п подъемный, развод­
ной мост
gate tower проездная башня
fresco п фреска, фресковая живо­
пись. (This term, a corruption
31
 of the Italian word “ affresco” ,
or “ freshly p ain te d ” , is used
to describe the applicatio n of
w ater-m ixed p a in t to a w all
freshly coated w ith a m ix tu re of
m oist sand and slaked lim e —
гаш еная известь); to p a in t in
~ ; a p ain tin g in ~ ; th e ~
technique
arcade n аркада, сводчатая гале­
рея; arcaded а сводчатый, с
арками
lantern п (архит ..) фонарь (выступ
с окном)
turret п баш енка (a sm all tower,
usually a t the corner of a b u ild ­
ing)
pilaster n пилястр (a rectangular
pillar, esp. one projecting
from a wall w hich it supports)
be surmounted (topped) w ith увен­
чиваться, оканчиваться (чем-л.)
§ 9. icon [ 'aikon] n икона; icon-
painting иконопись; icon-
painter иконописец; iconostasis
^ aik a'n astasis] n иконостас
endow [in'd au] v t одарять, наде­
лять: to be ~ ed w ith a sense
of colour
sense of (colour) 1) чувство (цве­
та); also a feeling for colour:
a sense of (feeling for) propor­
tion, com position, rh ythm , etc.,
e.g. T itia n had a m arvellous
sense of (feeling for) colour;
2) ощущение (чего-л) в произ­
ведении, e.g. A rem arkable
sense of distance is conveyed in
his landscapes,
luminous ['lu:m inas] а светлый, яс-
йый, прозрачный: ~ tones,
colours ясные тона, краски;
luminosity of colour ясность цвета
forceful а сильный (по воздейст­
вию). S y n . powerful; forceful­
ness п сила (воздействия)
sanctuary ['saeijktjuari] п 1) свя­
тилище; 2) алтарная часть
церкви
tier [tia] п ряд, ярус, чин (ряд икон
в иконостасе); festival ~ праз­
дничный чин (ряд икон, посвя­
щенный церковным праздникам)
deesis['di:sis] п деисус (от грея.
82
моление), композиция, в центре
которой расположен Христос, а
слева и сп р ава— святые, обра­
щенные с молением к нему; ~
tier деисусный чин
panel ['paenal] п 1) доска д л я ж иво­
писи; 2) икона, написанная на
доске; ~ painting иконопись
(icons as contrasted w ith wall-
p ain tin g , m urals)
to n e /гтон, краска; also colour; con­
trasted w ith shade оттенок, ню­
анс (the relativ e lightness or
darkness of a colour), hue цвет
(the d ifferentiation of a colour,
i.e. its redness, yellowness, etc.);
tonal harm ony гармония, соче­
тания тонов
line n линия, рисунок; accuracy
of — , draw ing точность линии,
рисунка; a flowing, or fluid ~
плавная линия; fluency of ~
плавность линии; a sweeping
~ размашистый рисунок: a
sure ~ уверенная линия, ри­
сунок; linear [ 'linia] а связан­
ный с линией, рисунком: ~
rh y th m ритм рисунка; ~ per­
spective линейная перспектива
rhythm п ритм (повторение линий,
направлений, цветовых пятен
и т. п. с некоторыми вариаци­
ями); rhythm ic line ритмическая
линия; rhythm ical design рит­
мический рисунок
iconographic scenes изображ ения
лиц и (библейских) сюжетов
по определенным правилам и
канонам
patronage п покровительство;
patro n sain t заступник, мест­
ный святой; святой, в честь
которого названа церковь
(w all-) m u ral p ain tin g (н астен ­
ная, фресковая живопись, сте­
нопись, as opposed to easel p a in t­
ing — станковая живопись
m ural n (often pi) стенная роспись,
фреска (-и)
spontaneous m anner (method) of
working непосредственная, ес­
тественная манера работы,
письма
highlight п световой блик
palette ['paelit] п 1) палитра, e.g.
 H e held the ~ in his left hand.
2) гамма употребляемых тонов,
палитра; a joyous — светлый,
радостный набор красок. S yn .
a colour scheme (range)
Imbue [im 'b ju :] v t насыщать, на­
полнять, пропитывать, прони­
зывать, e.g. H is p ain tin g is im ­
bued w ith life and v ita lity .

WORK ON THE TEXTS

I. a) Translate into Russian, in written form, the italicised words and phras­
es from the texts, b) Translate your versions back into English without
consulting the English texts, c) Check with the English texts, make the
necessary corrections.
II. Answer the following questions;
1. W h a t tw o tendencies developed side b y side in e a rly R u s­
sian a rch itec tu re ? 2. W h a t c h u rch b u ild in g does th e ecclesias­
tic al a rc h ite c tu ra l h isto ry of V la d im ir an d its v ic in ity begin
w ith? 3. W h a t does th e u n iq u en ess of S t B a sil’s a rc h ite c tu re lie
in? 4. W h at new co n cep t of th e fortress w all d id th e Ita lia n s in ­
troduce in b u ild in g th e K rem lin? 5. W h a t tw o p rin c ip a l p a rts
is each tow er of th e K rem lin com posed of? 6. H ow m an y g ate
an d gateless tow ers are th e re in th e K rem lin? N am e th e m ost
re m ark a b le of th e m . 7. W h a t tones did th e N ov g o ro d ian p a in t­
ers use? 8. W h a t m eth o d (m anner) of w ork d id T h eophanes
th e G reek in tro d u c e in R u ssia n chu rch p a in tin g ? 9. W h a t d id
R u b lev do to tra n sfo rm th e severe sy m b o lism of th e B y z a n tin e
tra d itio n ?
III. Give a brief summary of each text.
IV. Describe: a) the Assumption Cathedral in Vladimir; b) the Church of
St Basil’s; c) the walls and towers of the Kremlin mentioned in the
text.
V. Retell the text “Church Painting” in great detail.

EXERCISES TO PART I

I. Give as many word combinations as possible with the following and

translate them into Russian.
a) Supply attributes for the following nouns:

a rt, sc u lp tu re , relief, re p re se n ta tio n , design, p a tte rn , m o tif,

p illa r, colum n , ord er, arch , v a u lt, b u ttre ss, p o rta l, w indow ,
roof, line(s), tone, p a le tte , tie r, shade, cu p o la, sty le , p o stu re
(pose), p y ra m id , c a p ita l
b) Supply direct objects for the following verbs:

to m odel, to h eig h ten , to erect, to re c o n stru c t, to carv e

2 -6 1 4 33
c) Supply prepositional objects tor the following:
to m odel a n o b ject in to cast a s ta tu e in to c arv e a
figure in to engrave designs o n ........to be endow ed w ith
to be im bued w ith a d iv e rsity of a sense of a feeling
for to be rem in iscen t of ...
d) Supply nouns to go with the following adjectives:
s c u lp tu ra l, m o n u m e n ta l, c re a tiv e , terraced , c ircu lar, rig ­
id, flu ted , o rn a m e n te d , o rn a m e n ta l, o rn a te , elo n g ated , concave,
au ste re , v a u lte d , dom ed, spacious, m ed iev al, ecclesiastical,
classical, secu lar, a n tiq u e , la v ish , p in n acled , floral, a rtis tic ,
rh y th m ic a l, p ic to ria l, lum inous, spon tan eo u s, lin ear, a rc h ite c ­
tu ra l
II. Write a translation of the following text; translate your Russian version
back into English; check with the original and make the necessary cor­
rections.
A ll th e b asic p rin cip les of th e G o th ic s ty le w ere ap p lied for
th e first tim e in th e ab bey chu rch of S t D enis, in France, w hich
w as re b u ilt in 1132. T he w estern p a rt of th e n av e w ith its p o rta l
was com pleted b y 1140; four years la te r th e ch o ir was solem nly
consecrated. F ly in g b u ttresses w ere b u ilt to ta k e th e w eight off
th e w all and to in tro d u ce m ore lig h t in to th e in te rio r; th e p o in t­
ed arch w as used c o n siste n tly an d th e v a u lts risin g to g re at
heig h ts w ere borne on rib s w hich, lik e o th er elem en ts in th e de­
sign, w ere s till c o m p a ra tiv e ly m assive. T he tow ers w ere com po­
sed as p a rt of th e facade w ith w hich th e y form one u n it. S t D e­
nis to d a y re ta in s b u t little of th e o rig in al s tru c tu re , o n ly th e
facade and tw o a d ja c e n t fields of v a u ltin g , th e chapel in th e
choir and th e c ry p t. T he re st w as re b u ilt in th e th irte e n th ce n ­
tu ry in H igh G o th ic sty le .

III. Read the following description and speak about the innovations intro­
duced by the architect of Notre-Dame* in Paris:

T he fo u n d a tio n sto n e of th e choir of th e fiv e-aisled** c a ­

th e d ra l of N otre-D am e in P a ris was la id in th e y ear 1163. The
flying b u ttre ss ap p eared for th e first tim e in its in itia lly clu m sy
form in th e n av e of th e C a th e d ra l of N otre-D am e in P a ris after
1180. O nly by th e end of th e tw e lfth c e n tu ry , w hen th e know ledge
of th e c o n stru c tio n a l p o ssib ilitie s of fly in g b u ttre sse s w as recog­
nised, w ere th e w a ll surfaces in te rse c te d w ith ta ll w ide w indow s.
W h a t had been ach iev ed in th is e a rly period was a g reater c o m p a ct­

* N otre-D am e [,noutra 'd a:m ] Собор П ариж ской Богоматери

** aisle [ail] боковой неф, придел

34
ness of th e b a silic a p la n w hich in its tu rn led to a u n ific a tio n
of th e in terio r of th e ch u rch . In th is respect th e a rc h ite c t w ho de­
signed N otre-D am e in P a ris w as m ost ad v an ced . H e jo in ed the
choir and th e nave in to one w hole. H is design becam e a m odel
for th e c reatio n of s p a tia l u n ity . No less s ig n ific a n t w as h is idea
of joining th e ch ap els betw een th e piers w ith th e c e n tra l space
(consisting of nave an d dou b le aisles on each side) so th a t u l t i ­
m a te ly th ey form ed one u n it w ith th e choir. In sid e th e c a th e d ra l
se x o artite * v a u ltin g sp an n ed th e g reat w id th a t a h e ig h t of
32.5 m ., a re m a rk a b le in n o v a tio n a t th e tim e.
IV. a) Make up ten special questions based on the following text.
b) Retell the text.
c) Translate the paragraph beginning with “The Moscow cathedral
completed in 1479, resembles...” up to “ ...an extraordinary stability
without heaviness to the body of the cathedral” ; translate your Russian
version back into English without consulting the text in the book;
check the result with the original and make the necessary corrections.

The Structures of the Kremlin

Few places, excep t th e A th e n ia n A cropolis an d th e R om an
C apitol, c o n ta in w ith in a sm all area such a w e a lth of sig n ifi­
c a n t m onum ents of a n a tio n ’s p a st as th e tria n g u la r enclosure
of th e K rem lin. T he c a th e d ra ls are grouped aro u n d C a th ed ral
S quare, w hich h as since th e en d of th e fifte e n th c e n tu ry been th e
h ea rt of th e K rem lin an d its m ost p ictu resq u e sp o t.
O n C ath ed ral S qu are, a g a in st th e b ack g ro u n d of th e huge
b u lk of the G ran d P alace, sta n d th e a rc h ite c tu ra l m o n u m en ts
of m edieval Moscow — edifices th a t h av e served as a s ta rtin g p o in t,
a stim u lu s for th e a rc h ite c tu ra l a c tiv itie s of Moscow.
E ast of th e m a in facade of th e G ran d P a la c e sta n d s th e C a­
th e d ra l of th e A n n u n c ia tio n , an d o p p o site th is is th e A rchangel
C a th ed ral. B ehind th e P a la c e of F acets th e g re a t dom e of th e C a­
th e d ra l of th e A ssu m p tio n rises from am ong th e cu p o las an d cros­
ses of th e su rro u n d in g churches.
T he form s are au stere, th e m asses re stra in e d an d h eavy, the
in terio r dim ly lig h te d , an d th e v a u ltin g alm o st lo st in sem i-
darkness. A fa in t lig h t p lay s on th e gold fram es of th e icons and
on th e m ouldings an d carv in g s of th e iconostasis.
T he C ath e d ra l of th e A ssu m p tio n of th e V irg in is th e m ost
c e leb rated of th e K rem lin churches. F rom th e fifte e n th c e n tu ry
the R ussian sovereigns w ere alw ays crow ned in th is c a ­
th e d ra l, w hich is th u s th e R u ssian c o u n te rp a rt of th e R heim s

* sex p artite [sek s'p a:tait] состоящий из шести частей

2*
35
C a th e d ra l; th e c h u rch m e tro p o lita n s an d th e M oscow p a tria rc h s
are bu ried here. Its dim ensions are ra th e r sm all b u t it is so crow d­
ed w ith fu rn ish in g s, frescoes, an d icons, from th e floor to th e
cu p o la th a t its size is fo rg o tten in th e fullness of its c o n te n ts.
T he c p n stru c tio n of th e c a th e d ra l was begun in 1326 (in th e
reig n of G ran d P rin c e Ivan D an ilo v ich K alita) by P e te r, the
m e tro p o lita n of M oscow, w ho m ay th erefore be c alled its founder.
W hen the I ta lia n a rc h ite c t F io ra v a n ti was sum m oned by
Iv a n III to re c o n stru c t th e old chu rch in 1475, he w as ad v ised
to go to V la d im ir an d s tu d y th e U sp en sk y C a th e d ra l, b u ilt in
1158.
F io ra v a n ti v isite d not o n ly V la d im ir b u t also R ostov and
Y aro slav l, w here he becam e a c q u a in te d w ith th e local m asonry
c a th e d ra ls an d ch u rch es. O n th e shores of th e W h ite Sea he saw
m an y of the a n c ie n t w ooden ch u rch es. On his re tu rn trip he v is­
ited O ld Ladoga, w ith its tw e lfth -c e n tu ry churches, an d u n d o u b ­
te d ly passed th ro u g h N ovgorod an d saw S t S o p h ia C a th ed ral
b u ilt in 1045-52. T h u s th e I ta lia n a rc h ite c t h ad an o p p o rtu n ity
to get first-h a n d in fo rm a tio n on R u ssian relig io u s a rc h ite c tu re
a n d to grasp th e esse n tia l featu res of its tra d itio n s .
T he Moscow C a th e d ra l co m p leted in 1479, resem bles its V la ­
d im ir nam esake b u t is far from being a lite ra l copy. T he tw o
c a th e d ra ls are of th e sam e w id th , b u t th e one in Moscow is
m uch longer; th e Moscow C a th e d ra l has five apses, th e V lad im ir
th ree. The v a u ltin g of th e Moscow C a th e d ra l re sts on six p illars,
four of w hich — larg e c irc u la r colum ns — su p p o rt th e c e n tra l
c u p o la, w hich re sts on a fla t roof an d is su rro u n d ed w ith four sm a l­
ler cupolas. T h is v ery sim p le d isp o sitio n produces a grandiose
effect, and th e m assive p illa rs g ive an e x tra o rd in a ry s ta b ility
w ith o u t heaviness to th e body of th e c a th e d ra l. T he influence
of th e V lad im ir a rc h ite c tu re is n o ticeab le m a in ly in th e facade,
d ecorated a t m id -h e ig h t w ith a b a n d of a rc a tu res form ing sm all
niches (kiotsy) th a t th e a rc h ite c t used very successfully as w in ­
dow em brasures.
T he plan of th e Moscow C a th e d ra l, th e sy stem of its v au ltin g ,
and th e d isp o sitio n of its five cup o las becam e in tim e tr a d i­
tio n a l and, in th e six te e n th c e n tu ry , served as a m odel for th e
S m olensky C a th e d ra l in th e N ovodevichiy C onvent in Moscow
(1550) and in th e A ssu m p tio n C a th e d ra l in th e T rin ity -S e rg iu s
M onastery (1585) of Z agorsk.
A few of th e old frescoes can s till be seen o n th e m asonry p ar­
titio n se p a ra tin g th e sa n c tu a ry from th e nav e. T h ey are h id d en
b y th e high icon o stasis, first b u ilt in 1482 and ren o v ated in 1881-
83, w hen it was covered w ith silv er o rn am en t.
36
 The present sm oke-gray w all c o a tin g p ro b ab ly did n o t e x ist
in the six te e n th c e n tu ry . T he in te rio r of th e c a th e d ra l w as u n ­
d o u b ted ly aglow w ith w arm , b rig h t colours an d c le a r-c u t,
sharp o u tlin e s, re c a llin g th e ch u rch es of Y aro slav l.
V Translate the following sentences into English:
a) 1. С самого своего зар о ж д ен и я египетское искусство
имело тенденцию к монументальным формам вы раж ен и я.
2. Строители Д ревней Греции дали м иру м ногообразие а р х и ­
тектурны х форм, которые о к а за л и с ь основным источником
архитектурны х проектов в течение последующ их двадцати
пяти столетий. 3. П л ан готической церкви имеет сходство с
планом позднейш их ром анских церквей. Он представляет
б ази л и ку с нефом и боковыми приделами с очень обш ирной
и вы тянутой хоровой частью. 4. С трельчатая дуга составляет
один из самых х арактерны х мотивов готического зодчества:
она сделалась основным элементом, обусловливаю щ им всю
систему конструкции, формой, которую принимаю т арки ,
своды, ниши и о кн а. 5. Д л я обеспечения прочности стен воз­
д вигался сн ар у ж и , у стен боковы х нефов, р яд солидных кон тр­
форсов, и от них перекиды вались арки ; эти сооруж ения
получили название арочных контрф орсов. 6. В ерш ина кон тр­
форсов вначале зав ер ш ал ась окнам и, а потом ее стали у к р а ­
ш ать остроконечными баш енкам и или ш пицами и ш пилями.
7. Самая к р аси вая сторона готического собора — главны й з а ­
падный фасад с порталам и, обильно украш енны м и с к у л ь п ­
турой.
в) 1. Д ревнейш ее худож ественное творчество сл авян пол­
нее всего вы разилось в производстве украш ений и предметов
быта. 2. Новое монум ентальное искусство в Киеве достигло
расцвета в XI веке. 3. М озаики и ф рески Софийского собора
в Киеве пораж аю т преж де всего величием своего общего з а ­
мысла. 4. В алтарной части собора на стенах изображ ены отцы
церкви; на лестнице, ведущей на хоры *, были представлены
картины охоты и дворцовой ж и зни. 5. В истории искусства
сущ ествует немного примеров единства архитектурного за ­
мысла и настенной ж ивописи, равны х Софийскому собору,
6. В конце X I века из К онстантинополя в К иев была привезе­
на икона В ладим ирской богоматери. Равной ей мы не находим
среди лучш их пам ятников византийской иконописи. 7. В д рев­
нейших пам ятниках новгородской стенописи, как и в величе­
ственны х ф игурах пророков куп ола Софийского собора, с к а ­

* choir [kwaia]

37
зал и сь лучш ие традиц ии древней м озаики. 8. Во владим иро­
су зд ал ьск и х рельеф ах народны е предания воссозданы вообра­
ж ением худ о ж н и ка, поднявш егося над язы ческим суеверием .
Традиционны е «звериные мотивы» переданы рукой резчиков,
владею щ их вы соким мастерством. 9. О б р ащ аясь к бытовым
мотивам, д ревнерусские худож ни ки обнаруж иваю т наблю ­
д ательность и юмор, и в этом смысле в изоб р аж ен и ях можно
видеть первые проблески реализм а. 10. Помимо росписи Н ов­
городского храм а Ф еофану Г р еку принадлеж ит деисус Б л а г о ­
вещ енского собора в М оскве с величаво-торж ественной бого­
матерью . И . В России, к а к и в В изантии, определяю щ ее зн а ­
чение в украш ении храм ов имела стенная ж ивопись. Ф рески
р асп ол агали сь по стенам, сводам и столбам х рам а. Ф игуры в
человеческий рост к а к бы н ап олн яли пространство храм а.
12. В конце X IV века на Р уси низкую стену, отделяю щ ую а л ­
т а р ь от помещ ения д л я м олящ ихся, стали у кр аш ать вначале
ф ресками, потом иконам и. К огда все эти иконы вы строились в
известном п орядке нескольким и рядам и, из них составился
иконостас. 13. Самое достоверное из произведений А ндрея
Р у б л ева в области стенной ж ивописи — это ф рески У спен­
ского собора во В ладим ире. 14. Н ад стенами К рем ля возвы ­
ш аю тся 19 баш ен, одни из них — круглы е, др у ги е — четы рех­
угольны е, третьи — пирам идальны е и ступенчаты е. 15. О снов­
ным типом псковской церкви яв л яется одноглавы й трехапсид-
ный храм .
VI. Describe Andrei Rublev’s “The Trinity” (See Illustration No 1.)
using the text “Church Painting” as a guide. In your description use
the following vocabulary:

to re p rese n t, to im bue sm th . w ith s m th ., lum in ous tones,

lin ea r rh y th m , to endow sm th . w ith s m th ., flu id (flow ing)
lines, m edieval, ico n -p ain ter, a rtis tic tra in in g , hue, p ale tte ,
to h eig h ten .
V II. Describe: a) an ancient Greek or Roman temple; b) a Gothic cathedral;
c) an old Russian church. Speak on their plan, structure, material,
influences, ornamentation.
V III. Discuss the main characteristic features of the arts in a) antiquity
(Egyptian, Greek and Roman art), b) the Middle Ages (Gothic art,
Russian art).
IX. Speak about the outstanding icon-painters Theophanes the Greek and
Andrei Rublev.
X. Describe the gate and gateless towers of the Kremlin that were not men­
tioned in the text.
 Part II.

RENAISSANCE ART

§ 1. Introduction

T he R enaissance, an age of discovery, found p a in te rs deeply

concerned w ith in v e stig a tio n s an d ex p erim en ts. New im p o r­
tance w as given to th e h u m a n figure, w hich now becam e one of
the essen tial m o tifs of a ll p a in tin g an d th e basis of R en ais­
sance h u m an ism . In its in itia l stages R enaissan ce p a in tin g was
s tim u la te d b y a n tiq u e sc u lp tu re to an in te n siv e stu d y of th e
h um an body — its s tru c tu re a n d m echanism . T he 15th c en tu ry
a rtists were fa scin ated by science, m a th e m a tic s, g eo m etry and
above a ll p ersp ectiv e. T he b re a d th of know ledge of these a rtis ts
was asto u n d in g , ra n g in g from th e sim p le st c ra ft processes to
th e h ig h est in te lle c tu a l sp e c u la tio n .

The Early R enaissance

§ 2. Giotto (1266/76— 1337)
T he h isto ry of p a in tin g in W estern E u ro p e begins w ith
th e th irte e n th -c e n tu ry p ioneer, G io tto . F rom th e re la tiv e ly
s tiff a rtis tic b ack g ro u n d of his tim e Giotto developed a m ajestic,
sculptural style w hich set I ta lia n a r t on its fu tu re p a th . A lthough
h is technical c o n trib u tio n to p a in tin g is enorm ous, G io tto ’s
g reat feeling for h u m a n ity m akes his w ork a high p o in t in the
movement toward the h u m a n izin g of art and life begun e a rly in
th e c en tu ry . In b o th respects he is a key figure, his p e rso n a lity
sta m p ed on th e w hole course of I ta lia n a r t. F or m ore th a n tw o
h u n d re d years a fte r his d eath a rtis ts acknow ledged th e ir debt
to this master o f m onum ental d ig n ity and controlled em otional
strength.
T he young G io tto h elp ed w ith th e frescoes in th e g reat
ch urch of St F ran cis in A ssisi. H ere th e young a p p re n tic e a b so rb ­
ed b o th the flat-patterned, em otional art of his own teacher (Cima-
bue, a F lo re n tin e a rtis t) and the rounded form s o f the painters

39
from Rom e who h a d been influ en ced b y th e a n c ie n t sc u lp tu res
in th e E te rn a l C ity .* Giotto com bined these qualities to form a new
a nd personal style.
In a “ S t F ra n c is” done for th e C hurch of S a n ta Croce in F lo ­
rence, G io tto re p e a te d the pow erful sculpturesque impression
an d sense of d ig n ity achieved b y h im ea rlie r in h is frescoes p a in t­
ed a t P a d u a . To th ese elem ents he ad d ed th e q u a lity of decora­
tiv e sy m m etry . “ T he D eath of S t F ra n c is” reveals a carefully
balanced composition w hich increases th e effectiveness of th e p re­
s e n ta tio n in a w ay th a t w as to becom e in creasin g ly c h a ra c te ris­
tic of Ita lia n a rt.
I n a neat shallow box space the deathbed is fla n k e d by two door­
ways, each w ith its group of five m ourners. A n o th er five sta n d
a g a in st th e rear w a ll, w h ile th re e figures kneel on e ith e r side
of th e bed. The a ctu a lity and so lid ity o f these fig u res is heighten­
ed by the draperies covering them . T h is pow erful im pression of
form is a p p a re n t even over th e shoes of the foreground characters
w hose faces are n o t seen, b u t w hose re a lity c a n n o t be d o u b te d .

§ 3. Masaccio (1401— 1428/29)

G io tto ’ s m eth o d h a d been to outline the fig u re and, through
the pow erful contour, suggest a third dim ension. L ine was a s h o rt­
h an d m etho d of in d ic a tin g form ; it ca rrie d th e eye of th e sp ec­
ta to r in th e d irectio n s desired b y th e p a in te r. M asaccio a ch ie v ­
ed a considerable optical illusion o f depth in h is lan dscapes, as
w ell as in th e p a in tin g of a rc h ite c tu ra l co n stru c tio n s, a p p ly ­
in g the laws of perspective. M asaccio’s m eth o d is illu s tra te d by
th e fam ous “ T he T rib u te M oney” . I t d iffe re n tia tes betw een the
lig h t that fa lls on a rounded fig u re and the shadows it casts — m ore
or less w h a t a c tu a lly happens in n a tu re . The light-and-dark, or
chiaroscuro technique was conceived alm ost a t one stroke. D uring
a period of p erhaps th re e years, th e a rtis t developed th is new w ay
of b u ild in g u p th e m ass of a form an d of p lacin g it in a given
p a rt of th ree-d im en sio n al space. T he effect of his re m a rk ab le
feat can be tra c e d in th e w o rk of th e g re a t m asters of th e H igh
R enaissance.
M asaccio w as also ab le to p o rtra y figures o u t of doors so
c o n v in c in g ly th a t th e y ap p ear to b lu r as th e y m ove aw ay from
us. L in ear p e rsp e c tiv e rep ro d u ces th e effect of form s grow ing
sm aller in th e d ista n c e . W ith his new a e ria l p ersp ectiv e M asac­
cio p o in te d o u t th a t th e y also grow dim m er an d o u t of focus.

* E ternal C ity — Rome

40
 § 4. Van Eyck (1370/85— 1441)

• R e a lism becam e a force th a t gave new life to a r t in th e w hole

of E urope d u rin g th e e a rly fifte e n th c e n tu ry , an d one of its le ad ­
ing figures was th e F lem ish p a in te r J a n v a n E y ck .
Jan van E yck discovered for h im self th a t the illusion of real­
ity could be heightened by a system atic arrangem ent of lig h t and
shade w hich su b d u ed th e colour of th e o b ject an d c re a te d atm o s­
phere.
The pain tin g s o f J a n van E y c k have an enam el-like surface
g iv in g an alm ost jewelled effect; th e p a rtic u la rly sh in y an d tra n s ­
parent q u a lity is due to th e use of th e new ly-developed o il-and-
egg em ulsion. T he room s are fille d w ith atm o sp h ere th a t seems
so real as to be alm ost tangible. T h is atm o sp h eric effect is a co n sta n t
feature of F lem ish p a in tin g . A long w ith the lum inous detail and
h ig h ly polished fin ish o f the various objects, it tu rn s up once m ore
in the D u tch p a in te rs of th e sev e n te e n th c e n tu ry lik e V erm eer.
Van E y c k ’s g re a t m asterp ieces are th e p a in tin g s for th e a lta r
at Ghent: “ T he B e tro th a l of th e A rn o lfin i” an d “ T he R o llin
Madonna” (or “ T he V irg in w ith C hancellor R o llin ” ). H e
reached his g re a te st triu m p h in th e p a in tin g of p o rtra its w hich
stressed th e u n iq u e h u m an featu res of each in d iv id u a l.

§ 5. Botticelli (1445— 1510)

B o ttic e lli is one of th e g re a t p o etic p a in te rs — sen sitiv e,

w ith d ra w n from th e w orld, interested in the expression of a deli­
cate and exquisite fe e lin g unm atched in his or alm ost any tim e.
In stro n g c o n tra st to th e sc u lp tu re sq u e sc ie n tific m eth o d of the
G iotto-M asaccio tra d itio n , B o ttic e lli’s w ork is a gentle, lyrical,
poetic style worked out w ith fla t picture surfaces and decorative
flo w in g linear effects. E m o tio n a lly it is never b ru ta l or o v er­
pow ering, b u t d iffid e n t, reserved, s u b tly suffering.
“ T he B irth of V en u s” is th e p o e t-p a in te r’s ev o c a tio n of th e
goddess of love o u t of th e sea. In a rem o te an d self-absorbed
w ay, she sta n d s on a cock lesh ell, blow n shorew ard by
breezes rep resen ted o n th e le ft. T he sem ic irc u la r co m p o sitio n
is co m pleted b y th e w om an on th e rig h t w ho eag erly w aits to
receive th e n ude goddess. In s p ite of th is a rra n g e m en t th e p ic­
tu re is not b alan ced in th e m o n u m e n ta l M asaccio m anner; it is
ra th e r a series of tw istin g , tu rn in g lin es an d form s. T he p a in te r
is n o t in terested in stressin g th e th ree-d im en sio n al or sc u lp tu ra l
q u a lity , b u t ra th e r in ev o k in g em o tio n al effects th ro u g h th e
restlessness of o u tlin e and m ood.

41
 T he m ovem ent begins w ith the intertw ined form s of th e breezes
as th e y fly to w ard th e rig h t, their draperies blow ing w ild ly and
w ings tensely arch ed . I t co n tin u es w ith the deliberately off-
centered Venus a n d her cu rlin g , sn ak e-lik e h a ir. F in a lly it ends
in the forward-m oving, draped wom an an d th e sinuously curved,
a lm o st m eta llic cov erin g she h o ld s re a d y for th e goddess. The
eye of the spectator follows the restless curving lines and constantly
changing movement from one side to the other and from top to bot­
tom. A lthoug h V enus is th e c e n tra l figure, th e a r tis t has placed
h er far enough to th e rig h t to lead us in th a t d ire c tio n . Nor is
she th e d ra m a tic c e n tre of th e w ork, for th e en erg etic breezes
and th e eager young w om an a t th e rig h t are ju s t as sig n ific an t.
A special place in th e tre a su ry of w orld g rap h ic a rt belongs
to B o ttic e lli’s su p erb series of pen draw ings for D a n te ’s “ D i­
v in e C om edy” w hich d a te from a b o u t 1485— 1490. H is o ther
d raw ings ra n k ju s t as hig h .
B o ttic e lli’s e x q u isite , po etic draw in g of “ A b u n d an ce” has long
been looked u p o n as p erhaps th e m ost b e a u tifu l F lo re n tin e d raw ­
ing in th e w o rld . I t is not a stu d y for a p a in tin g , b u t a draw ing
done for its own sake and hig h ly finished. I t is a fin e pen draw ing
w ith brown wash on a light reddish ground heightened w ith white.
T he ho rn of p le n ty an d th e c h ild re n on th e left are done in black
chalk. W hile as a ru le we speak of B otticelli as a linearist, it is
clear th a t in th is m asterp iece there is a d d ed a ton a l effect which
is the result o f a sk ilfu l co m b in a tio n in the use o f brush a n d pen.

GEOGRAPHICAL A N D PROPER NAMES

Giotto [ 'g 3 (i)otouj Джотто
St Francis [sn(t)'fra:nsis] Св. Ф ран­
циск
Cimabue [ ,t$im a:'bu(:)i] Чимабуэ
Santa Croce [ ^saenta'kroutSi]
Санта Кроче (a church in Flo­
rence, Italy)
Florence |'fb ra n s ] г. Флоренция
Padua ['paedjua] г. П адуя
Masaccio [m a'za:t$(i)ou] Мазаччо
(настоящее его имя Томазо ди
Джованни)
“The Tribute Money” «Чудо с ди­
нарием»
Flanders ['fla:ndaz] Ф ландрия
VOCABULARY NOTES
Jan Van Eyck ['ia n vsen ' aik] Ян
ван Эйк
Jan Vermeer [va:'m ia] van Delft
Ян Вермеер Делфтский
Ghent [gent] г. Гент (a city in
E ast Flanders, Belgium)
“ The Betrothal of the Arnolfini”
«Портрет Ж ана Арнольфини и
его жены»
“The Rollin Madonna” (“The V ir­
gin w ith C hancellor R o llin ” )
«Мадонна канцлера Роллена»
Sandro Botticelli [ saindrou
,boti't$eli] Сандро Боттичелли
“Abundance” «Рог Изобилия»

1. renaissance n возрождение: ly ~ Ранний Ренессанс, Р ан ­

the R enaissance эпоха Ренес­ нее Возрождение; the High
санса, Возрождения; the E ar­ (L ate) ~ Высокий (П оздний)Ре-

42
 нессанс, Высокое Возрождение
a ttr. use: ~ art, literatu re, p a in t­
ing, painters, architecture, etc.
paint vt, vi писать (красками), з а ­
ниматься живописью: to
a picture писать картину; to
from nature писать с натуры;
to ~ in oil(s) писать маслом;
to —- in w ater-colours писать ак­
варелью; paint п краска: а
box of ~ s (а ~ box) этюдник;
painting п 1) живопись
N o t e : The a rt of p a in tin g cov­
ers a v ariety of activ ities usu­
ally distinguished by th eir tech­
niques, the m ain ones being fres­
co p a in tin g (фресковая ж иво­
пись), easel p a in tin g (станко­
вая живопись) and illu m in atio n
(иллюминирование, украш ение
рукописи рисунками, цветис­
тыми прописными буквами).
Easel p ain tin g includes such
genres as: p o rtra it ~ (p o rtra i­
ture) портретная живопись;
landscape — пейзаж ная ж иво­
пись; sea-scape (marine) ~ ма-
ринистская живопись; genre ~
ж анровая ж ивопись; still-life
~ натю рмортная живопись;
anim al — аним алистская ж иво­
пись; historical ~ историческая
живопись; poster ~ плакатная
живопись; the — of b a ttle
pieces (scenes) батальн ая ж иво­
пись. B ut: battle-scenes (pieces)
— батальные сцены, ev­
eryday scenes — жанровые сцен­
ки; urban ~ — урбанистская
живопись, etc.
2) картина: an oil ~ (an oil)
картина, написанная маслом;
a w ater-colour ~ (a w ater­
colour) картина, написанная ак ­
варелью ; a landscape ~ (a
landscape) пейзаж ; a still-
life ~ (a still-life) натюрморт;
p ainter n худож ник, живопи­
сец: a p o rtra it — портретист;
a landscape ~ пейзажист; an
anim al — анималист; a ~
of battle-pieces (scenes) бата­
лист; a sea-scape — маринист;
a genre- ~ ж анрист; a poster-
~ плакатист, etc.
perspective n перспектива; linear
~ линейная перспектива (This
term is applied to th e represen­
ta tio n of space in a p a in tin g or
draw ing by th e a p p licatio n of
the prin cip les of perspective.
These are based on the com m only
accepted phenom ena th a t objects
ten d to appear sm aller as they
recede, and th a t receding lines
tend to converge to one or two
van ish in g p o in ts.) aerial ~-
воздуш ная перспектива (H ere
receding distances are evoked
by g rad atio n s in tone and colour)
§ 2. sculptural а скульптурны й:
~ style 1) манера лепки;
2) скульптурн ая манера в
живописи (a m anner of p a in t­
ing ch ara c te ristic of scu lp tu re;
p ain tin g in w hich form s seem to
posses the w eight and so lid ity
of sculpture); ~ q u a lity ск у л ь ­
птурность (в живописи); sculp­
turesque а похожий на скуль-
птуру, рельефный: а ~ im ­
pression производящ ий впечат­
ление скульптуры ; — m odel­
ling лепка, к ак в скульптуре;
а ~ fresco рельефная (т. е.
производящ ая впечатление
рельефа) фреска
(well)-rounded forms объемные
формы
composition п композиция
N o t e : The aim of com position
is to organise or arrange in a
c ertain w ay groups of figures
and decorative elem ents, and to
d istrib u te surfaces so th a t a
balance is estab lish ed betw een
em pty and full spaces in a can ­
vas. O ften th e naked eye can de­
tect a linear geom etrical o u t­
line on w hich the elem ents of a
pictu re have been placed. One
of the sim plest of all geom etrical
figures, th e trian g le, forms the
basis of th e p y ram id on w hich
so m any Ita lia n R enaissance
com positions are based,
carefully (well-) balanced ~ хо­
рошо уравновеш енная компо­
зиция; closely (tightly-) k n it
 ~ компактная композиция
actuality of figures реальность
фигур
solidity of figures весомость фигур;
solid о весомый, массивный
foreground п передний план.
A n t. background; in the ~ на
переднем плане; a ttrib . use:
~ figures, objects, characters,
etc.
§ 3. suggest v t подсказывать, на­
мекать, наводить на мысль,
e.g. The blue in th e background
suggests distance, be barely ~
ed едва намечаться, e.g. The
background figures are barely
suggested,
chiaroscuro [k ^ airas'k u aro u ] (um.)
n светотень (treatm en t of light
and shade in painting). S yn .
th e play of light and shade
N o t e : B etter th an any tech n i­
cal trick , chiaroscuro brings out
a p ictu re’s basic atm osphere,
a ccentuating only the essential
detail^. It also m akes possible a
com prom ise betw een a su b ject’s
lin ear and coloured represen­
ta tio n ,
at one stroke мгновенно
build up (the mass of a) form соз­
давать форму
three-dimensional [d(a)i'm en$anl] a
трехмерный, пространственный,
объемный
blur vi становиться менее ясным,
затум аниваться
out of focus не в фокусе
§ 4 . subdue vt3 d . ослаблять, умень­
шать, смягчать: to — the light,
colour of sm th .; ~ d colours
м ягкие, приглуш енные краски
surface (or surface texture) n фак­
тура, структура, текстура по­
верхности (картины)
N o t e : Surface tex tu re varies
g reatly and stem s from a com ­
b in atio n of factors. A surface
m ay be sm ooth or, on th e con­
tra ry , rough. The depth of the
p ain ted layer m ay range all
the w ay from transparency to
com plete opacity. Sm ooth fin­
ishes, in w hich the brush m arks
44
are barely visible, are typical
of the early p ainters. This may
be easily seen from the works of
J a n van Eyck.
§ 5. evoke v t вызывать, пробуждать:
to ~ em otions, feelings, m em o­
ries; to ~ a parallel (заставить
вспомнить); evocation n вызы­
вание к ж изни, воскрешение в
памяти.
Intertwine vt, vi сплетать(ся), пе­
реплетаться): — ed forms
off-centre figures смещенные впра­
во или влево от центра фигуры
curve п кривая (линия), изгиб;
curve vt, vi изгибать(ся) гнуть
(ся); curved а изогнутый, ис­
кривленный; curving а изги­
баю щийся, извивающийся
draw vt, vi чертить, рисовать: to
— a line, a p icture; to ~ in
pencil, in pen and ink, in cray ­
on, in chalk, in charcoal, in pas­
tel, in sanguine (crayon) ри­
совать карандаш ом, тушью,
цветным восковым карандашом
(или цветными мелками), ме­
лом, углем, пастелью, санги­
ной; to ~ from nature; to ~
from life рисовать с натуры; to
be ~ n sharply быть резко очер­
ченным; drawing п 1) рисование
(the art of draw ing, etc.);
2) рисунок: a pencil ~ кар ан ­
дашный рисунок; a pen and
ink ~ рисунок тушью; a ch ar­
coal ~ рисунок углем; a pastel
~ рисунок пастелью
N o t e : The E nglish for “Он —
прекрасны й мастер рисунка
(рисовальщ ик)” is “ Не is an
ex cellent draftsm an (d rau g h ts­
m an )” and the E nglish for “ мас­
терство р и су н к а” is “ d rau g h ts­
m an sh ip ” , e.g. R ubens was
both a good colourist and an ex ­
cellen t draftsm an,
study n этюд, подготовительный
рисунок: a ~ for a p aintin g ,
e. g. Ivanov m ade a g reat n u m ­
ber of studies of heads for his
p icture “C hrist A ppears before
th e P eo p le”
finish n 1) окончательная обработ­
ка поверхности; ф актура по­
верхности: rough ~ неровная
(рельефная) поверхность к а р ­
тины; sm ooth ~ гладкая повер­
хность; 2) тщательное выписы­
вание до мельчайш их подроб­
ностей: highly polished
3) заверш енность
wash п тонкий слой (краски),
ж идкая (разбавленная) краска,
особ. акварель, размывка:
brow n ~ ; th in ~ ; e tc .,' e.g.
It is a pen draw ing tin te d w ith
brow n-reddish wash,
black chalk черный мел (мелок);
red chalk сангина, «красный
мел»
linearist п мастер линии
a tonal effect тональность. S y n .
to n a lity
brush n 1) кисть: ~ stro ke мазок;
2) перен. искусство худож н ика;
brush-work, brushing n манера
худож ника (наклады вать крас­
ки)

WORK ON THE TEXTS

1. Translate the italicised words and phrases from the texts. Give a back
translation without consulting the texts.
II. Translate in written form the last paragraph in the text on Masaccio
(§ 3) and the paragraph beginning with “The Birth of Venus...” ,
ending with “ ...the restlessness of the outline and mood” (§ 5).
III. Find the English equivalents for:

§ 1 — одна из основных тем; античная ску л ь п ту р а ; и н ­

тенсивное изучение человеческого тела; нач и н ая от простых
ремесел и кон чая высшими проявлениям и и н теллектуальны х
теоретизирований;
§ 2 — его творчество становится верш иной этого д виж ени я
б лагод аря его человечности; в начале века;
§ 3 — вним ание зр и тел я н ап р ав л я л о сь б лаго д аря ей (ли­
нии) в нуж ном нап равлени и; в п ей заж ах , а т а к ж е в и зоб раж е­
нии архи текту р н ы х построек; м ожно проследить в творчестве
велики х мастеров Высокого В озрож дения;
§ 4 — п ри глуш ал цвет предмета и со зд авал иллю зию во з­
душ ной среды; прозрачность; эффект воздуш ности; его вели­
чайш ие ш едевры;
§ 5 — объем н ая; (строго) н ауч н ая м анера (живописи);
изящ ны й, поэтичный рисунок; рог изобилия и дети слева н а­
рисованы черным мелом
IV. Explain the following:

“ from th e re la tiv e ly stiff a r tis tic b ac k g ro u n d of his tim e (§2);

“ L ine w as a sh o rth a n d m e th o d of in d ic a tin g fo rm .” (§ 3)
V. Answer the following questions:

1. W h at was th e su b je c t m a tte r of R en aissan ce p a in tin g ?

2. W h a t w ere R en aissan ce a rtis ts m ost fa scin ated by? 3. W h at
45
c o n trib u tio n d id G io tto m ak e to a rt? H ow does his p erso n ality
re la te to th e epoch he liv ed in? 4. W h a t new elem en ts does G io t­
to in tro d u c e in a rt an d how are th e y rev ealed in th e “ D eath of St
F ra n c is” ? 5. W h a t q u a litie s c h a ra c terise M asaccio’s new a eria l
perspective? 6. W h a t can you say a b o u t th e surface q u a lity of
V an E y c k ’s p ain tin g s? H ow is it b ro u g h t ab o u t? 7. W h a t are the
c h a ra c te ristic fe a tu re s of B o ttic e lli’s sty le? 8. H ow does B o t­
tic elli p erso n ally re la te to his sty le? 9. H ow does th e co m p o sitio n
of “ T he B irth of V en u s” differ from th e a rra n g e m en t of M asac­
c io ’s pictures? 10. W h a t is th e em o tio n a l effect of B o ttic e lli’s
com position? 11. W here has th e a r tis t p laced V enus in th e pic­
tu re an d w hy? 12. H ow is th e d raw in g “ A b u n d a n c e ” executed?
VI. Retell the texts in great detail.
V II. Give a summary of the texts on the Early Renaissance.

The High R enaissance

§ 6. Leonardo da Vinci (1452— 1519)
The history of western civilization records no m an as g ifted as
Leonardo da V inci. H e w as o u ts ta n d in g as p a in te r, scu lp to r,
m u sicia n , a rc h ite c t, en g in eer, sc ie n tist an d p h ilo so p h er, and was
u n q u e stio n a b ly th e m ost g litte rin g p e rso n a lity of th e H igh
R enaissance in I ta ly . L eonardo w as renow ned in a period th a t
produced such g ia n ts as R ap h ael, M ichelangelo, an d T itia n , and
his fam e, u n lik e th a t of m an y of th e g re a t m asters has suffered
no eclipse to this day.
L eonardo da V inci w as b orn in T u scan y , th e ille g itim a te son
of a successful n o ta ry an d a p e a sa n t m o th er. B y 1469 Leonardo
was liv in g in F loren ce w here he served an apprenticeship w ith
Verrocchio, w ho, to q u o te an old sto ry , “gave up the brush when
his p u p il proved a greater a rtist than h e ." E ven as a y o u th he d is­
p lay ed an a p titu d e for a ll m an n er of ach iev em en t, a w in n in g
charm , and a perso n al s tre n g th an d b e a u ty w hich h av e becom e
alm o st legen d ary .
Few of Leonardo’s p a in tin g s have come down to us: o n ly a b o u t
e ig h teen in a ll, som e le ft u n fin ish e d , som e d am aged or d e te rio ra t­
ed as a re su lt of h is e x p e rim e n ta l tech n iq u es, an d oth ers ob­
scured by discoloured varnish.
B efore L eonardo, th e re h a d been tw o p a ra lle l tre n d s in I t a l ­
ian p a in tin g : the m onum ental scientific side rep resen ted by M asac­
cio an d th e more decorative, linear and poetic side, expressed in
B o ttic e lli. L eonardo ach iev ed a c o m b in a tio n of th ese tw o tren d s.
H is im pressiv e id ealised form s are w orked o u t w ith ev ery co n sid er­
46
a tio n for sc ie n tific know ledge, and y e t seem surrounded by an
aura of poetic sentim ent. By th e ’e ig h ties of th e fifte e n th c en tu ry ,
how ever, he fa r outshone his predecessors a nd contemporaries in
th e m o n u m en tal co m p o sitio n of his p a in tin g s an d the stress he
laid on visual pla sticity.
The earliest work from Leonardo's hand w hich we know to d ay
is th e angel in p rofile a t th e le ft in A ndrea del V errocchio’s
“ T he B ap tism of C h rist” , p a in ted probably in the early 1470’s
when Leonardo was s till in Verrocchio’s workshop. In V erroc­
c h io ’s w orkshop L eonardo co u ld o b ta in th e b est e d u catio n of
his tim e, not o n ly in a rt b u t in in d ep en d en t an d sc ie n tific th in k ­
ing. In those d ays th e a rtis ts h a d to do e v e ry th in g them selves
w ith o u t o u tsid e help; they got ready suitable panels or canvases,
ground and m ixed pigm ents, prepared oils, varnishes, and glues.
I t w as V errocchio w ho n o t o n ly tra n s m itte d th e a rtis tic ideals
of D o n atello to L eonardo, b u t w ho also tra n s m itte d to h im m any
te c h n ic a litie s of sc ie n tific research and th e love of science.
In V errocchio’s stu d io L eonardo nourished h is m ind and
exercised his sk ill in every possib le w ay . I t seem s th a t his ear­
liest efforts were in the fie ld o f d raw ing and sculpture, yet he had
also begun to p a in t, an d his fir s t masterpiece “ The Adoration of
the M a g i” was p roduced s h o rtly after leav in g V erro cchio’s w ork­
shop in 1481. I t w as not fin ish ed an d it rem ain s to d a y as Leo­
nardo left it, w ith o n ly th e first brow n u n d e rp a in tin g laid on.
U n fo rtu n a te ly , he was too b u sy w ith a h o st of o th e r projects
to finish m an y p ictu res. O ne of th e g re a te st of th e few he left is
“ T he M adonna of th e R ocks” . H ere, in one p a in tin g , are the
qualities that m ake Leonardo a typ ica l artist of the late or H igh
Renaissance: an increasingly idealised portrayal of hum an beings
an d a form al, m athem atical arrangem ent of the persons in the pic­
ture. The co n cep tio n of th e c h ild re n in th is p ic tu re , the g e n tly
sm ilin g angel an d th e o th e rw o rld ly M adonna, a ll c o n trib u te a
feeling of m ore th a n h u m an n o b ility an d perfectio n . The figures
move in a dig n ified , restrained w ay, th e ir gestu res h av e a solem ­
n ity an d poise th a t are seldom found in o rd in a ry people.
T he most characteristic device of alm ost a ll H ig h Renaissance
artists is to f i t the figures into a specific geom etrical pattern: a
p y ra m id in th is co n cep tio n of th e M adonna, a circle in B o t­
tic e lli’s p ictu res, a p a ra lle lo g ram or a circle in R a p h a e l’s. This
gives a system atic and ordered q u a lity to the works o f the H igh R e­
naissance.
In M ilan L eonardo w orked on m an y im p o rta n t projects in ­
clu d in g “ T he M adonna of th e R ocks” an d “ T he L ast S u p p e r” .
T he la tte r (perhaps th e best-know n p a in tin g in th e w orld) offers

47
one of th e fin est in stan ces of a rig id geom etric enclosure. E v e ry ­
th in g tu rn s in w ard to w ard th e h ead of C h rist, even th e e x p ressiv e
gestures of his ow n h an d s. In sp ite of th e g re a t ex c ite m e n t w ith ­
in th e w ork, co m p le te form al co n tro l is m a in ta in e d . W e can
a p p re c ia te the a rtist’s w ay o f presenting the hum an dram a w here
C h rist discloses to h is follow ers q u ie tly th a t soon one of th e ir
num ber is to b e tra y h im an d th e ir cause. I t is th e rea c tio n of
th e follow ers, the stu d y o f people an d th e ir a ttitu d e to a shocking
announcem en t that the great a rtist is concerned w ith.
In fa c t, L eo n ard o ’s m ain c o n trib u tio n to a rt w as the w ay he
rendered the real world around h im . H e m ade a h u m a n being look
as if you cou ld step in to th e fla t surface of th e p ic tu re and w alk
aro u n d behin d it. T h is w as possible because of his understanding
of lig h t and shade and o f perspective. In th e profound com position,
th e calm of th e figure of C h rist is in p o ig n a n t c o n tra st w ith th e
trag ic tu rm o il h is w ords h av e caused am ong his d isciples. The
figures of the apostles sta n d in g out as in high relief are illu m in a ted
by a clear and p enetrating light, b eh in d th em are shad ow an d th e
o rd e rly a rc h ite c tu ra l d e ta ils of th e room , and beyond th e w in ­
dows, a landscape bathed in tw ilig h t glow. There is, in “The Last
S u p p e r” an im posing grandeur o f conception and a pow erful plas­
tic ity in the form s.
U n fo rtu n a te ly he tried out some new ideas w ith the p a in t that
he used an d th is w as to prove m ost fa ta l as th e p ic tu re began to
peel and b liste r o n ly a few years a fte r it w as fin ish ed . “ The L ast
S u p p er” is now o n ly a ghost of its o rig in al self. I t w as p a in te d
on a w all of th e refecto ry of th e C on v en t of D o m in ican F ria rs,
in M ilan, a t th e order of Lodovico Sforza. I t was painted not in
true fresco but in an experim ental oil technique an d in a sh o rt tim e
began to d ete rio ra te because of th e dam pness of th e w all.
H ow ever, no m a tte r how b a d ly preserved L eo n ard o ’s p a in t­
ings m ay be, they a ll com m and our attention by a strange and in ­
tim ate fascination. U n lik e o th e r R enaissan ce p a in te rs w ho sought
to convey a clear a nd understandable message through their p a in t­
ings, Leonardo c re a te d an enigm a, a problem to w hich he
gives no answ er. T here is a deep an d com plex in n er life to his
figures th a t fin d s a p a ra lle l o n ly in those of R e m b ra n d t.
The personality o f M ona Lisa, for in stan ce, impresses itself
upon us vivid ly b u t th e re is alw ays so m eth in g a b o u t her w hich
we can n o t g rasp. “M ona L isa” is one o f Leonardo’s greatest works
because of its p la sticity, th e d elicate ren d erin g of lig h t and shade,
and th e poetic use of his so-called “ sfu m a to ” to em p hasize th e
gentleness an d se re n ity of th e s itte r ’s face an d th e b ea u ty of
her h an d s. I t is th e sup rem e ex am p le of L eo n ard o ’s u n iq u e a b il­

48
ity to c reate a m asterp iece which lies between the realm of poetry
a nd the concrete realism of a portrait. T h a t is w h y th e p a in tin g is
so d isq u ietin g an d w hy it has aroused so m a n y divergent theories.
A c tu a lly , the portrait is the fusion of Leonardo’s a rtistic beliefs:
th e idea th a t it is h u m a n ly p ossible to re p re se n t n a tu re v isu a lly
in a ll th e fullness of its realism ; th e deep n o sta lg ia , c h a ra c te ris­
tic of L eon ard o ’s g en eratio n , for a calm a n d rem o te b e au ty ;
a n d the in divid u a l characterisation which was the a im of R enais­
sance portraiture. T he lan d scap e b ackground is a sp le n d id page of
ro m a n ticised geology, a n a tu ra l lock, below , h o ld in g back th e
b lu e lake an d th e riv e r.
L eonardo ’s fa c ility of ex e c u tio n is w ith o u t lim it. N a tu re
seem s to presen t no p ro b lem th a t he does n o t solve. H is d ra u g h ts­
m anship is alw ays effortless a n d p erfectly a ccu rate w h eth er in
flow ers, as in th e foreground of “ T he V irg in of th e R o ck s” ,
in th e h u m an figure or in d is ta n t m o u n tain s, as in th e b ack g ro u n d
of “ T he S a in t A n n e” . T he form s are stro n g an d co n v in cin g . T hey
are m odelled w ith e x tra o rd in a ry s u b tle ty so th a t th e surface has
a d e lica te liv in g q u a lity , an e x cellen t ex a m p le of w hich is th e
stra n g e m obile sm ile of M ona L isa. T he use of h alf lig h t an d soft
shadow s increases th is effect. T he im p o rta n t p a rts of L eo n ar­
d o ’s p a in tin g s are em phasized b y g re a te r c la rity of lig h t where­
as the background is treated in m ysterious h a lf shadows.
L ittle is know n a b o u t h is co lo u r, b u t ju d g in g from th e recen t
cle an in g of th e L ondon v ersio n of “ T he V irg in of th e R o ck s”
it was gen erally su b d u ed for th e sake of th e g re a te r delicacy of
m odelling w ith occasional brighter accents o f cold contrasting
tones th a t ad d to th e stra n g e an d m y sterio u s atm o sp h ere.
T he o n ly a u th e n tic self p o r tr a it of L eonardo done in red ch alk
in his la st years is ex ecuted in a firm , clear style.

GEOGRAPHICAL A N D PROPER NAMES

Leonardo da Vinci [ ili(:)a , na:dou Donatello ^ d a n a'te lo u ] Д о н а­

d a'vintS il Леонардо да Винчи
Raphael Santi [,raefe(i)al 'sa:nti]
Раф аэль Санти
Michelangelo Buonarroti [/maikal
'® n d 3 ilou ^ w a n a 'r a ti] М икел­
анджело Б уонарроти
Titian ['ti$ian] Тициан
Tuscany ['tAskani] г. Т оскана
Verrocchio [vi'roukiou] Верроккио
(an o u tstan d in g F lo ren tin e sculp­
tor, p ain ter and goldsm ith)
телло (the g reatest scu lp to r of
the E arly Renaissance)
“The Adoration of the Magi”
['m eid 3 ai] «Поклонение волхвов»
Lodovico Sforza [b 'd av ik o u 'sfo itse ]
Лодовико Сфорца (такж е и з­
вестный к ак Лодовико Моро)
“The Madonna of the Rocks” (or
“ The V irgin of th e R ocks” )
«Мадонна в скалах» (или «Ма­
донна в гроте»)
“The Last Supper” «Тайная вечеря»
(the refectory of the Convent
of D om inican F riars трапезная
монастыря Доминиканских
монахов)
VOCABULARY NOTES
§ 6. apprentice [a'prentis] n уче­
ник, подмастерье; to be appren­
ticed to smb. быть отданным ко-
му-л. в ученье; apprenticeship
п учение, обучение, учениче­
ство: to serve (one’s) ~
(w ith sm b.) находиться в уче­
нии, проходить обучение
to come down to us доходить до
нас. S y n . to survive
varnish n лак, фиксаж ; varnish
v t покры вать лаком (V arnish
serves as a protective layer over
the p ainted surface.)
an aura ['э:гэ] of poetic sentiment
атмосфера поэтичности, на­
строение поэтичности
plasticity [plaes'tisiti] n зд. рель­
ефность: visual ~ зримая
(почти осязаемая) рельефность;
plastic а рельефный, похожий
на скул ьп туру;— im ages скульп­
турные изображ ения; — art
искусство ваяния, пластичес­
кое искусство
from his hand зд. написанное его
рукой. S y n . from one’s brush,
e.g. Very few works from Masac­
cio’s hand have come down to
us.
workshop n мастерская, студия.
S y n . stu d io
canvas n 1) холст, полотно; 2) по­
лотно, картина (маслом), e.g.
Some very fine canvases by
R enaissancd F lorentine p ain ters
were brought to the exhib itio n ,
pigment n краска, краситель,
пигмент
N o t e : Pigm ents usually come
in the form of powders, the re­
su lt of grinding various m ate­
rials, m ainly of m ineral origin.
A v ariety of ingredients are used
to bind pigm ents together.
50
Rembrandt van Rijn ['rem braenl
vaen'rain] Рембрандт ван
Рейн
Mona Lisa ['т о и п э ' l i :za] Мона
Л и за (Джоконда)
Among the oldest is a com bina­
tion of beaten egg-yolk and w a­
ter w hich when m ixed w ith
pigm ents, is called tem pera.
S tartin g in th e 15th century, a
new vehicle for coloured pig­
m ents appeared: oil. This has
been ju stifia b ly considered one
of the m ajor advances in p a in t­
ing of all tim e. P igm ents are
bound together w ith oil and di­
luted at w ill by either oil or
sp irits (usually w ith a m ixture
of both)
oil n зд. масляная краска, масло;
to p a in t in ~ ( s ) ; — p ain tin g
живопись масляными к р аск а­
ми; an — p a in tin g (or an oil)
картина маслом
underpainting n подмалевок (the
p ain tin g and m odelling of form
in a p icture in one tone before
colour is applied). S y n . under­
coat
lay on наклады вать: to — pain ts,
colours; to ~ th e u n d e rp a in t­
ing
conception n замысел, идея (зд.
такж е вйдение, трактовка). S y n .
concept (bold, in d iv id u a l, im ­
aginative); conceive vt, vi пред­
ставлять себе, задумывать, за ­
мышлять
render v t передавать, изображ ать:
to ~ light, atm osphere, e.g.
He rendered th e scene before him
tru th fu lly .
stand out выделяться, выступать
«объемно», e.g. H is figures are
so perfectly m odelled th a t they
seem to stand out from the back­
ground. e.g. The figure of the
man stands o u t against the high
blue sky. ~ (as) in high relief
выступать как в горельефе.
bathed (in) зд. залитый: ~
in sunlight; ~ in m oonlight;
in tw ilig h t glow
command smb’s attention завладе­
вать чьим-л. вниманием
convey v t передавать, вы раж ать:
to ~ an idea, a message, one’s
feelings, observations, etc., e.g.
In th is p o rtra it th e a rtis t tried
to convey the au ra of rom ance
th a t seemed to surround the
woman.
message n идея, мысль, взгляды,
идейное содержание, e.g. All
th e works of th a t a rtist have a
deep social message,
sfumato (um.) n «сфумато» «дым-
чатость», т. е. смягченность
формы, плавность перехода от
света к тени. e.g. L eonardo’s
sfum ato (or “sm oky techniq u e” )
blends contours and volum es
into the atm osphere, creatin g a
vague sense of m ystery w hile
at the same tim e toning down the
brillian ce of his colours,
portraiture n портретная живопись.
S y n . p o rtra it p ain tin g
landscape n 1) пейзаж : ru ral —
деревенский пейзаж ; 2) пейзаж ­
ная живопись, also ~ painting,
e.g. He w as a g reat m aster of
landscape (painting); 3) пейзаж
(картина), e.g. H is landscapes
were th e m ost delightful ones
at th e exh ib itio n ,
town (city)-scape городской пейзаж
background n задний п лан, фон.
A n t. foreground; in th e ~ на
заднем плане; to be, stan d , be
painted, draw n, etc. in the
against a ~ на фоне; to stan d
ou t, be posed, p ain ted , represen t­
ed against a dark (light, etc.)
~ ; against th e — of a w all,
forest, etc. (also against a w all,
a landscape, etc.); on a back­
ground (also, ground) на фоне
(in decorative art), as a flow ery
p a tte rn on a black (back) ground,
pink spots on a brow n back­
ground, etc.; to blend w ith th e
—; to m elt in to the ~ сливать­
ся с фоном; a ttr. use back­
ground (foreground) figures in
a p icture,
execute v t исполнять, выполнять:
to ~ a p icture, a p ain tin g , a s ta t­
ue, etc.; execution n исполне­
ние, выполнение; th e perfec­
tio n of ~ ; the fa c ility of ~
authentic iо Gentik] а подлинный,
достоверный: a n ~ w o rk , p a in t­
ing, sig n atu re, e tc.; authentic­
ity [ ;э:0еп ' tisiti] n подлинность,
достоверность

WORK ON THE TEXT

I. Translate the italicised words and phrases from the text. Give a back
translation without consulting the text.
II. a) Translate in written form the paragraph beginning with “ Leonardo’s
facility of execution...” and ending with “ ...the strange mobile smile
of Mona Lisa", b) translate your version back into English without
consulting the text, c) check the result with the original and make all
the necessary corrections.

III. Find the English equivalents for:

м онум ентальность ком позиции; строгое геометрическое

обрамление; с л о ж н а я в н у тр ен н яя ж и знь; наглядн о изобра­
ж а т ь природу; пейзаж ны й фон; кр аски , приглуш енны е рад и
больш ей м ягкости леп ки , способствую щ ие созданию таи н ст­
венности атмосферы

51
IV. Answer the following questions:

1. W hy is it sa id in th e te x t th a t th e h isto ry of W estern
c iv ilis a tio n records no m an as g ifte d as L eonardo da V inci?
2. W ho w as A ndrea del V errocchio? W h a t p a rt d id he p lay in
L eo n ard o ’s ed u catio n ? 3. W hy h av e so few of L eo n ard o ’s p a in tin g s
com e dow n to us? 4. W h a t tre n d s of e a rly R en aissance Ita lia n
p a in tin g did L eonardo ach iev e a c o m b in a tio n of in his w orks?
5. W h a t w as L eo n ard o ’s e a rlie st w ork? 6 .W h a t w as L eonardo’s
first m asterpiece? 7. W h a t q u a litie s of “ T he M adonna of the
R ocks” m ake L eonardo a ty p ic a l a r tis t of th e H ig h R enaissance?
8. W h at is th e su b je c t m a tte r of “ T he L ast S u p p e r” ? S peak on
its co m positio n an d tre a tm e n t. 9. W h a t was L eo n ard o ’s m ain
c o n trib u tio n to a rt? 10. W h y did th e p a in tin g “ T he L a st S u p p e r”
begin to peel an d b lis te r o n ly a few years a fte r it w as finished?
11. W h y can we say th a t th e p o rtra it of M ona L isa is th e fusion
of L eo n ard o ’s a rtis tic beliefs? 12. W h a t can y o u say a b o u t Leo­
n a rd o ’s a b ility to ren d er atm o sp h ere and lig h t? 13. W h a t do w e
know about L eo n ard o ’s colour?
V. Retell the text in great detail.
VI. Learn by heart the paragraph beginning with “ Leonardo’s facility of
execution...” to the end.
V II. Make up an outline of the text.

§ 7. Raphael (1483— 1520)

R aphael w as b orn in U rb in o in 1483. A t an e a rly age R a ­

phael m u st h a v e com e under th e in fluence of P ie tro P e ru g in o ’s
a rt. In the inspired beauty and tra n q u il flo w in g lines of P eru­
g in o ’s compositions, th e young R ap h ael recognised th e perfec­
tio n of his ow n a rtis tic asp ira tio n s.
R ap h ael w en t to F lo ren ce la te in th e a u tu m n of 1504. Soon
his w orks bear evidence of th e im pressio n s w h ich h a d conquered
him th ere.
A ll those w o rld-fam ous M adonnas w h ich R ap h ael p a in te d
d u rin g his F lo re n tin e perio d , from th e en d of 1504 to th e end of
1508, are b u t th e m ore m a tu re sisters of th e “M adonna C onnesta-
b ile ” an d of th e “ M arriag e of th e V irg in ” , p a in te d b y him e a r­
lie r.
In all his M adonna co m p o sitio n s the m ovem ents and g roup­
ings are handled w ith such in g e n u ity and naturalness th a t th e
s p e c ta to r can h a rd ly ever be aw are of th e careful p la n n in g , th e
precise c alc u la tio n of even each bru sh stro k e. T hus, R a p h a e l’s
a rtis tic connection w ith L eonardo is a v ery p a rtic u la r one;
62
he w as th e o n ly im m e d ia te follow er cap ab le of fu rth e r develop­
ing L eo n ard o ’s ideas an d of ad d in g his ow n.
T ow ards th e en d of th e year 1508, R aphael left F lorence to
p a rtic ip a te in th e decoration of th e V a tic a n . T he first room
w hich R aph ael w as com m issioned to p a in t is referred to as S ta n ­
za d ella S eg n a tu ra . T he co m p letio n of th e frescoes in th e S tan za
della S e g n a tu ra in 1511 sig n ified a g reat triu m p h for R a p h a el.
T he Pope im m e d ia te ly decided to have R aphael p a in t the decora­
tions in th e ad jo in in g room , w h ich w as used for p riv a te a u d i­
ences, w ith o u t reg ard to alread y e x istin g p a in tin g s b y older as
w ell as con tem p o rary a rtis ts . A careful e x a m in a tio n of th e e x is t­
ing docum ents on th is su b ject leaves no m arg in for d o ubt th a t
w orks by P iero della F rancesca, B ra m a n tin o an d o th ers h a d to
b e effaced in o rd er to m ak e room for th e new p a in tin g s w ith
w h ich th e S ta n z a d ’E liodoro w as to be adorned.
In th e very y ears w hen th e im m e d ia te w ork in th e first and
second S tan ze w as done, R a p h a el's a ctivity extended to num erous
easel-paintings, altarpieces, m ythologies and portraits. B esides
th e m an y ex cellen t p o rtra its in serted in th e m u ra ls of th e S tanze
several individ u a l easel-portraits emerged from R a p h a el’s studio.
D uring th e b rief seven years before R a p h a e l’s d eath an a sto n ­
ishing num b er of m asterp ieces w ere created . In a d d itio n ,
in n u m era b le ideas an d a rtis tic in v en tio n s of R ap h ael su rv iv e
in engraving s, w oodcuts an d stu d io -p a in tin g s.
In th e M adonna p a in tin g s of R a p h a e l’s la st period o n ly a
few com positio n s w ith h a lf-le n g th figures, such as th e “M adonna
della T e n d a ” in M unich a n d th e “ M adonna w ith th e R ose” in
th e P ra d o , need be m en tio n ed . T he o th e rs are co m p o sitions w ith
fu ll-len g th figures, m o stly of larg e dim ensions. A m o n g them the
m ost fam ous M adonna representation of all times: th e “M adonna
w ith S t S ix tu s an d St B a rb a ra ” in th e D resden G allery . A p p a r­
e n tly n e ith e r R ap h ael nor h is co n tem p o raries w ere aw are
w h a t a u n iq u e m asterp iece th e y sent to th e B lack M onks of St
S isto in P iacen za. I t is n o t u n til th e 18th c e n tu ry th a t th e p ic tu re
gain ed th e e n th u sia stic a d m ira tio n w hich it h as re ta in e d ever
since. T his w as th e la st M adonna w hich R a p h a e l p ain ted . It
w as executed e n tire ly b y h is ow n h a n d , an d w h ile all th e o th er
M adonnas and easel p ic tu re s b y R ap h ael (except th e S t J o h n of
th e U ffizi, F lorence) w ere p a in te d on w ood, th is one is on canvas
of v ery fine te x tu re .
A p retty, b u t n o t authentic, legend says th a t th e idea of th e
angels at th e base of th e p ic tu re w as suggested to R aphael by
seeing two little boys w ho h a d clim b ed up to one of th e w indow s
of h is stu d io an d w ere in te n tly g azin g a t h im w h ile he w orked.

63
 T h is m asterp iece b y R ap h ael has been reg ard ed b y m an y c r it­
ics as th e first p a in tin g in th e w orld. I n force and sen tim ent and
in the ease and harm ony o f its com position, th is w ork has h ard ly
an eq u al; w h ilst in th e d ig n ity an d g ra n d e u r of th e D iv in e Mo­
th e r, no w ork can be com pared w ith it. T he p ecu liar “ d iv in e ”
expression of th e M ad o n n a’s face is due in p a rt to an e x ag g e rat­
ed b re a d th betw een th e eyes, an d p a r tly to th e p ecu liar no n ­
focussing of th e eyes b y w h ich th e y are m ad e to look a t no p a r­
tic u la r p o in t, b u t in to in d e fin ite d ista n c e .*
W e h av e no d irect know ledge of R a p h a e l’s w o rk in g h a b its,
except w h a t w e can deduce from his p ic tu re s an d draw ings. Each
p ic tu re b y R ap h ael seem s to tell th a t th e search for perfection
even in th e sm allest d etail w as his co m p ellin g passion. And
his draw ings show w h a t in fin ite p ain s he took to achieve perfec­
tio n . R aphael w as b orn w ith an u n co m m o n ly keen eye and a
sen sitiv e h a n d w hich w as e n tire ly a t h is ey e’s com m and. H e
tran sfo rm ed th e d ra p e ry m o tifs of h is teachers. T he clothes th a t
h e p a in te d look no longer as th o u g h a r tfu lly arranged over a p u p ­
pet and frozen forever; th e y flow an d th e y reflect th e liv e body
u n d ern ea th . No w onder th a t som e a rtis ts of th e e a rly n in e­
te e n th ce n tu ry suspected th em to be draw n from d rap ed liv e m od­
els ra th e r th a n from an im m o b ile w ooden figure.
R a p h a e l’s figures are tru e to life a n d reveal a co m p lete com ­
m a n d of th e h u m an form . H e often drew a fig u re in its en­
tire ty , th o u g h it w as to ap p ear in th e p ic tu re o n ly p a rtia lly ,
so as to av o id th e im pression th a t a co m p o sitio n w as pieced
to gether from frag m en ts. T h u s, R ap h ael succeeded in g iv in g th e
ap p earance of com pleteness to each fig u re in a crow d, how ever
m uch it m ay be concealed b eh in d o th e rs (as, for in sta n ce in
his fam ous “ T he School of A th e n s” ).
F orm er cen tu ries h ig h ly v alu ed th e ex pressiveness of R a ­
p h a e l’s a rt. I t w as for th is th a t ev ery y o ung a r tis t w as expected
to devote him self to th e stu d y of R a p h a e l’s co m p o sitio n .

GEOGRAPHICAL AND PROPER NAMES

Pietro Perugino p p je tro u ,peru(:)
'g j i i n o u ] Пьетро Перуджино
(an Italian painter, 1446— 1523)
Urbino |a:'b i:nou] г. Урбино
the Vatican ['vaetikan] Ватикан
(the papal palace, consisting
of a group of buildings)
Stanza della Segnatura ['staenza
,dela ^en ja'tu ara ] Станца делла
Сеньятура (stanza um. парадная
комната)
Piero della Francesca ['pjerou ,dela
fraen'tSeska] Пьеро делла Ф ран ­
ческа (an U m brian painter,
1420— 1492)

* The only other similar tr eatm en t of the eyes appears in his “ Tran
fig uration ” .

54
Munich ['m ju :n ik ] г. Мюнхен
the Prado [Fpra:dou] Прадо (a m u­
seum in M adrid, Spain)
St Sixtus [sn(t)'sikst3s] Св. Сикст
St Barbara [sn(t)'ba:b(3)rs] Св.
В арвара
Dresden ('drezd(a)n] г. Дрезден
Piacenza [p ja:'t$ e n tsa] г. П ьячен­
ца (a city in N orthern Italy)
the Uffizi ['u fitsi] Уффици (a
p icture g allery in Florence)
the Divine [d i'v ain ] Mother бого­
матерь
“The School of Athens” «Афин­
ская школа» (one of the frescoes
p ain ted for th e V atican stanze)

VOCABULARY NOTES

§ 7. handle v t обходиться, обра­ полный, во весь рост: — fig­

щ аться; трактовать, передавать
to ~ groupings размещ ать фи­
гуры; to ~ m ovem ent(s) пере­
давать движение(я); to ~ com ­
position строить композицию;
to — space передавать (созда­
вать) пространство; to — one’s
m aterial работать с материалом;
to ~ light передавать свет
half-length (waist-length) а пояс­
ной: — figure (фигура, изобра­
ж енная по пояс); half-length п
поясной портрет; full-length а
ure фигура, изображ енная в
полный рост; full-length п
портрет во весь рост
tre a t v t трактовать, e.g. M atter
and objects are trea ted in a new
w ay in C h ard in ’s still-lifes;
treatment n трактовка, e.g.
The discovery of p ain tin g in oils
in the 15th century led to new
diversity in th e tre a tm e n t of
light, linear — линейная т р ак ­
товка (изображения); surface ~
обработка поверхности

WORK ON THE TEXT

I. Translate the italicised words and phrases from the text. Give a back trans­
lation without consulting the text.
II. Translate into Russian, in written form, the paragraph beginning
with “ Raphael’s figures are true to life ...” ending with “ ... behind
others.” Translate your paragraph back into English without consult­
ing the text. Check with the original and make all the necessary correc­
tions.
III. Find the English equivalents for:
тщ ательно продум анная ком позиция; структурное по­
строение; изображ ение задум ано к а к единое целое; участво­
вать в росписи В ати кан а; ей (этой картине) нет равной; не­
обыкновенно острое восприятие; ж изненно правдивое изобра­
ж ение; в соверш енстве передавать анатомию фигуры; рисо­
в ать ф игуру целиком
IV. Answer the following questions:
1. W h at is c h a ra c te ris tic of R a p h a e l’s M adonna com pos
tions? 2. W h at com m ission did R aphael u n d e rta k e in Rom e and
how did he fulfil it? 3. H ow is R a p h a e l’s S is tin e M adonna re ­
garded by m an y critics? W h a t does it rep resen t? H ow does R a ­

55
phael achieve th e “ d iv in e ” expression of th e M ad o n n a’s face?
4. W h a t do R a p h a e l’s p ictu res an d draw ings tell us of his w orking
h a b its? 5. H ow d id R ap h ael succeed in m ak in g h is figures so
tru e to life?
V. Retell the text as close to the original as possible.
VI. Give a summary of the text.

§ 8. Michelangelo Buonarroti (1475— 1564)

M ichelangelo B u o n arro ti w as b orn in 1475 in a sm all tow n near

Florence. W hen M ichelangelo w as th irte e n he was apprenticed to
Ghirlandaio for th re e years d u rin g w h ich tim e he show ed a defi­
n ite preference for scu lp tu re.
In 1494, he v isite d V enice an d B ologna before going on to
R om e to execu te his P ie ta for S a in t P e te r’s (1498— 1500). The
su b je ct is a v ery d iffic u lt one, for th e V irg in hold s th e body of
C hrist across her knees. E a rlie r R en aissance scu lp to rs had
added S a in t J o h n an d M agdalen to th e scene to h elp su p p o rt
th e in e rt body an d p rev en t it from seem ing to cru sh th e frail
M adonna. M ichelangelo excluded th e tw o figures an d by sub­
tle positionin g an d b y ex ag g eratin g s lig h tly th e scale of th e V ir­
g in he crea te d a co m p act an d iso lated m on u m en t of e x tra o rd i­
n ary em otio n al force.
W ith in th e m a je stic d ig n ity of th e group th e re ap p ear c o u n t­
less delicate co n trasts. T he rig id lin es of C h rist angle across and
around th e graceful curves of th e M adonna as she re sts re sig n ­
edly, her knees sloping forw ard, her b o d y arch in g b ack and th en
forw ard, p ro te c tiv e ly above. T his is th e fir s t w ork M ichelange­
lo ever signed. Legend h as it th a t a fte r th e group w as in sta lle d
in th e ch ap el, som e n o rth e rn v isito rs w ere o v erh eard a ttrib u tin g
it to one of th e ir ow n co u n try m en . W h a te v e r th e cau se, he carved
“ M ichael A ngelus B o n aro tu s F lo re n tin u s F a c ie b a t” on th e broad
s tra p th a t ru n s across th e left b re a st an d sh o u ld er of th e V ir­
gin. From this tim e on his distinctive style was su fficien t id e n tifi­
cation.
O n h is re tu rn to F loren ce in 1501 M ichelangelo signed a con­
tra c t to m ak e th e fam ous sta tu e of D av id w hich w as to com m e­
m o ra te th e d eliv eran ce of th e c ity from her enem ies. C o n tract
in h a n d , he s ta rte d in a t once. A round th e m a rb le he b u ilt a
shed w hich w as locked at all tim es, a p recau tio n th a t im plies
a preference for his ow n co m p an y , a d istru st of his fellow s, and,
very possibly a sh arp sense of p u b lic ity . H e w orked w ith a fu ­
56
rio u s energy so g re a t th a t he o ften slep t in h is clo th es, grudging
th e tim e it to o k to ta k e th em off an d p u t th em on again.
T ech n ically th is sta tu e m ark ed a change in M ichelangelo’s
d evelopm ent. In a single w o rk he achieved th e d ifficu lt tra n s i­
tio n from norm al scale to th e colossal w ith o u t a flaw , setting
back the chin slig h tly, so th a t it w ould n o t cu t off too m uch
of th e features from th e s p e c ta to r’s view , b u ild in g o u t th e nose
and forehead, p la cin g the eyes on a subtly sla n tin g plane. H e re­
lie d on th e sh arp tu r n of th e neck to a n im a te th e p ro file and se­
lected veins an d sinew s to g iv e tellin g v ita lity to th e surface.
A t th e age of th ir ty M ichelangelo w as c alled to R om e and
for th e n ex t th ir ty years he w orked th ere for a succession of
P opes. A p a rt from th e u n fin ish e d tom b for P ope J u liu s II,
w hich was to have been his masterpiece in sculpture, th e m ost im ­
p o rta n t w ork of th is period is the m a g n ificen t and elaborate
p a in tin g on the c eillin g of the S istin e Chapel in the Vatican.
T his im m ense ceilin g , alm ost an acre in area, is fo rty feet above
th e g round, c u rv ed in form a n d in te rru p te d b y w indow op en ­
ings. It w ould h av e been a trem en d o u s problem to an y experienc­
ed p a in te r. F or M ichelangelo, w ho h a d as y e t done very little
p a in tin g , c e rta in ly n o th in g on an overhead surface, it w as a for­
m id a b le challenge.
T he P ro p h e t Je re m ia h on th e S istin e ceilin g is one of th e m ost
expressive figures; the bent shoulders and general downward move­
m ent symbolise the sadness of th is g re a t seer w ho sits, ch in in
h an d and eyes h a lf closed, rev ealin g his th o u g h tfu l dejection.
M ost m asters of th e H ig h R enaissance w ere ab le to express th e
em otions of th e ir figures th ro u g h positio n s of th e arm s and legs
or postures of th e body; th e y a tta c h e d as m uch im p o rtan ce to
th ese factors as to th e expression on th e face itself. T his is as
tru e of Je re m ia h as of A dam in th e C reatio n scene (also on th e
ceilin g of th e S istin e C hapel) or L eo n ard o ’s “ M adonna of th e
R o ck s” .
W h at is esp ecially strik in g — a n d c h a ra c te ris tic of M ichel­
angelo — in the portrayal o f Jerem iah is the illusion of a three-
dim ensional space in w hich th e figure can a c tu a lly m ove. This
is effected through the powerful contour line o f the form itself, and
the painted recess o f the niche in which it is set. J e re m ia h ’s legs
are draw n in u n d er h im , im p ly in g th e sam e p o ssib ility of m ove­
m en ts as do th e h u n ch ed sh o u ld ers an d su n k en head.
W hen th e m o n u m en tal p a in tin g in th e S istin e C hapel w as fin ­
ished, it w as signed: “ M ichelangelo, S c u lp to r” .
M ichelangelo's th o u g h tfu l, passionate force of character was re­
flected in his work, w ith its love fo r contorted nudes to express emo­

57
tion through the device of tu rn in g one p a rt o f the body in a different
direction from another, and yet balancing the parts o f the body.
In a stu d y for th e S istin e C hapel ceilin g th e L y b ia n S ybil is
draw n in red ch alk . The chalk lines model w ith great force the
form s of the head an d th e m ig h ty b ack an d arm s. G reat care has
been given to th e an ato m ical stru c tu re of th e fig u re an d th e m us­
cles show w ith m o re d istin ctn ess an d salience th a n th e y w ould
even in th e m o st h ig h ly tra in e d a th le te . The fig u re has been thought
o f “in the round” , from all sid es, as a sculptor would conceive
it, and n o t as an ap p earan ce of th e m odel from one position
o n ly , th e usual p ra c tic e of p ain ters.

§ 9. Titian (1485/90— 1576)

D u rin g th e 16th c e n tu ry V enice occupied a d o m in atin g posi­

tio n in th e a rt w o rld , an d p a in tin g flo u rish ed anew under th e
leadership of G iorgione, T itia n an d th e ir follow ers. Colour be­
cam e p re d o m in a n t, w h ile ease and forcefulness in technique was
allied w ith dashing execution.
It w as in th e a rt of T itia n th a t V en etian a rt reached its peak.
T itia n ’s p o rtra its are asto n ish in g in their penetration of character.
The form al and closely k n it composition of his p o rtra its enhances
th e fa n ta stic q u a lity of th e colour w hich is lit b y an inner lig h t.
T his is revealed in th e p o rtra it of P ie tro A retin o , a poet who
is p o rtra y e d in im posing d ig n ity as he ad vances, h is robe w ith
w id e lap els th ro w n carelessly open across his ch est. P a in tin g
in broad, sure strokes and de-em phasising deta ils, th e a rtis t
achieves an impression o f genuine three-dim ensionality and volume.
W h ile th e fabrics of th e clo th in g are n o t done in d e ta il, th ey are
ren dered w ith a reg ard for th e ir actu al q u a lity as m a te ria ls.
A retino describes th e liv in g q u a lity of th is p o rtra it him self:
“ C erta in ly it b re a th e s, p u lsates a n d m oves th e s p irit in th e w ay
I do in life .”
T he m ore d ire c tly sensual an d o ste n ta tio u s side of T itia n ’s
a rt m ay be seen in th e “ V enus an d th e L u te P la y e r” . In th is
la te w ork, the delicacy and richness o f T itia n ’s colour reaches
a new h eig h t w ith its sen sitiv e glazes an d surface m ixings of
p a in t. The broad sw eeping lines o f the composition carry the eye
from side to side in a sem icircle reach in g from th e little C upid at
th e rig h t to th e tip of th e m u sic ia n ’s lu te an d up in to th e m o u n ­
ta in s at the left. T he n u d e V enus an d th e young p o etic noblem an
seem to h av e been in te rru p te d in th e course of p lay in g m usic.
She holds a flu te in h er h a n d an d th e young m an tu rn s from his
lu te to w atch th e li t t le g o d lin g p lace a crow n of flow ers on her
58
head. There is a feeling of thin gs h a v in g stopped, of sounds
hovering in t h e air. B ut this voluptuous and richly portrayed
woman is fa r from a poetic type — not because she m a y to our eyes
look som ew hat o v e ra b u n d a n t b u t ra th e r because th e pa in te r
looks upon her in too m a tter-of-fact a w ay. She is a m a gnificent
still life, a b e a u tifu lly and m a te r ia lis tic a lly h a n d le d piece of
flesh, rich an d splendid like th e red c u rta in s in th e background
w ith the ir w a rm shadows.
To repeat an old doctrine: from Leonardo one can learn abo ut
light and shade, from Michelangelo about a n a to m y and m ovem ent,
from R aphael about expression, and from T itia n a b o u t
colour.
GEOGRAPHICAL A N D PROPER NAMES

Ghirlandaio I ^ ir la in 'd a ijo u ] the Lybian Sybil ['lib ia n 's ib il]

Гирландайо Л ивийская сивилла
Venice ['venis] г. Венеция Giorgione [ ^ D ^ t i J 'o u n i ] Д ж о р ­
джоне (a V enetian p ainter,
the Pieta [/p ie'ta:] Пьета 1478— 1511)
(«Оплакивание Христа») Venetian [vi'ni:$an] венецианский
the Sistine Chapel ^ ['sisti:n Pietro Aretino ['p jetro u aeri'ti:n o u ]
Ч$эер(э)1] Сикстинская капелла Пьетро Аретино (an Ita lia n
the Prophet Jeremiah ['profit ,d 3 eri- poet)
'm aia] пророк Иеремия Cupid ['k ju :p id ] купидон

VOCABULARY NOTES

§ 8. plane n плоскость: on a искаженный (для большей вы ра­

slan tin g ~ в наклонной плос­
кости, on a different ~ в др у ­
гой плоскости
chisel l't$izl] n резец, долото
скульптора; chisel v t высекать,
вырезать, обрабатывать рез­
цом, долотом; chiselling п вы­
секание, вырезание
elaborate [i'lsebarit] а зд. слож ­
ный, разработанный в деталях;
elaborate [i'laebereit] vi, vt р ас­
крывать с большой подроб­
ностью
downward m ovem ent нисходящие
линии, also: upw ard, sideways,
etc. m ovem ent
contorted a 1) искаженный (о чер­
тах лица); 2) изломанный (о
фигуре); ~ figures (those rep ­
resented in tw isted, u n n atu ral,
violent poses), cf distorted a
зительности)
§ 9. de-emphasise details не выде­
лять деталей
sensual I'sensjual] а 1) чувствен­
ный; 2) относящ ийся к чувст­
вам, воспринимаемым каким-л.
из пяти органов чувств. S yn .
sensuous
rich a (about colour) сочный (крас­
ка, тон), e.g. R em b ra n d t’s col­
our is rich and w arm , richness n
сочность, насыщенность.
B u t : богатство красок is a r i­
ot of colour, a w ide range of
colours, a w ide colour-schem e.
glaze n лессировка, тонкий слой
прозрачной краски (один из
многих слоев, накладываемых
друг на друга)
carry the eye from отводить взор
от чего-л.

59
nude а обнаженный (в живописи nude п обнаж енная фигура
и скульптуре); a semi-nude voluptuous [va'lA ptjuas] а зд.
figure полуобнаж енная фигура; пышных форм: а — figure

WORK ON THE TEXTS

I. Translate the italicised words and phrases from the texts. Give a back trans­
lation without consulting the texts.
II. Paraphrase or explain the following:
§ 8 — by ex ag g eratin g slig h tly th e scale of th e V irgin;
th e rig id lines of C h rist angle across an d aro u n d th e graceful
curves of th e M adonna; he achieved th e d ifficu lt tra n s itio n from
norm al scale to th e colossal; b u ild in g o u t th e nose an d forehead;
§ 9 — to enhan ce th e fa n ta s tic q u a lity of th e colour; th e
fabrics are rendered w ith a reg ard for th e ir a c tu a l q u a lity as
m a te ria ls.
III. Answer the following questions:
a) 1. H ow w as th e su b ject of th e P ie ta tre a te d b y R enais­
sance scu lp to rs before M ichelangelo? 2. W h at so lu tio n did M ich­
elangelo find in th e ex ecu tio n of his P ie ta ? 3. H ow did M ich­
elangelo achieve th e d ifficu lt tra n s itio n from norm al scale to th e
colossal in his “ D a v id ” ? W h at effect does he achieve w ith th e
sharp tu rn of th e neck? 4. H ow did M ichelangelo and c ertain
o th e r p a in te rs of th e H ig h R en aissance convey em o tio n in th e fig­
ures th e y p ain ted ? 5. W h y did he sign his p a in tin g s “ M ichel­
angelo, S c u lp to r” ? 6. G ive several reasons w hy th e p a in tin g
of th e ceilin g in th e S istin e C hapel w as such a ch allen g e to M ichel­
angelo? 7. W h at m eans did M ichelangelo use to co nvey th e sad,
reflectiv e m ood of th e P ro p h et J e re m ia h ? 8. W h a t w ere som e of
th e devices he used to g iv e th e illusion of v o lu m e and three-
dim ensional space?
b) 1. W h a t is V en etian a rt n o ted for? 2. W h a t is th e dis­
tin c tiv e q u a lity of T itia n ’s p o rtra its and how is th is revealed
in h is p a in tin g of P ie tro A retino? 3. W h a t aspect of T itia n ’s
a rt can be seen in th e “ V enus and th e L u te P la y e r” ? 4. H ow does
th e eye follow th e lin es of th e com p o sitio n ? 5. H ow is th e figure
of th e V enus treated ?
IV. Give a brief summary of each text.
V. Retell the texts in detail.

§ 10. Albrecht Diirer (1471— 1528)

W h ile G erm an a rc h ite c tu re and sc u lp tu re p ro fited little from
th eir c o n tac t w ith th e Ita lia n R enaissance, G erm an p a in tin g
ow ed m uch to th e Ita lia n a rtis ts liv in g in th e fifte e n th c en tu ry .
60
 T he central fig u re in th e G erm an R en aissance w as A lbrecht
D iirer, a p a in te r an d g ra p h ic a r tis t, one of th e m ost o u tsta n d in g
p erso n alities in th e h isto ry of a rt.
D iirer w orked ch iefly as an en g rav er, an d his engravings
w ere still Gothic in sp irit and conception. H is best know n w orks
are h is eighteen en g rav in g s of th e A pocalypse cycle, th e m ost
in te restin g of w hich is “ The F o u r R id e rs” . H is copper-engraving
“ M elan ch o lia” , also one of h is b e st, is im bued w ith com plex sy m ­
bolism and philo so p h ical c o n te m p la tio n ab o u t m a n ’s c re a tiv e
pow ers and science.
D tirer’s fu n d a m en ta l g ift o f draw ing m ad e h im seek a clearer
form for his co p p er-en g rav in g s an d p a in tin g s by a co n sisten t
o b serv atio n of th e w orld aro u n d him . In th e im peccable c h a r­
coal draw ing of h is m o th e r, done in 1514, we h av e one of D iirer’s
m ost c an d id , m ost p o ig n a n t, m o st u n fo rg e tta b le w orks.
A lbrecht D iirer is akin to Leonardo in h is restless intellectual
curiosity. H e is th e m ost u n iv e rsa l, th e m ost b alan ced and th e
g re a te st of all G erm an a rtists of any period.

§ 11. Pieter Brueghel the Elder (1525/30— 1569)

P ie te r B rueghel w as p ro b ab ly th e m ost sig n ific a n t and ex ­

c itin g p a in te r in n o rth e rn E u ro p e d u rin g th e m id d le p a rt of th e
six te e n th cen tu ry . C arrying forward the sturdy sim p lic ity and emo­
tional strength o f the great Diirer, th is F lem ish p a in te r produced
im pressive co m m en taries on th e events and people of h is tim e ,
and th e m ost im p o rta n t group of landscapes in cen tu ries.
H is experiences w ere th e b asis of such p ictu res as th e w ell-
know n “ The W edding D an ce” and sim ilar scenes in w hich th e
sim ple people of F la n d e rs are show n en jo y in g them selves. T here
can be no q u estio n in g of B ru eg h el’s sy m p a th y w ith th ese folk;
th ere is none of th e s a tire or condescension o ften m et w ith in
o th e r peasant p a in tin g s. Strong, lu sty figures a re seen in th e m eas­
ures of a liv e ly dance. N o a tte m p t is made to gloss over or to
p re ttify the n a tu ra l crudities o f behaviour.
Y et a p ic tu re of th is ty p e can n o t be looked upon m erely as
an everyday fo lk or genre scene p a in te d for th e sake of qu a in t
subject matter. In a d d itio n to show ing h is p leasu re in th is event
and his feeling for th e people, B rueghel h as created a careful
pattern of form s, colours, lines, and directional emphasis. These
m ake th e in d iv id u a l h u m an being p a rt of a sy ste m a tic d ecorative
arrangem ent. In th is p a rtic u la r w ork, “ T he W edding D an ce” ,
B rueghel has arra n g e d his people in a n u m b e r of interw oven
lines th a t m ove b ack an d fo rth in curves th ro u g h th e lower p a rt

61
of th e p ictu re. T h is com plex and tig h tly -k n it group is re la te d
to th e rest of th e p a in tin g th ro u g h the repetition o f accents of
red , w h ite , b lack , an d yellow , re s u ltin g in an over-all pattern.
T he figures th em selv es are often reduced to decorative out­
lines in w hich d etail is h e ld to a m in im u m in the interests of the
over-all pattern. F or th e sam e reaso n in d iv id u a l em o tio n s are
n o t stressed. In ste a d , th e e n tire tu rb u le n c e of th e dance and its
to ta l expressive q u a lity is ab le to em erge. W e m a y th in k of
th is p ic tu re as the essence of m ovem ent rather than the portrayal
o f a specific event, a lth o u g h th e scene itself u n d o u b te d ly w as w it­
nessed by th e p a in te r.

§ 12. El Greco (1541— 1614)

B orn D om enicos T heotocopoulos on th e islan d of C rete, he w as

la te r called El G reco, “ th e G reek ” , b y th e S p a n ia rd s. H e w ent
to Ita ly as a young m an b rin g in g w ith h im m em ories of the long
austere figures o f Eastern Christian or B yza n tin e art. In V enice
he w as affected b y th e co m p o sitio n s of T itia n and th e elo n g ated
tw istin g form s an d b roken colours of T in to re tto . In R om e it
w as th e pow erfully co n to rte d la te r sc u lp tu re of M ichelangelo
th a t im pressed h im , b o th for its form and its intensely sp iritual
qualities. A round 1576 th e p a in te r w ent to S p ain and settle d
in Toledo.
A long w ith his personal vision, w h a t m akes El G reco’s w ork
un iq u e tec h n ic a lly w as his a b ility to fuse the two seem ingly a n ti­
thetical modes of Ita ly and B y za n tiu m . In C rete he h ad learned
the pictorial discipline of the icon m aker. In g en eral, th e icon stro v e
to convey its message sim p ly and directly, b u t w ith a m axim um
of em otional effect. A ccordingly, th e icon m ak ers reduced the
colour and draw ing o f figures and nature to strong, clear patterns.
Such h ig h ly sty lised designs are b eliev ed to h av e influenced ce r­
ta in of E l G reco’s conceptions and h is ideal of relig io us ex p res­
sion. In V enice, on th e o th e r h a n d , h e h a d m astered an a rt w hich
d ealt w ith th e re p re se n ta tio n of ev en ts an d c h a ra c ters — a d ra ­
m a tic , re a lis tic a rt, w h ich a tte m p te d , n o t so m uch to m ake you
feel lik e a sa in t, as to show you th e sa in t in a c tio n against a
background of the hum an world.
L a te r on El G reco’s figures becom e sym bolic d isto rtio n s and
elongations to evoke a g re a t relig io u s an d m y stical response s u it­
able to th a t p a rtic u la r m om en t of S p an ish h isto ry .
T he sp irit and m ean in g of El G reco’s a rt m ay be seen c le a r­
ly in th e w ell-know n “ S t M artin and th e B eggar” . T he form s
are lengthen ed an d tw iste d ; th e head s becom e tin y e n titie s re s t­

62
ing on flam elik e bodies. Colour also is raised to expressive level.
In order to achieve a spiritu a l rather than a physical effect, th e
a rtis t d isto rts th e a ctu al colour of th e o b jects and transforms
them into mood symbols. The proportions of the figures in relation
to the background are so altered th a t they seem to loom form idably
over it and alm o st to absorb it w ith th e ir g re a t size. T hese t h i n ­
faced, elong ated in d iv id u a ls are b ro u g h t to g e th e r by th e cold
yellow -green of th e clo ak w hich S t M artin is d iv id in g w ith th e
beggar, and by th e m u tu a l glances of th e ir m elan ch o ly eyes.
St M artin and h is horse are so im pressiv ely larg e an d loom ing
th a t th ey seem to reach up in to th e v ery sky itself w here g ray ish
clouds p a rt to m ak e w ay for th e m . As is o ften th e case in El
G reco’s a rt, m ost of the com positional elem ents seem to em pha­
size the upward m ovement.
If th e St M artin p ic tu re is representative o f his fig u re composi­
tion, “ T he V iew of th e C ity of T o led o ” is ty p ic a l of th e p a in te r’s
tre a tm e n t of n a tu re . “ T he V iew of T oledo” is a ra th e r stra n g e
in te rp re ta tio n , considering th a t th is c ity in th e v ery ce n tre of
S p a in would ordinarily be charged w ith su n lig h t — every form
crystal-clear and crisp. El G reco h a d c h a ra c te ris tic a lly chosen
to show th e c ity in an u n u su al aspect — d u rin g or ju st before a
storm — and th e o rd in a ry colour an d space elem ents are d e lib e r­
a te ly a ltere d for th e a r tis t’s purposes. The in h o sp ita b le gray-
ish-greens that suffuse the picture are ju st as “ u n re a l” as th e a r­
b itra ry rearran g em en t of b u ild in g s and the m ovem ent of the
space upward in ste a d of back in to th e pictu re.
F or El G reco th is an c ie n t place is not a c ity of joy and lig h t;
it is ra th e r a sym bol of doom and d ark d espair. On th e rig h t
b a n k of th e riv e r in th e low er p a rt of th e p ic tu re th e re are
tin y w o rm lik e c re a tu res w hich seem to be h u m an beings. B ut
th ey are u n im p o rta n t; it is the general em otional and m ystical
effect of th is la n d th a t the painter wishes to convey. N ever has such
a landscape been p a in te d . A ll th e sim p lest an d usual elem en ts
of a landscap e p a in tin g are th ere: sky, h ills , a c ity , m eadow s,
roads. B ut th e m a in th in g is m issing: the fe e lin g o f space and dis­
tance. D o m in a n t in ste a d is th e feeling of a c tiv ity and d ra m a, a
feeling u su a lly conveyed o n ly b y th e h u m a n figure. T he sky is
re n t in a c h a o tic ru sh of clouds w h ile th e e a rth dashes to m eet
it in an upw ard surge. T he m enacing anger is a ccu m u lated be­
h in d th e zone of T oledo’s m o st conspicuous an d h a u g h ty b u ild ­
ings: th e C ath ed ral and th e C astle, th e em b o d im en t of th e jo in t
pow ers of th e c ity , th e C hurch an d th e S ta te .

63
 GEOGRAPHICAL A N D PROPER
Albrecht Diirer ['aelbrekt 'djuara]
Альбрехт Дюрер
the Apocalypse [a'pokalips] Апо­
калипсис (по-греч. — «откро­
вение»), раннехристианское
произведение (1 в.н.э), поме­
щаемое в конце «Нового З а ­
вета»
Pieter Brueghel the Elder ['pi :ta
'broig(a)l] Питер Б рейгель Стар­
ший
VOCABULARY NOTES
§ 10. graphic a 1) изобразитель­
ный (used of draw ing and p a in t­
ing): the ~ arts изобразитель­
ное искусство. S y n . visual arts;
2) графический (used of draw ing,
engraving and etching): ~ art
графика; a ~ a rtist худож ник-
график. S y n . a black and w hite
a rtist
§ 11. prettify v t украш ать, при­
хораш ивать
everyday folk or genre scenes бы­
товые сценки
tightly-knit group тесно связанная
группа
the repetition of accents повторе­
ние цветовых акцентов (для
придания ритма рисунку), al­
so: re p etitio n of line ana form
reduce v t сводить (к чему-л.)(
доводить (до чего-л.): to —
а character to p icto rial elem ents
свести образ лиш ь к элементам
живописного порядка; to ~
a figure to a decorative ou tlin e
свести образ лиш ь к декоратив­
ному контуру; to ~ sm th.
to strong, clear p a tte rn s зд. сво­
дить ... (превращ ать в ...) к
четкому, ясному рисунку
§ 12. austere [o:s'tia] а строгий,
суровый, аскетический
one’s personal vision индивидуаль­
ное (личное) восприятие (че­
го-л.), also: o ne’s personal
style
64
NAMES
Flemish ['flemi$] фламандский;
F lan d ers ['fla :n d a z ] Ф ландрия
“The Wedding Dance” «Кресть­
янский танец»
El Greco fel 'g re k o u j (D om enicos
Theotocopoulos [do(u)'m enikas
0 ip ta'k D p alo s]) Э ль Греко
(Доменико Теотокопули)
Crete [kri:t] о-в Крит
Toledo [to'leidou] г. Толедо
fuse v t соединять, сливать, объе­
динять (в единое целое): to
~ different tendencies, outlooks,
etc.; fusion n слияние, объеди­
нение, синтез
pictorial [pik'tD :rial] a 1) ж ивопис­
ный, изобразительный: — a rt
живопись, изобразительное ис­
кусство; 2) иллю стрирован­
ный
stylised а стилизованный, написан­
ный в условной манере •
loom vi маячить, выситься; гро­
моздиться (над чем-то); при­
нимать преувеличенные р аз­
меры, also: to loom large к а­
заться очень большим, e.g. T he
tow er loom ed over th e scene.;
looming а высящ ийся, м аяча­
щий
to bring together соединять, объе­
динять, e.g. The curving line
of his bent head and p ointing
finger brings th e w hole com posi­
tion together. S y n . to (hold)
pu ll sm th. together
to be charged with sunlight быть з а ­
литым (насыщенным) солнцем.
S y n . to be bath ed in sunlight;
to be suffused w ith su nlight
crystal-clear а чистый, прозрачный
(как кристалл)
suffuse v t наполнять, заполнять,
заливать, e.g. The room is suf­
fused w ith lig h t.
 WORK ON THE TEXTS

I. Translate the italicised words and phrases from the texts. Give a back
translation without consulting the texts.
II. Find the English equivalents for

гравю ра на меди; быть проникнуты м слож ны м сим волиз­

мом; безупречны й рисун ок углем; сим патии к народу; распо­
лож ени е героев по переплетаю щ им ся лини ям ; изображ ение
какого-то определенного собы тия; и ск аж ает настоящ ий цвет
предметов; эти удлиненны е изображ ения (композиционно)
объединяю тся холодны м ж елто-зелены м цветовы м пятном
плащ а; сероваты е о б л а к а расступаю тся, чтобы д ать им дорогу;
неприветливы е серовато-зелены е тона
III. Answer the following questions:

1. W ho w as th e m ost o u ts ta n d in g figure of th e G erm an R e

n aissance? 2. W h a t did A lb re c h t D iirer ch iefly excel in?
3. W hich of h is en g rav in g s, d raw in g s an d p a in tin g s are best
know n? 4. W h a t are th e m o st c h a ra c te ris tic featu res of P ie te r
B ru eg h el’s sty le? 5. In w h a t w ay does B rueghel re p rese n t th e
com m on people of F lan d ers? 6. W h a t can you say a b o u t B rueg­
h e l’s colour an d com position? 7. W h a t pow erful influences form ­
ed E l G reco’s sty le? 8. W h a t tw o d ifferen t m odes of p a in tin g
did E l Greco fuse in h is w ork? 9. W h y d id El G reco d isto rt th e
form and actu al colour of th e o b jects in h is p a in tin g s? 10. H ow
did E l Greco convey th e sense of doom and d esp air in h is landscape
“ T he V iew of T o led o ” ?
IV. Retell the three texts in great detail.
V. Make a summary of each text (three or four sentences for each).

EXERCISES TO PART II
I. Give as many word combinations as possible with the following and trans­
late them into Russian.
a) Supply attributes for the following nouns:

perspectiv e, sty le , co m p o sitio n , p la s tic ity , co n cep tio n , su r­

face, h a n d lin g , tre a tm e n t, p a in tin g , d ra ftsm a n sh ip , p o rtra it,
b ru sh -w o rk , (bru sh )stro k es, co lo u r, shadow s, scene, ex ecution,
ch a lk , arran g em en t.
b) Supply direct objects for the following verbs:

to b u ild u p , to b alan ce, to ren d er, to convey, to eclipse,

to tw ist, to d isto rt, to ap p re n tic e , to conceive, to execute, to
h a n d le, to tre a t, to suffuse, to fuse.
c) Supply prepositional objects for the following:

to p a in t in, to draw in, to be b a th e d in, to sta n d o u t a g a in st,

to be charged w ith , to be suffused w ith , to loom over, to red u ce
... to ...
d) Supply nouns to go with the following adjectives:

sculpturesq u e, a rc h ite c tu ra l, lin e a r, b ala n c e d , off-centred,

p la stic , cold, w arm , tra n s p a re n t, flu id , flo w in g , n ervous, spon­
tan eo u s, harm o n io u s, b ro ad , a u th e n tic , g ra p h ic , c ry sta l-cle ar,
crisp , em o tio n al, s tu rd y , crow ded, sty lise d , a u ste re , d isto rte d ,
tig h tly -k n it.
II. a) Translate the italicised parts in the following text into Russian, then
back into English, b) Learn the text by heart.

Leonardo’s “ Sfum ato”

L eo n ard o ’s “ sfu m a to ” is in no w ay im pressionistic or sketchy;

it is th e te c h n iq u e of c re a tin g vague and veiled edges to the
shadings on the bodies. T h is p la y in g a lte rn a te ly w ith lig h t and
deep tra n sp a re n t shadow s o v er figures, a n a to m ic a lly perfect
a n d stro n g ly p la stic , gives th e form s a v ib ra n t an d liv in g q u a ­
lity . T hey seem to throb w ith life u n d er our v ery eyes, a strik in g
c o n tra st w ith th e m o re s ta tic a n d d e fin ite ly outlined figures of
th e p red o m in an t fifte e n th -c e n tu ry tra d itio n .
III. a) Translate the following in written form, b) Translate your Russian
version back into English, c) Check the result with the text, make the
necessary corrections, d) Describe the drawing as close to the text as
possible.

O ne of th e m ost superb of I ta lia n draw ings w ith its fa in t

suggestion of a q u izzical sm ile is a s tu d y from life for th e head
of a young w om an in “ T he V irg in of th e R ocks” in th e L ouvre,
a com m ission w hich L eonardo receiv ed in 1483. I t is not an o v e r­
sta te m e n t to speak of th e draw ing as one of th e m ost b eau tifu l
in th e w o rld , in w hich L eonardo aim s a t th e fu llest p la stic s ta te ­
m en t and in w hich th e b alan ce betw een n a tu ra l a n d ideal b e a u ty
is p erfectly held. W e can also observe th e e x q u isite firm n ess
of th e m odellin g , th e en ig m atic b e a u ty of th e conception and th e
ap p a ren t effortlessness of th e ex ecu tio n . T he e n ig m a tic ex p res­
sion he realises ch ie fly in th e w ay he draw s th e corners of th e

66
m o u th and th e corners of th e tw o to ta lly d ifferen t, stran g e eyes.
I t is these th a t g iv e th e h a u n tin g expression to th e face.
In no o th e r h a n d has th e silv e r p o in t been used to g iv e such
m arv ellously precise p lastic form s or such a sense of surface
te x tu re . L eonardo, a left-h an d ed a rtis t, alm o st in e v ita b ly
shades, as here, from left to rig h t.
IV. Without translating the extracts give the English equivalents for the
italicised words, groups of words and phrases and render the para­
graphs.

1. О гром ная за с л у га Д ж отто состоит в том, что, отвергнув

господствовавш ий в искусстве средневековы й канон, он о б р а­
ти л ся к ж и зн и , природе. Его образы преж де всего м атери аль­
ны и объем ны : массивное тело, тяж ел ы й , к а к бы высеченный
в кам не, проф иль. Вместо плоского золотого ф она худож ник
помещает ф игуры в интерьере и ли на фоне пейзаж а. В искус­
стве Д ж отто много м ягкости, чистоты и трогательной любви
к лю дям.
2. Д о нас дошло очень м ало работ кист и М азаччо. В ф рес­
ке «Адам и Ева» («И згнание из рая»)* М азаччо р а зреш ил т р уд ­
нейш ую д л я своего времени задачу правильного изображ ения
и постановки обнаж енной ф игуры. С помощ ью светотени и
цвета он уверенно и мягко леп и т ф орму предметов.
3. У соверш енствование В ан Э йка в приготовлении красок
позволило достигать в колорит е больш ой силы, прозрачност и
и блеска, соблюдать мягкость переходов от одного от т енка к
другом у, работать свободнее и быстрее, чем было возможно
при преж ней технике. Н аделенны й т онким чувством природы,
В ан Э йк наш ел в улучш енном им способе ж ивописи б лагод ар­
ное средство д л я точной передачи своих наблю дений над дей­
ствительностью и полож ил своим творчеством начало реалис­
тическому направлению во ф лам андской ж ивописи.
И сп ол ьзу я, подобно преж ним ф лам андским м астерам,
религиозны е сю ж еты , он стрем ился внести в свою живопись
реализм , стал придавать своим святы м индивидуальны е чер­
ты , естественность поз. Т олько теперь, в работах Ван Э йка,
ж ивопись вы ш ла на путь точного изображ ения нат уры \ моде­
лировка ф игур сделалась более сильной; благо д ар я соблю де­
нию линейной, и отчасти воздуш ной, перспективы , все пред­
меты получили правдоподобное освещение и рельефность.
4. С кульпт урная гр уп п а «П ьет а» (1498— 1500), находя­
щ аяся в соборе св. П ет ра в Р им е — знаменит ое произведение

* ‘ Adam and Eve”

3* 67
М икеландж ело, овеянное чувством глубокой печали. М ать,
скорбно опустив голову, дер ж и т на коленях мертвое тело
сы на. Сдерж анны й ж ест руки точно передает всю глубину
м атеринского го р я . Зам ы сел поместить н а ко л ен ях мадонны
тело взрослого сы на закл ю чал в себе определенны е трудности,
которы е великий мастер преодолел путем продум анного рас­
пределения драпировок. О деж да струится легким и склад кам и,
подчеркивая ж енственность ее обли ка; т я ж е л а я т к ан ь плащ а
ниспадает с колен до земли крупны ми массами и образует
подобие пьедестала, н а котором покоится тело Х риста. С тре­
м ясь достичь впечатлени я ясности, заверш енности, простоты,
М икеландж ело вслед за Леонардо избирает пирам идальную
ф орм у пост роения.
V. Translate the following:
1. П роизведение Боттичелли «Весна» о веяно настроением
поэтической грусти. К ом позиция «Весны» строится на х а р а к ­
терном ритме певучих линий, на чередовании струящ ихся
контуров ф игур, которы е расставлены , к а к н а сцене.
2. П роблем ы формы и объемности, перспективы , массы и
движ ени я человеческого те л а , равновесия и гарм онии зан и ­
мали Л еонардо да Винчи к а к и всех ф лорентийских худ ож н и ­
ков.
3. «Мадонна в гроте» я в л яется одним из наиболее х а р а к ­
терны х произведений итальянского Высокого В озрож дени я
к а к по зам ы слу, т а к и по исполнению . И тем не менее, все
в нем ново: м адон на, ангел и дети изображ ены на фоне чуть
загадочного п ей заж а, который к а к бы сливается с ф игурам и,
и освещ ение, и сами образы людей исполнены какой-то особой,
возвыш енной красоты . Р ассм атр и вая композицию как клю ч
к раскры тию зам ы сла произведения, Л еонардо вводит п и ра­
мидальное построение, ставш ее классическим д л я Высокого
В озрож дения. С калисты й грот и травян исты е растения на
переднем плане о траж аю т зан я т и я Л еонардо ботаникой и
геологией.
4. Дош едш ий до нас рисунок Л еонардо «П оклонение вол­
хвов» показы вает нам один из первы х вариантов располож ения
ф игур в картине. Д л я создания впечатления движ ения Л ео­
н ардо размещ ает ф игуры первого плана по строгой геометри­
ческой диагонали. Фон картины задум ан к а к динамический
акк орд, который долж ен способствовать усилению впечат­
л ен и я движ ения.
5. К артины Л еонардо да Винчи отличаю тся своеобразной
цветовой гаммой. Он никогда не п ользовался ярки м и , соч­
68
ными краскам и и стар ал ся передать лиризм о б раза при по­
мощи приглуш енны х тонов.
6. В росписях станц Р аф аэл ь вы ступил как гениальны й
мастер ком позиции и зам ечательны й монументалист.
7. В «Сикстинской мадонне» Р аф аэл я предельная ясность
построения сочетается с глубиной идейного зам ы сла. С по­
койный, «литой» силуэт мадонны четко вы рисовы вается на
ф оне светлого, залитого сиянием неба. О на движ ется легкой
поступью , ветер развевает склад ки одеж д, отчего ее ф игура
каж ется еще более ощ утимой.
8. Т ициан работал в разны х ж а н р а х — он писал пор­
треты , пей заж и, алтарны е образы , м иф ологические ком пози­
ции. Н а протяж ении 1530— 1550 годов он создал, исп ользуя
античны е мотивы, р яд полотен, изображ аю щ их обнаж енную
ж енскую ф игуру. К акой бы темы ни касал ся Т ициан, он р а з­
реш ал ее в своем ш ироком и сочном стиле.
9. Мое внимание при влекл а картин а маслом в теплы х, тем ­
ных тонах, напоминаю щ ая к а к по кр аск ам , т а к и по игре све­
тотени, картины Т ициана.
VI. Retell the following in English using the vocabulary list given below.
К артина «М адонна Литта» Л еонардо да Винчи производит
очень сильное впечатление.
Н а фоне стены, прорезанной двум я окн ам и, сидит молодая
ж енщ ина, д ер ж ащ ая на колен ях младенца. Л ицо ее, пленяю ­
щ ее своей удивительной, тонкой красотой, моделировано с
той легкой, почти неуловимой светотенью , знатоком которой
был Леонардо. Н а губах матери играет несколько таинствен­
н а я полуулы бка, которая делается с этого времени о б язат е л ь­
ной д ля больш инства образов худ о ж н и ка, постепенно стано­
вясь все более подчеркнутой и горькой. М ладенец обратил
в згл я д к зрителю . Г лаза его написаны необычайно в ы рази ­
тельно. Н а его пухлом детском теле игра светотени достигает
своего апогея.
К омпозиция картины ясн а и гарм онична — треугольн ое
построение, явственное у ж е в «П оклонении волхвов», здесь
вы раж ено с полной определенностью . Д иаго н ал ьн ы е линии
тела младенца и слегка склоненной головы мадонны уравно­
веш иваю тся противополож но направленны м и линиям и края
одеж ды и правого плеча матери.

пленяю щ ее своей удивительной, тонкой красотой en ­

ch an tin g in her w o n d erfu lly su b tle b e a u ty ; стан овясь все
более подчеркнутой и горькой becom ing m o re pronounced
69
 and rueful ev ery tim e ; достигает своего апогея reaches
th e peak of p erfectio n ; противополож но направленны м и
линиями lines g oing in th e o p p o site d irectio n .
V II. Describe the reproduction of “Madonna Connestabile” by Raphael
(See Illustration No 5 .).
V III. Speak about the most important discoveries and achievements in the
Renaissance art (the Early Renaissance and the High Renaissance).

IX. Make a report on one of the following Renaissance artists. Discuss

the most characteristic features in their painting, drawing or
sculpture:

G io tto , M asaccio, V an E y ck , B o ttic e lli, L eo n ard o da V in ci,

R a p h a e l, M ichelangelo, T itia n , D iirer, P . B ru eg h el, El G reco.
X. Describe a painting by a Renaissance artist (speak about its subject,
composition, colour, the rendering of space, volume, perspective, mo­
tion and character. (See Illustrations No 2—6.)
XI. Explain why the period between the XlVth and XVIth centuries is
called the Renaissance.
 Part III.

XVII CENTURY ART

§ 1. Introduction

T he la tte r p a rt of th e 16th c e n tu ry m a rk e d th e decline of

I ta lia n p a in tin g . T h e m en th a t cam e after M ichelangelo and
T in to re tto co u ld o n ly re p e a t w h a t th e o th e rs h a d said or recom ­
b in e th e old th o u g h ts an d form s. T h is led in e v ita b ly to im ita tio n ,
o ver-refin em en t of s ty le an d conscious stu d y of b e a u ty , re s u lt­
ing in m ann erism an d a ffe c tatio n . T hese m en are know n in a rt
h isto ry as th e M an n erists an d th e m en w hose w orks th e y im i­
ta te d w ere ch iefly R ap h ael a n d M ichelangelo. L arge, crow ded
com positions w ere produced w ith s trik in g effects of lig h t. T h eir
elegance w as affected , th e ir se n tim e n t forced, th e ir b rillia n c y
superficial g litte r.
As M annerism fad ed , th re e a r tis tic tre n d s s u p p la n te d it: th e
so-called academ ic m o v em en t, B aro q u e a n d C arav ag g ism . T he
eclectics sought to re v iv e a rt by c o rre c tin g th e fa u lts of th e
m a n n e rists. C o n tem p o rary w ith th e eclectics sp ra n g up th e N e o -
p o lita n School of N a tu ra lis ts led b y C arav ag g io an d h is p u p ils.
T hese schools opposed each o th e r an d y et influ en ced each o th e r.
■The b aro q u e tre n d w as to h a v e a profound effect not o n ly in
I ta ly b u t th ro u g h o u t E u ro p e as w ell. T he su p rem e exp o n en t of
th e b aro q u e m o v em en t o u tsid e I ta ly w as R u b en s, w hose com posi­
tio n s w ere im m ersed in a w arm , h eav y atm o sh p ere w ith b illo w ­
ing m a n tle s, th e a tric a l poses an d v io len t m o v em en t. W h ile
com position s la id o u t on th e b asis of stra ig h t lines w ere g e n e ra l­
ly em ployed b y such classical p a in te rs as R a p h a e l, in terlo ck in g
c u rves w ere fav o u red b y b a ro q u e a rtis ts seeking m o v em ent and
d y n am ic effects.

§ 2. Caravaggio (1573— 1610)

Few a rtis ts in h isto ry h a v e ex erted as e x tra o rd in a ry an in­
fluence as the tem pestuous and short-lived Caravaggio. H e w as
destin ed to tu rn a large p a rt of E uro p ean a rt aw ay from the
ideal view point o f the Renaissance to the concept th a t sim ple real­

71
ity was o f p rim a ry im portance. T h e difference lies betw een w h a t
an a rtis t th in k s is th e p ro p er w ay to show so m eth in g , and w h a t
h e a c tu a lly sees.
C aravaggio w as o n e of th e first to p a in t p eople as o rd in a ry
looking. T hus in “ D eath of th e V irg in ” , he d ep icted th e m o th e r
of C h rist w ith u n h e a rd of re a lism , so th a t th e p a in tin g w as re f­
used by th e chu rch of S a n ta M aria d ella S cala in R om e.
In th is p ic tu re th e p a in te r h a s caused th e lig h t to b e throw n
across these fig u res as th o u g h from a sp o tlig h t. T his theatrical
device controls the illu m in a tio n as it m oves across th e heads a t
th e u p per left dow n to th e rig h t, w h ere it b rig h te n s th e face of
th e m a in c h a ra c te r, th e dead V irg in . W ith clev er p la n n in g , th e
faces ab o u t h er are e ith e r in p a rtia l shadow or b e n t so th a t th e ir
featu res do n o t d is tra c t from th e a r t i s t ’s m ain p urpose. The m ain
fu n c tio n of th e lig h t seem s to b e th e c re a tio n of form in th e p ic ­
tu re space. In s p ite of C a ra v a g g io ’s avow ed d islik e of th e conven­
tio n a l a rt of h is p erio d , h e can n o t h elp being a p a r t of th e ex ­
pression of th e tim e in h is ow n w ay . In m ost b a ro q u e p a in tin g s,
th e re is a d e lib e ra te in com pleteness; cut-off figures ca rry th e
eye o u t of th e p a in tin g on all sid es, an d b ack in to it as w ell.
In m ost of C a ra v a g g io ’s p a in tin g s co m p o sitio n depends on
th e g estures of th e figures an d th e lig h tin g , w h ich is u su a lly
v io le n t w ith s p o tlig h t effects. C olours are d a rk an d som bre,
h a rd ly m ore th a n m o n o ch ro m atic reds and brow ns. L a te r h is
p a le tte darkened in creasin g ly w h ile h is lig h tin g becam e s till
stro n g er an d m o re c o n tra stin g .

§ 3. Rubens (1577— 1640)

P e te r P au l R ubens, p rin ce of b aro q u e p a in te rs, w as a sk il­

ful d ip lo m a t w ho a t tim es w as e n tru ste d w ith d e lic ate peace
m issions betw een th e S o u th ern an d N o rth ern N e th e rlan d s and
also betw een S p a in an d E n g la n d . D u rin g h is tr ip to I ta ly in
1600, and p rio r to h is re tu rn to F la n d e rs in 1608, h e m ade
copies of th e w orks of T itia n an d stu d ie d th e sc u lp tu re sq u e p a in t­
ing of M ichelangelo. In th is p erio d h e also prod u ced som e of
h is fin e st p o rtra its at v ario u s p rin cely Ita lia n co u rts. H e w as
a versatile genius w ho riv a ls in in v e n tiv e fa c u lty th e g re a t m in d
of th e Ita lia n R enaissan ce. H e w as a h u m a n ist an d classical
arch aeo lo g ist, a su m p tu o u s designer of relig io u s, h isto ric a l and
alleg orical can vases and a supreme m aster in “p u re ” landscape.
R u b en s w as en d lessly active. T here are th o u sa n d s of w orks
from h is h a n d , s c a tte re d th ro u g h co llectio n s an d m useum s ac­
ross th e w orld. T h e p a in tin g s a m o u n t to m ore th a n th re e th o u ­
72
sand; th e y are o fte n of larg e size, an d m ost are e n tire ly h is ow n
w ork.
I ta lia n a rt c o n tin u e d to b e th e b asis of h is ta s te an d m a n n e r
for a long tim e , an d rem in iscen ces of C arav ag g io , M ichelangelo
a n d T itia n are alw ays presen t. A long th is cou rse he passed from
the m ost extrem e dyn a m ism to new im ages o f serenity and calm ,
from the fieriest violence o f contrasting tones to atm ospheric delicacy,
alm o st a n tic ip a tin g th e a tm o sp h eric re fin e m e n ts of th e eig h ­
te e n th ce n tu ry . In h is m ost o rig in a l an d sp o n tan eo u s w orks R u b en s
w as ab le to give h is im petuous brush free rein; th e re is a perfection
a n d com pleteness even in h is im p ressio n istic in itia l drafts.
As h is c re a tiv e ta le n ts d eveloped, w e n o tic e grow ing vigour in
h is form s and a livelier and brighter action.
R ubens w as a g re a t p a in te r abo v e all becau se of th e charm
of h is colours, the softness o f his im pasto and the lu m in o sity of
h is flesh-tints. H is w orks do n o t overw helm th e s p irit or en ter
th e soul b y force an d m ad e it trem b le; th e y s trik e us b y th e
s tre n g th of th e ir colour an d th e in e x h a u stib le an d o v erw helm ing
d ash an d ard o u r of th e ir b rush-w ork. B u t o n ly v e ry o ccasio n ally
c a n th e y re a lly m o v e us w ith to ta l ab an d o n m en t to sorrow.
T h e v a rie ty of h is sources of in sp ira tio n m a n ife sts h is c la s­
sical c u ltu re , a n d h is a tte n tio n to th e I ta lia n R enaissance. H e
dep icted A rio sto ’s sleeping A ng elica su rp rised b y th e h e rm it
(“A ngelica a n d th e H e rm it” , now in V ien n a), or he turned to
th e rem o test p erio d of R o m an h isto ry to p a in t id y llic and c h a rm ­
ing scenes of c o u n try life, such as “ R o m u lu s an d R em u s”
su ckled b y th e she-w olf. The sweet rounded form s o f the blond
babes, to which R ubens seems to have been drawn again and again,
b rin g us close to th a t w o rld of h a p p y ch ild h o o d w hich he en ters
in h is p o rtra its of h is ow n c h ild re n .
Look at h is e x q u isite “ P o r tr a it of a C h ild ” . O bserve th e w ay
th e h a ir, th e eyes, th e tip of th e nose an d th e m o u th are d raw n.
T hrough th e su re h a n d lin g of th ese, R ubens h as c h a rac terise d
th e in d iv id u a l featu res of his son, N icholas, in a superb stu d y
for an In fa n t C h rist. T here is in th e p o rtra it an absence of th e
classic re s tra in t of th e R enaissance. T he d e ta ils of th e face are
less sh a rp ly d raw n th a n if done b y an I ta lia n R en aissance m a s­
te r. W e h av e , in ste a d , so m eth in g w arm er, in th e b r illia n t re n d e r­
ing of th e C h ild ’s m ood. W ith in fin ite se re n ity , R ubens to y s
w ith th e cu rls a n d faces of h is b ab ies, as in th e “ G a rla n d of
F r u i t ” , d a tin g from 1614, w h ere th e ro tu n d form s, th e little
noses an d m o u th s, th e cu rls, h a n d s an d p lu m p little feet are
tre a te d w ith th e d e lic a te grace of flow ers and filled w ith warm
and vita l colour.

73
 § 4. Velasquez (1599— 1660)

D iego V elasquez u n d o u b te d ly stood head and shoulders above

h is fellow p a in te rs of 17th c e n tu ry S p ain . T his n a tiv e of S ev ille
first c o n c en tra ted on still-life s a n d ta v e rn scenes, w hich were
cast in a strong Caravaggesque m ould. A p p o in ted co u rt p a in te r
a t th e age of tw e n ty -fo u r b y P h ilip IV , he beg an an official ca­
reer w hich w as to la st th irty -se v e n years. In 1628 he shared h is
M ad rid stu d io w ith R u b en s an d the influences stem m ing from
th is re la tio n sh ip can b e seen from V elasq u ez’s “ B acchus” ,
now in th e P rad o . V elasq u ez h ere tac k le d th e O ly m p ia n gods
for th e first tim e b u t he did so in a s p irit v ery d ifferen t from T it­
ian o r R ubens. H e looked at th e w o rld of gods w ith th e sam e
directn ess an d freshness of v isio n w hich he h a d b ro u g h t to th e
c h a ra c ters of th e p eople of th e stre e ts an d m a rk e ts in h is S ev ille
p erio d . T he w ork is b e tte r know n as “ T he T o p ers” th a n by its
correct n am e. I t show s a group of liv e ly m en in rag s and shabby
h a ts , e la te d w ith w in e, re s tric te d an d u n ste a d y in th e w avering
m ovem ents of h ead s, h an d s an d d rin k in g -cu p s, th e ir eyes w in k in g
and sp a rk lin g , a n d w ith som ew hat stu p efied sm iles on th e ir
faces. Close b y th em a re th e sem i-n u d e figures of B acchus and his
com panions, th e ir h ead s w re a th e d in v in e leaves an d bunches
of grapes.
R ubens also ind u ced V elasquez to v is it I ta ly an d in 1629
he w en t to R om e. L a te r, in V enice, he w as to discover th e w ork
of T itia n , w ho affected h im m ore stro n g ly th a n an y o th e r a rtis t.
U nder T itia n ’s lib e ra tin g influence, V elasquez g ra d u a lly
abandoned the lim ited n a tu ra lism o f his early years for a lig h ter
toned style of direct p a in tin g , n o ta b le for its d iscreet m astery
of optical effects, its subtle and b ea u tifu l colours, an d its a b ility
to convey an im p a rtia l sense o f character. He specialised in p o rt­
raits, u su ally of th e K in g and S p an ish C o u rt, b u t he also p a in te d
m ythological scenes.
In th e second p erio d of h is career w hich beg an w hen he re ­
tu rn e d to M adrid in 1631, V elasq u ez produced s ix ty p a in tin g s,
m ore or less h alf h is e n tire w ork. A m ong th em is one h isto ric a l
w ork, “ T he S u rren d er at B re d a ” . T he besieged fo rtress tow n of
B reda in N o rth B ra b a n t su rren d ered to th e S p an ish general S pin-
o la a fte r a stau n ch resistan ce of tw e lv e m o n th s. T h e v icto rio u s
general h a d g ra n te d h o n o u rab le term s to th e c a p tu re d garriso n .
T he cerem ony of th e d eliv ery of th e keys is th e su b ject of V elas­
q u ez’s p a in tin g . T h e w ork w as soon p o p u la rly ren am ed “ T he
L an ces” , because of th e v e rtic a ls w hich seem ed to express th e
peaceful h a lt of th e arm y at th e m o m en t of su rren d er. I t has

74
been considered th e b est h isto ric a l w ork in W est E u ro p ean p a in t­
ing. V elasqu ez m akes th e d istin c tio n b etw een th e v ario u s p h y s­
ical ty p es of S p a n ia rd s an d D u tch w ith g re a t p e rsp ic ac ity . T he
lan d and sea of H o lla n d is recognisable. T he colours are rich and
pure, though n o t blaring or discordant, an d b le n d to g e th e r in th e
lig h t m id d ay a ir. The d raw ing is superlative, an d th e n a tu ra l
ease of th e tw o o p posing g en erals, th e sorrow ful d ig n ity of th e
loser and th e co u rteo u s sm ile of th e v ic to r, are e x tra o rd in a ry .
W h eth er he p a in ts peasants o r noblem en, clow ns or in fa n ts, V e­
lasquez is never the slave of his subject, even in h is h isto ric a l pic­
tures; he arranges his com po sitio n ; he ap p lies h is colours to giv e
th e req u ired valu es; h e places h is figures or o b jects so as to c re ­
a te th e space h e h as p lan n ed . T h ere is an air of c e rta in ty in his
perfection; he is co n fid en t of being a m aster o f technique, and
ev ery th in g else — w h eth er of se n tim e n ta l or lite ra ry in te re st —
is m erely an a d ju n c t.
V elasquez u n d erto o k th e m ost d iverse su b jects w ith equal
success; he appro ach ed dom estic interiors as serio u sly as h isto ric ­
al scenes, p o rtra its of p e a sa n ts w ith as m uch respect as those
of g reat noblem en, an d a sim p le still-life w ith as m uch exactness
an d c are as a co m p o sitio n on a g ra n d scale.
V elasquez s ta n d s in th e im p reg n ab le p o sitio n of a g re a t m a s­
te r, h is perfectio n sets h im bey o n d c ritic ism .

GEOGRAPHICAL AND PROPER NAMES

Mannerism ['m aenarizm ] маньеризм Angelica [ a e n ^ e l ik a ] А нж елика

Baroque [Ьэ'гоик] n барокко (the
sty le of art from about 1550 to
late in the 18th century, ch arac­
terised by the use of curved and
co ntorted forms); baroque a :
~ work or sty le барочный, в
стиле барокко
Caravaggio | jkaera'vard^^ou] К а­
равадж о
Santa Maria della Scala ['saenta
m a 'r i^ ^ d a la 's k a ila ] (церковь)
Санта Мария делла Скала
Rubens ['ru:b inz] Рубенс
the Netherlands ['ne6alandz] Н и ­
дерланды
Ariosto [ ,aen'3stou] Ариосто (an
Ita lian poet, 1474— 1533)
Romulus and Remus ['ro m ju b s
an(d) 'ri:m as] Ромул и Рем
Velasquez [vi'laeskw iz] Веласкес
Seville ['sevil] г. Севилья
Caravaggesque [ ,kaerava:'d 3 esk]
в стиле К аравадж о
“The Topers” [6a'toupaz] «Пьяни­
цы»
“The Lances” [5a'la:nsiz] «Ко­
пья»
Breda [b rei'd a :] Бреда (a region
in the Southern N etherlands and
N orthern Belgium)
Brabant [bra'baent] Брабант (a
city in the N etherlands)
Spinola ['spinala] Спинола (a
Spanish general)

75
 VOCABULARY NOTES
§ 1. trend n направление, also:
m ovem ent, school
§ 2. in partial shadow в полутени;
in full (complete) shadow в глу­
бокой (густой) тени
conventional art традиционное ис­
кусство
a deliberate incompleteness наро­
читая незаверш енность
cut-off figures полуфигуры
sombre ['sam ba] а темный, мрач­
ный: ~ colours, tones, hues
spotlight effect яркое освещение
(к ак от сильного искусственного
источника света)
§ 3. versatile ['va:satail] а много­
сторонний, разносторонний, гиб­
кий
genius ['d jim ja s ] п (pi -ses) 1) ода­
ренность, гениальность: a man
of — гениальный человек, ге­
ний; 2) гений, гениальная лич­
ность
rival v соперничать, конкури ро­
вать, e.g. No o th er composer
can riv al Beethoven in expres­
siveness. (не может сравняться)
faculty n способность, дар: a ~
for p ain tin g способность к ж и­
вописи; inventive ~ изобрета­
тельность
master n мастер, виртуоз, ве­
ликий художник: а ~ of
“p u re ” landscape мастер «чисто­
го» пейзаж а; а ~ of p o rtra itu re
мастер портрета; а ~ of the
pen and brush виртуозный рисо­
вальщ ик и живописец; а ~ of
draw ing (or: a good draughtsm an)
мастер рисунка; а ~ of line
(or: a good linearist) мастер л и ­
нии; а ~ of chiaroscuro мастер
светотени; mastery п мастерство,
WORK ON THE
I. Translate the italicised words and phrases from the texts. Give a back
translation without consulting the texts.
II. Translate in written form the following passages from the text be­
ginning with: a) “The main function of the lig h t...” and ending with
76
совершенное владение пред­
метом, e.g. The p ictu re is painted
w ith great m astery, to show
g reat ~ in sm th. показать пре­
восходное владение чем-л.; to
g ain ~ of technique прекрасно
овладеть техникой. S y n . a rt­
istry, skill; masterly а искус­
ный: a ~ draw ing, e.g. He ren­
ders light in a m asterly way.
masterpiece n шедевр
contrasting tones контрасты тонов,
контрастные тона
atmosphere ['aetmasfia] n воздух,
воздуш ная среда (в живописи);
atmospheric [yaetmas/ ferik]
а воздушный
impasto [im 'p a:sto u ] п пастозная
ж ивопись (наложение красок
густым слоем)
flesh-tints п цвет тела, телесный
цвет, also: flesh-colour
turn to smth. (for one’s subjects)
обращ аться к чему-л. S yn .
to draw one’s subjects from sm th.
to p a in t sm th ., e.g. R em b ran d t
tu rn e d to m ythology for his
subjects. Verm eer drew his su b ­
jects from everyday life,
be drawn to увлекаться, быть при­
влеченным к чем у-л., e.g.
A ivazovsky loved to p a in t the
sea, a them e he w as draw n to
tim e and tim e again.
§ 4. a court painter придворный
худож ник
discordant [d is'k a:d (a)n t] а не­
гармонирую щий
sense of moderation чувство меры
aim at exactness in one’s design зд.
стремиться к четкости компо­
зиции
domestic interiors ж анровые кар­
тины в бытовом интерьере
TEXTS
 “...and back into it as w ell” (§ 2); b) “ Look at the exquisite ‘Portrait
of a Child’...” and ending with “ ...rendering of the Child’s mood”
(§ 3); c) “The work is better know n...” and ending with ’’...bunches
of grapes” (§ 4). Translate your version back into English without
consulting the texts. Check with the original and make all the necessary
corrections.
III. Find the English equivalents for:

§ 2. — свет скользи т по головам; бы ть в п олутени; колорит

сильно потемнел;
§ 3 — д ать волю своей стрем ительной кисти; д аж е в п ер­
вы х набросках видна заверш енность; энергичны й и страстны й
м азок; сцены сельской ж и зни; черты ли ц а верно схвачен ы ;
§ 4 — непосредственное и свеж ее воспри ятие; украш енны й
венком из виноградной лозы ; цвета м ягко переходят один в
д ругой ; В еласкес разм ещ ает предметы и ф и гуры т а к , чтобы
получить нуж ны й эффект глубины ; В ел аскес пи сал од и н ако­
во хорош о картин ы н а самые р азнообразны е темы.
IV. Pick out the words and phrases that are used to describe the formal ele­
ments of composition in Caravaggio’s “ Death of the Virgin” .

V. Paraphrase the following sentences using the text as a guide.

1. V elasquez w as u n d o u b te d ly su p erio r to h is co n tem p o raries.

2. In “ B acch u s” w e can see th e in flu en ce of V e la sq u e z ’s re la tio n ­
sh ip w ith R ubens. 3. In his p ic tu re s V elasq u ez did n o t id ealise
m a n k in d .
VI. Complete the following sentences using the vocabulary of the text.

1. V elasquez g ra d u a lly ab an d o n ed th e lim ite d n a tu ra lism o

h is ea rly years fo r... 2. V e la sq u e z ’s s ty le of p a in tin g w as n o ta b le
fo r... 3. V elasquez places h is fig u res or o b jects so a s...
V II. Pick out from the following the statements which characterise the paint­
ing of Velasquez and give your reasons.

1. D irectn ess an d freshness of v isio n c h a ra c te rise h is p a in

ing. 2. H is e a rly p ic tu re s are n a tu ra lis tic . 3. T h e a r tis t’s p a le tte
darkened co n sid erab ly . 4. T h e draw in g is su p e rla tiv e . 5. T he
p a in te r’s te c h n iq u e show s g re a t m a ste ry of h is m ed iu m . 6. H is
m ost pronou n ced c o n tra sts are n ev er v io le n t. 7. H e p a in ts in
b la rin g and d isco rd an t colours. 8. T he affected poses of h^s fig ­
ures show a m ark ed influence of th e m a n n e rist school. 9. T here
is g re a t m a ste ry in h is su g g estio n of space an d atm o sp h ere.
10. H is colour schem es are h a rm o n ies of g rey a n d beige. 11. T he
a r tis t is p a rtia l to h is sitte rs.
77
V III. Answer the following questions:

a) 1. H ow did C aravaggio in fluence E u ro p ean a rt? 2. W hat

is th e u n d e rly in g difference in th e tw o w ays of show ing re a lity ?
3. H ow did C arav ag g io p lan his com p o sitio n “ D eath of th e V ir­
g in ? ” 4. W h at does com p o sitio n depend on in m ost of C arav ag ­
g io ’s p a in tin g ?
b) 1. W hose w orks did R u b en s copy and s tu d y ? 2. W h at a rt
genres are rep resen ted in R u b e n s’ w orks? 3. W h a t extrem es of
ta s te an d m an n er can be found in th e w orks of th is g re a t m aster?
D escribe th e p a in te r’s b rush-w ork; his colours. C h aracterise
R u b e n s’ c h ild p o rtra its . 4. W h a t elem ents of Ita lia n a rt
are present in th e w orks of R ubens? W h at o th e r influences can
be tra c e d in h is p a in tin g ?
c) 1. W h a t w as th e s ty le of V e lasq u ez’s e a rly w orks? 2. W h at
influences are a p p a re n t in V e lasq u ez’s “ B acch u s” ? 3. H ow did
V elasquez tre a t m y th o lo g ical su b jects? 4. W h a t does “ B acchus”
rep resen t? 5. W h a t in fluence d id T itia n h av e upon V elasquez
and how is it reflected in his p a in tin g ? 6. W h a t a rt genre does
“ T he S u rre n d e r at B re d a ” rep resen t? W h a t does it depict?
7. W h y w as th e p a in tin g ren am ed “ T he L ances” ? W h at m e rits
does it possess? 8. W h a t is th e a r t i s t ’s ap p ro ach to th e su b ject
m a tte r of his p a in tin g ?
IX. Retell the texts in great detail.
X. Give a summary of the texts.

§ 5. Rembrandt (1606— 1669)

W e com e now to th e in im ita b le , tim eless a rt of R em b ran d t

v an R ijn , m a ste r of m y ste ry an d c h a ra c te risa tio n ; a tow ering,
v e rsa tile genius an d one of th e g ia n t p a in te rs an d d ra u g h ts­
m en of th e cen tu ries. T h e sheer s ta tu re of th is g en iu s d o m in ated
D u tc h a rt d u rin g th e 17th c e n tu ry .
A fter receiv in g a h u m a n ist e d u c a tio n at th e U n iv e rsity of
L eyden, he w orked in Ja c o b v a n S w an en b u rg ’s stu d io before
tra n sfe rrin g to P e te r L a s tm a n ’s w orkshop in A m sterd am , w here
p a in tin g h ad a ssim ila te d th e in n o v a tio n s of C aravaggio. W in ­
n in g in s ta n t acclaim w ith his “ A n a to m y L esson” , R e m b ra n d t
th e n received m an y com m issions for p o rtra its an d b y 1631 had
m an y p u p ils of h is ow n. O ne of his fa v o u rite th em es, th e M edi­
ta tin g P h ilo so p h e r, ap p eared in h is w o rk as early as a b o u t 1633.
T hree d istin c t phases can be d istin g u ish e d in R e m b ra n d t’s
a rtis tic career. H is e a rly w orks, p o rtra its or b ib lic a l su b jec ts,
featu re fine, sm ooth b rush-w ork. T he second phase, m ark ed by
78
th e “ N ig h t W a tc h ” , is fa r more forceful and dynam ic, w h ile in
th e th ir d phase R e m b ra n d t sought textual effects, alm ost g rin d in g
h is pigm ents into the canvas. T h e c u lm in a tio n of h is la st p e rio d is
h is “ M an in th e G olden H e lm e t” , in w hich the relief on the hel­
m et is modelled by the p a in t itself.
In “ B a th sh e b a ” , show n h o ld in g K in g D a v id ’s le tte r, one of
R e m b ra n d t’s ra re nudes, th e figure is n e ith e r id ealised nor
sty lise d b u t treated w ith great solem nity and so lid ity, an d we
k now from X -ray ex a m in a tio n s th a t R e m b ra n d t trie d several
d ifferen t poses to achieve th is. H ere the rough brush-work and
thick impasto w hich catches the lig h t reveal th e p a in te r’s te m ­
p eram en t.
In th e “ N ig h t W a tc h ” (R ijk sm u seu m , A m sterd am ) com m is­
sioned by a co m p an y of th e C ivil G uard of A m sterd am for its
assem bly h a ll (1642), th e lig h tin g is conceived as th e elem ent
d eterm in in g th e com p o sitio n an d s tru c tu re of th e p a in tin g . B re a k ­
ing w ith th e tra d itio n a l schem e of a sin g le o r d o u ble row of
sta n d in g figures, facing th e sp e c ta to r, th e young a rtis t has show n
th e guard s at a m o m en t of s trik in g a c tiv ity , each m a k in g h is
p re p a ra tio n s to fall in at th e ex p ected com m and. Since th e fig ­
ures are life-size, an overw h elm in g effect is p roduced by th e
o u tw a rd m o v em en t in w edge-shaped fo rm atio n from th e d a rk
doorw ay. The co m p o sitio n is tilte d to g ive a th ree-d im en sio n al
effect. The g roup is arran g ed as a tria n g le b u t th e c e n tra l figure
is projected to w ard th e sp e c ta to r an d ac c e n tu ate d b y b eing stro n g ­
ly lit.
T he c o n tra st w ith the fla n k in g groups an d w ith figures m o v in g
in op p o site d irectio n s, the diagonals fu rn ish ed by s ta n d a rd , m u s­
k ets, h alb erd s, an d pikes, an d the d istribution o f colours in te n ­
sify the im p ressio n o f forward m ovem ent which centres in the o u t­
stretched right arm o f the captain.
T he “ N ig h t W a tc h ” is a re c a p itu la tio n of th e id e a ls of R e m ­
b r a n d t’s first te n A m sterd am y ears, and is th e la st p a in tin g in
w hich he striv e s for b r illia n t e x te rn a l effects. From now on he
sets him self the a im o f recreating in visual terms the intangible
essence of m a n , h is inner life.
T he p a in tin g s of R e m b ra n d t’s la st years b ear th e sad im p rin t
of h is u n h ap p y o ld age an d d isrep u te. H is su p erb co llectio n of
p a in tin g s w as sold at a u c tio n in 1657— 1658 an d even h is house
w as p u t on th e block. T he d ra m a tic expressions in h is la s t m a g ­
n ific en t series of se lf-p o rtra its reveal an overw h elm in g u ltim a te
m isery and inn er to rm e n t.
W e are o ften in clin ed to p u t freedom and spontaneity of exe­
cution above all o th e r a rtis tic q u a litie s, an d from th is p o in t of

79
v iew , R e m b ra n d t’s draw in g e x e rts a n even g re a te r a ttra c tio n
th a n h is p a in te d w ork. T he language o f R em b ra n d t's draw ing is
surely more articulate an d in tim a te , m ore im m ed iate and m ore
ex p ressiv e th a n a n y th in g know n in th e sev en teen th ce n tu ry ,
th o u g h th is perio d did n o t lack g en iu s in d ra u g h tsm a n sh ip . R em ­
b ra n d t em ployed th e a rt of draw ing n o t o n ly in th e usual w ay,
as a m eans of s tu d y in g th e v isu al w o rld , of s to rin g m o tifs, or
p rep a rin g com positions for etching and p a in tin g . To h im draw ing
b ecam e an a rt for its ow n sake, w h ich allowed h im to express
his visions more speedily, y e t no less articulately, than in any
other technique. In th e d evelopm ent of m a n y of h is fa v o u rite su b ­
jec ts w hich he c re a te d ever anew , R e m b ra n d t’s g enius h ad a
m eans of m o v in g c o n s ta n tly along v a rio u s p a th s. A n d it is in
h is draw ings th a t w e can b est follow th e in v e n tiv e a c tiv ity of
h is m ind. R e m b ra n d t’s d rau g h tsm an sh ip is d istin g u ish ed by
its ra re , ele c trify in g vividness and suggestiveness, its e x tra o r­
d in a ry directness and pictorial sensitiveness.
L an d scap e su b jects becam e in creasin g ly p o p u la r, and th e
D u tch p a in te rs an d etch ers rev elled in a d e ta ile d descrip tio n
of H o lla n d ’s co u n try sid e . I t is a sign of R e m b ra n d t’s keenness
an d u n iv e rsa lity th a t h e p a rtic ip a te d so a c tiv e ly in D u tch la n d ­
scape a rt. B u t th is he did in a v ery in d iv id u a l m a n n e r, for w hich
no ex act p a ra lle l can be found am ong h is co n tem p o raries. He
gained a conception o f space in its most comprehensive aspect and
le arn ed in lan d scap e w o rk how to su b o rd in a te th e in d iv id u a l
form to a larger w hole. A n o th er im pressive fe a tu re is the sugges­
tio n of air and atmosphere, w hich g ain s added sign ificance as an
elem ent of pictorial anim ation. T h is R e m b ra n d t achieved b y
h is vibrant lines and tones, an d b y a su b tly graded aerial perspec­
tive.
R e m b ra n d t’s g re a te st lan d scap e e tc h in g , th e “ T h ree T rees” ,
rep resen ts th e c o u n try a fte r a ra in as th e sto rm re tre a ts before
a flood of su n lig h t. T rees are dam p an d clouds are d riftin g off;
th e sk y b e h in d th e d a rk , silh o u e tte d trees h as cle a re d so th a t
th e trees once m ore c a st shadow s. N o te th e breeze tu rn in g th e
b ranches and th e lig h t along th e co n to u rs of th e trees'. A farm
w agon is seen b eh in d th e trees on th e rig h t, an d ro ad an d sh ru b ­
b ery a t th e en d of th e b lu ff sta n d o u t in full su n lig h t. As w e look
over th e fla t c o u n try sid e th e m is ty d istan ce is stre a k ed w ith
cloud shadow s, p ro d u cin g a sp ectacle of lig h t an d shade and
tra n s p a re n t atm osphere. R e m b ra n d t w as also a se n sitiv e design­
er. T he trees as a group c o n trib u te to th e general spaciousness;
if th e trees w ere en la rg e d , so m eth in g of th e s p a tia l effect w ould
b e lo st.
80
 I n his m asterly landscape draw ings he recalls to the m in d 's
eye th e w ork of th e g reat S u n g a rtis ts of C h in a, by dispensing
w ith a ll that is not essential. In th e expressiveness a n d delicate
balance of a few m agic strokes he creates a v ib ra n t, y et q u iet a ir
an d a sense of distan ce.
§ 6. Vermeer (1632— 1675)
J a n V erm eer ra n k s as one of th e m ost pow erfu lly o r ig in a l
p a in te rs produced by 17th c e n tu ry H o lla n d , d esp ite th e f a c t
th a t h is e n tire o u tp u t am o u n ted to no m ore th a n fo rty o r so
p a in tin g s. H e rem ain ed re la tiv e ly ignored d u rin g h is ow n b rief
lifetim e , and n o t u n til th e 19th c e n tu ry w as h is w ork re d is­
covered and fin a lly ap p reciated .
V erm eer alm o st alw ays chose as subject m a tte r glim pses of
d a ily life, and alm ost invariably interiors. T hese p a in tin g s are
visions of calm w ith v ery few figures, g en erally no m ore th a n one
o r tw o, u su ally w om en alone an d im m obile, as if th e ir gestures
w ere suspended for p o ste rity . In e v ita b ly V erm eer’s com posi­
tio n s w ere of e x trem e sim p lic ity , w ith volumes clearly defined
b y pure contours.
One of the a rtist’s u n d erlyin g concerns was the rendition of
light, ra d ia n t lig h t com ing from som ew here beside or b eh in d
th e can v as. V erm eer preferred cool tones of b lu e, w h ite a n d y e l­
low , w ith a ll of a p a in tin g ’s com p o n en ts b le n d in g to c re a te
a n atm osphere of peace an d se re n ity . In “ T he P a in te r’s S tu ­
d io ” , done a b o u t 1665, th e p u re g eo m etry of th e form s a n d th e
s im p lic ity of th e v olum es m ak e one forget th e d e ta ils of th e decor
(lam ps, floor tile s), w hich are neverth eless n o te d w ith precision.
V erm eer offers th e m ost im pressive re fle c tio n of th e w o rld ly
side of sev e n te e n th -ce n tu ry D u tc h life — its love of fine fu r­
n itu re , a ttra c tiv e w om en, an d lav ish c lo th in g . “ T he O fficer and
L au g h in g G irl” m a y recall th e s a n c tity of two haloed figures
confronting each other in an in te rio r, b u t now th e y are h a v in g a
c h a t an d a d rin k . T h is sim p le, ev en tr iv ia l a c tiv ity is ra ise d to
a hig her level b y the rich w arm atmosphere th a t suffuses the room,
th e clear glow ing colours in w h ich th e c h a ra c ters are dressed,
th e ir g re at d ig n ity an d self-confidence, an d th e w ay in w hich
th e v a rio u s p a rts of th e p ic tu re are b ro u g h t to g e th e r.
T he atm o sp h eric q u a lity h a d been used long ago by V an E yck;
it becom es im p o rta n t ag ain in th e b aro q u e a r t of th is p erio d .
T h a t is ju s t one of th e g lo rify in g elem ents h ere. E v en m ore strik ­
ing is th e “ to u c h a b le ” q u a lity th a t we g et from th e o b je c ts in
th e room — ta b le , ch airs, glass, c lo th , m ap ro d s, an d w indow
p anes. U nder th e en am el-lik e su rface each su b sta n c e is re alised

81
w ith a c ry sta l c la r ity th a t also re c a lls th e in te rio rs of th e e a rly
n o rth e rn m asters. T he stro n g co m p o sitio n is not o n ly a form al
e lem en t, it also serves to give stre n g th an d em p h asis to w h a t is
h a p p e n in g . T h is is accom plished b y th e use of a clear silh o u e tte
for each form .
A n other in sta n c e of b aro q u e q u a litie s is found in th e “ Y oung
W om an w ith a W a te r J u g '' .T h e strong feelin g fo r the texture of
substances m ark s th is as a ty p ic a l V erm eer w ork. T he young girl
is lo st in th o u g h t as she gazes th ro u g h th e w indow . As in m ost
V erm eer’s p ictu res, lig h t is th e d o m in a tin g fa c to r. H ere it is
used to silhouette the y o u n g woman aga in st the w all a n d to th ro w
reflectio n s from th e b lu e w indow p an e in to her face and w h ite
sta rc h e d co llar an d hood. T hese reflectio n s are alm o st im pres­
sio n ist in th e ir aw areness of the influence o f adjacent objects on each
other. T he b lu e cu sh io n is m irro red in th e silv er bow l, and th e
figured ta b le -c lo th is reflected o n th e u n d ersid e of th e bow l.

GEOGRAPHICAL A N D PROPER NAMES

Rembrandt van Rijn ['rem braent vaen
/r a in ] Рембрандт ван Рейн
Leyden ['laid(a)n) г. Лейден (a
c ity in th e W estern N etherlands)
Jacob van Swanenburgh ['djeikab
vaen 'sw a:n an b a:g ] Якоб ван
С ваненбург (a D utch painter)
Lastman ['la:stm an] Л астм ан (a
D utch painter)
Amsterdam ['aemstadaem] г. Ам­
стердам
Rijksmuseum |'ra ik sm ju (:) ,zidm]
Государственный музей
Bathsheba ['bae0$iba] библ. Вир-
савия
Sung [ ] Шан (Chinese
s a q dynasty,
960— 1272 A .D ., n oted for achie­
vem ents in a rt and literatu re)
Vermeer [vea'm ia] Вермеер Делфт-
ский (или Ван-дер-Меер)
Delft [delft] г. Д елф г (a city in the
W estern N etherlands)

VOCABULARY NOTES

§ 5. they catch the light зд. на вать, травить (на металле,

них играет свет, e.g. The well-
ro u ndea forms of the sta tu e catch
th e light (... падает свет)
commission n зак аз (художнику),
e.g. R aphael received a com m is­
sion for a num ber of frescoes;
commission v заказы вать (ху­
дож нику) работу, поручать (ху­
дож нику) выполнение заказа,
e.g. P h ilip IV com m issioned
m any w orks from Velasquez.
6utward, forward movement дви­
ж ение вперед
self-portrait n автопортрет
etching n гравирование (трав­
лением), офорт; etch v гравиро­
стекле), делать офорт; etcher
п офортист, гравер
silhouette [ ,silu(:) et] v изображ ать
в виде силуэта: to ~ against
вырисовываться (на фоне че-
го-л.)
§ 6. rank V относиться к какой-л.
категории, зд. стоять (высоко),
e.g. No o th er p ain te r ranks as
high as R em b ran d t in the m as­
te ry of lig h t, (не может срав­
ниться с...) Up to the 17
cen tu ry p ain ters of allegories
ranked first, (стояли на первом
месте) V erm eer’s in terio rs ra n k

82
 am ong the finest exam ples of serenity [si're n iti] n спокой­
D utch art. (находятся в числе ствие, безмятеж ность
reflection n рефлекс (наиболее
лучш их) светлое место на теневой части
serene [si'ri:n] а безмятежный; предмета)

WORK ON THE TEXTS

1. Translate the italicised words and phrases from the texts. Give a back
translation without consulting the texts.

II. Complete the following sentences using the texts as a guide.

1. H is e a rly w orks, p o rtra its or b ib lic a l su b je c ts, fe a tu re ...

2. In “ B a th sh e b a ” th e figure is tre a te d w ith ... 3. Since th e fig­
ures in the “ N ig h t W a tc h ” are life-size, an overw helm ing
effect is produced b y ... 4. F rom now on R e m b ra n d t sets him self
th e a im o f... 5. R e m b ra n d t’s d ra u g h tsm a n sh ip is d istin g u ish ed
b y .... 6. In his m a ste rly lan d scap e draw ings he recalls to th e
m in d ’s eye th e w ork of th e g re a t Sung a rtis ts of C hina b y ...
III. Find the English equivalents for:
§ 5. — воспри нять все новое, что было у К аравадж о; с р азу
завоевать признание; за к а зы на портреты; ранние работы от­
личаю тся изящ ной и гладкой м анерой письма; стрем иться пе­
редать яркие внеш ние эффекты; отмечены печатью безрадост­
ной старости; не было недостатка в виртуозны х рисовальщ и­
ках; краски налож ены так густо, почти рельефно, что на них
играет свет
§ 6 — чрезвы чайно ясное построение (ком позиция); созд а­
в ать ощ ущ ение покоя и безмятеж ности; геом етрическая я с ­
ность форм; яр ко сть и чистота красок; и то, к а к картин а ском ­
понована; передача воздуш ной среды; поразительна та о с я ­
заем ость, которую получаю т предметы; ком позиция я вл яется
не просто ф орм альны м элементом
IV. Answer the following questions:
a) 1. W h a t m edium s an d genres are rep resen ted in R e m b ra n d t’
w orks? 2. W h a t a re th e d istin g u ish in g q u a litie s of his e a rly
w orks? 3. W h a t te x tu ra l effect is achieved in th e “ M an in th e
G o lden H e lm e t” ? 4. W h a t ro le does lig h tin g p la y in th e “ N ig h t
W a tc h ” ? H ow is th e im p ressio n of m o vem ent achieved in th is
p ain tin g ? 5. W h a t p lace does draw in g o ccupy in R e m b ra n d t’s
a rt? 6. W h a t a re th e d istin c tiv e q u a litie s of h is d ra u g h tsm an sh ip ?
7. W h at are th e im pressiv e featu res of his landscapes? H ow did
he achieve th is?

83
 b) 1. W h a t th em es d id V erm eer choose as su b je c t m a tte r?
2. W h a t is th e g en eral im pression of V erm eer’s p a in tin g s and
how is th is achieved? 3. H ow d id V erm eer ren d er lig h t? 4. W h at
tones d id V erm eer prefer? 5. W h a t elem en ts of D u tc h p a in tin g
are b est reflected in V erm eer’s w orks? Illu s tra te . 6. H ow does
V erm eer tre a t form a n d volum e? 7. W h a t is th e d o m in eering fac­
to r in m ost of V erm eer’s pictu res? H ow does it accen t th e com po­
s itio n in th e “ Y oung W o m an w ith a W a te r J u g ” ? 8. W h a t h in ts
of im pressio n ism can be found in th e “ Y oung W om an w ith a W a­
te r J u g ” ?
V. Retell the texts In great detail.
VI. Give a summary of the texts.

EXERCISES TO PART III

I. Give as many word combinations as possible with the following and trans­
late them into Russian.
a) Supply attributes for the following nouns:
genius, a r tis t, p a in te r, shadow , a r t, c o m p o sitio n , people,
colours, lig h tin g , p a in tin g , im p asto , fle sh -tin ts, can vases, im a ­
ges, tones, w ork(s), b ru sh /b ru sh -w o rk , scene(s), form s, h a n d l­
ing, effects, sty le , surface
b) Supply nouns for the follow ing attributes:

atm o sp h eric, lu m in o u s, sensual, p ic to ria l'

c) Supply prepositional objects for the following:

to h av e a sense o f ... ; to be endow ed w ith th e g ift of ...

II. Classify the vocabulary covered in this part under the headings given
below:
S u b ject M atter; C om position; P ic to ria l T e x tu re ; Colour;
L ight
III. Read the description of “The Royal Family” and do the exercises
given below.

“ The Royal F am ily”

V elasq u ez’s career en ded w ith h is m ost sig n ific a n t w ork
“ T he R o y al F a m ily ” (“ Las M eninas” ). T he p a in tin g is a m u ltip le
p o r tra it of th e ro y a l fa m ily an d c o u rt. T he p rin c ip a l figure,
w ith a ll th e pow er of h er m isch iev o u s ch arm , is th e little In ­
fa n ta M arg a rita , w ho h as b u rs t in to V elasq u ez’s s tu d io , follow ­
ed b y her lad ies, dw arfs a n d dogs, in a flu rry of s k irts , cloaks

84
a n d ribbons,- w h ile he w as in te n t on p a in tin g th e k in g and queen.
T h e sovereigns are rep resen ted in d ire c tly ; o n ly th e ir im ages are
v isib le , reflected in th e m irro r h u n g on th e w all in th e b ack ­
g ro u n d , w here tw o large m y th o lo g ical p a in tin g s, one b y R ubens,
th e o th e r by Jo rd a e n s , are also h u n g . V elasq u ez achieves here,
m ore th a n ever before, an in tim a te an d m e d ita te d w hole, w here
lig h t, space an d colour are u n ite d in a sy n th e sis. In “ T he R o y ­
al F a m ily ” he a tta in e d th e a m b itio n w hich he h a d h a d th ro u g h ­
o u t h is life: to p a in t figures ‘in th e ir s e ttin g ’, to c a p tu re and
re p re se n t th e m ost im p a lp a b le a n d in ta n g ib le th in g s, such as
lig h t, a ir, th e d ista n c e betw een figures, th e atm o sp h ere itself,
w hich assum es a p u re, d e lic a te , su n lik e co lo u rin g , an d gives a
special to n a l co lo u r to faces, expressions an d m a te ria ls. A m a r­
v ello u s golden lig h t shines from th e c e n tre of th e canvas to
p o in ts aro u n d its p e rip h e ry , a n d th e h arm o n io u s colour schem e of
v a rio u s shades of grey an d beige is here an d th e re h ig h lig h te d by
a sp o t of red . As in a ll V elasq u ez’s w ork th e re is free, b rillia n tly
flu id ex ecu tio n , w ith q u ick lig h t touches of th e b ru sh . H e
achieves, above a ll, v isio n in sp a tia l d e p th by c a re fu lly org an isin g
scenes accord in g to a n etw o rk of v e rtic a l an d h o riz o n ta l lines
an d successive p lanes.
T he p a in te r, th o u g h d etach ed from M a rg a rita an d her follow ­
ers, and from us, e n te rs n a tu ra lly in to th e scene, an d has in te rru p t­
ed h is w ork an d tu rn e d aside to p u t dow n on h is c an v as th is m ore
liv ely , real an d e x c ite d gro u p .
D escrip tio n s of th e p a in te r sa y he w as h an d so m e of figure
an d th a t his p h y sic a l looks reflected his goodness. A nd indeed,
in th is p a in tin g , w h ich h as passed on his likeness to us v ery
successfully, h is g e n tle , sad a n d d ream y expressio n is seen as if
it w ere a m irro r of h is s p ir it. V elasq u ez seem s to be fusing h im ­
self m ore th a n ever w ith his owfi w ork.
a) Find in the text the English equivalents for:

групповой портрет; и зо б р аж ать ф игуры в их естественном

окруж ен и и ; добиться я р ко го светового эф ф екта, исп ользуя
красн ое пятно; вы полнено в свободной плавной манере; быс­
тры й легки й м азок; добиться глубины и зображ ени я; зап еч ат­
леть на полотне; портретное сходство
b) Answer the follow ing questions:

1. W h a t a rt g enre does “ T h e R o y al F a m ily ” represent?

2. H ow are th e figures in th is p a in tin g rep resen ted ? 3. H ow does
th e a r tis t ach iev e s p a tia l d ep th ? 4. D escribe th e brush-w ork
a n d th e colour schem e.

85
с) Describe the picture of your choice (See Illustrations No 7, 8) in great
detail.
IV. Reproduce the descriptions given below as close to the text as possible.

Rembrandt’s Portraits

“ T he O ld J e w ” is w o n d erfu l in its d ra m a tic te n sio n . T he m an

b e n t over w ith age lean s forw ard w a tc h fu lly ; th e real life
rh y th m of th e c h a ra c te ris tic m o v em en t d eterm in es th e co u n ter­
poise of volum e an d splashes of lig h t w hich form s th e basis of
th e p ic tu re . L ig h t sh arp en s th e larg e c le a r-cu t features of the
m a n ’s face w ith its p rofound m essage of b itte rn e ss, in d ig n a tio n
and readiness to defend h im self a g a in st m an an d fate. S tro n g
feelings c o n stitu te th e essence of his inner w o rld , of his in d i­
v id u a lity .
E m o tio n is also c le a rly re a d in th e p o rtra it of “ A n Old
W o m a n ” . T he sorrow ful tu rn of th e head , th e h u n ch ed figure of
th e o ld w om an w ere c e rta in ly copied from n a tu re . T he d o m in a n t
m ood of passiv e hopeless re c o n c ilia tio n w ith th e in co m prehen­
sib le c ru e lty of life is c h a ra c te ris tic of sev eral of R e m b ra n d t’s
la te p a in tin g s. T he sam e w om an serv ed as a m odel for th e Mos­
cow* P o rtra it of an O ld W o m an ” . H ere one can see th e n ex t stag e
in th e p a in te r’s in te rp re ta tio n of th e m o d el’s in d iv id u a lity .
F rom th e p o rtra y a l of a con crete s ta te of m in d , no m a tte r how
ty p ic a l, th e p a in te r tu rn s to a deeper g e n e ra lisa tio n of th e h u m an
co n d itio n , of a h u m a n fa te as an in d isso lu b le w hole. H e d epicts
a h u m a n being face to face w ith e te rn ity .
T he Moscow “ P o r tr a it of an O ld W o m an ” is an o u tsta n d in g
e x am p le of R e m b ra n d t-th e -p o rtra itis t’s credo, for it em bodies
th e e n tire sy stem of h is a rtis tic view s an d m eth o d s.
T he c en tre -p o in t of th e p a in tin g is th e face; a ll o th e r elem ents
are su b o rd in a te d to it. T he lay ers of p a in t are a p p lie d w ith e x ­
tre m e ly v a rie d tech n iq u es: aro u n d th e eyes an d in th e shaded
area of th e face th e re is an in te rp la y of s e m i-tra n s p a re n t' dabs
a n d p atch es of colour; in th e lit areas, a layer of im p a sto (short
b ro ad m u lti-co lo u red stro k es). T he c h a ra c te ris tic tech n iq u e here
is th e c o n sta n t chan g e of colour in each of th e p a in te r’s open
strokes.
T he o ld m en an d w om en of th e 1654 p o rtra its possess a deep­
ly tra g ic ou tlo o k , th e y know life to be full of c ru e lty an d in ju s­
tic e. T hey find th is o u tlo o k to be th e o n ly n o rm al one, since it
re p resen ts a co n clu sio n reach ed long ago, th e re su lt of th e ir life
experience.

86
V. Translate the following into English:

1. К аравад ж о противопоставил м аньеризм у правдивое,

проникнутое дем ократическим духом искусство, зад ач у кото­
рого он видел в том, «чтобы хорош о п од раж ать предметам п ри­
роды». К омпозиции его лаконичны и легко обозримы; мощ ные,
сильны е ф игуры приобретаю т особую вы разительность, б л а ­
годаря искусном у применению светотени. Ж и вопись в ранних
картин ах К ар ав ад ж о очень гл а д к а я . Он н аклад ы вает на холст
к раск и ровным плотным слоем, отдельны е м азки соверш енно
не видны. Светотеневые и цветовые переходы постепенны.
В сочетании с отчетливыми линиям и р исун ка эта худож ествен­
н ая м анера к аж ется несколько сухой и ж есткой . П озднее в
карти н ах К ар ав ад ж о уси л и вается д р ам ати ч еская н а п р яж ен ­
ность. Х уд ож ни к о б н аруж и вает все больш ий интерес к с л о ж ­
ным световым эф ф ектам и к передаче воздуш ной среды.
2. Б ольш ой ф орм ат кар ти н , их м онум ентальны й х а р ак т ер ,
ком позиции, развернуты е то лько на переднем плане, ф игуры
или часто полуф игуры , данны е в больш ом масш табе и зап о л ­
няю щ ие все полотно, отсутствие интереса к п оказу п ей заж а,
среды , бытовой обстановки, ш ирокое использование рел и ги оз­
ных сю ж етов, но их реалисти ческая и д ем ократи ческая т р а к ­
товка, написанны е с натуры простонародны е образы , п реобла­
д ан ие драм атических си туаций (суровой героики, сильны х
чувств и волевы х нап ряж ений ) — вот ком плекс основных
п ри знаков, определяю щ их общ епринятое в л и тер атуре п о н я­
тие «каравадж изм ».
3. Композиции Р убенса асимметричны , подчинены сл о ж н о ­
му динам ическом у ритму, ф игуры часто изображ аю тся в б у р ­
ном движ ении и резки х р а к у р с а х , ш ироко прим еняю тся к о н ­
трасты светотени.
4. В иртуозное ж ивописное мастерство Р убенса с больш ой
наглядностью показы ваю т многочисленны е эски зы , служ ивш ие
подготовительным м атериалом д л я работы в м астерской. Эс­
кизы Рубенса пораж аю т красотой колористического зам ы сла
и необыкновенной легкостью м азков.
5. Зам ечательны х успехов достиг В еласкес к а к портретист.
В отличие от многочисленны х придворных худож ни ков Ве­
л аскес неизменно стрем ился вы явить в с е о и х портретах самую
сущ ность изображ аем ого м уж чины или ж енщ ины , типические
черты его х а р а к т е р а и внеш ности. Он никогда не льсти л сво­
им вы сокопоставленны м заказч и к ам .
6. В еласкес писал свои картины исклю чительно м аслян ы ­
ми краскам и и обычно на тонком полотне. Р озовато-кори ч н е­

87
вый грунт его ранних картин в более поздних зам ен яется бело­
розовым или ж елтоваты м . К р аски в ранних работах густо
покры ваю т полотно. С ростом худож ественного мастерства
В еласкеса они с тан о в ятся все более текучим и и прозрачны м и.
П одготовительны х ри сун ков В еласкеса сохранилось очень
мало, т а к к а к обычно В еласкес д ав а л очертания ф игуры или
композиции углем , и ли красн оватой краской прям о на по­
лотне. Б ольш инство л учш и х холстов В еласкеса хран и тся в
музее П радо в М адриде.
7. Д л я ж ивописи Рем брандта в 1645— 1650 годы х ар ак т ер ­
ны богатство и тонкость светотени, теплы й колорит, в кото­
ром преобладаю т сочетания красны х и золотисто-коричне­
вы х тонов.
8. К а к граф и к Р ем бран дт я в л я л с я неутомимым и ори ги ­
нальнейш им рисовальщ иком , а т а к ж е блестящ им мастером
офорта.
9. Вермеер о владевает передачей дневного света, зал и ваю ­
щ его комнаты и создаю щ его множ ество реф лексов и бликов на
светлы х стенах и предм етах. Я р к о сть и чистота красок , их
световая насы щ енность и богатство тончайш их оттенков я в ­
л яю тся отличительной чертой зрелого периода его творчества.
Д л я Вермеера х ар актер н о сочетание ярко-син их, лимонно­
ж елты х, красн ы х и зелены х тонов. В 60-е годы колорит его
карти н стал более холодным, поверхность кар ти н — эм ал е­
вой,
VI. Use one of the following for oral or written composition.

1. T he suggestive pow er of lig h t in C arav ag g io ’s com po­

sitio n s. 2. A new a ttitu d e to p a in tin g as seen in th e w orks of C ara­
vaggio. 3. T he c h a ra c te ris tic featu res of R u b en s’ c h ild p o rtra its .
4. R ub en s as a g re a t lan d scap e p a in te r. 5. V elasq u ez as a g reat
re a lis t. 6. V elasquez as a g re a t p o r tr a it p a in te r. 7. V elasquez as
a g rea t m a ste r of co m p o sitio n . 8. R e m b ra n d t as a m aster of
lig h t. 9. R e m b ra n d t as an u n p a ra lle le d m aster of tech n iq u e.
10. R e m b ra n d t as an u n p a ra lle le d m aster of p rofound psycholog­
ical in sig h t. 11. T h e g re a te st an d th e m ost h u m a n a r tis t of a ll
tim es — R e m b ra n d t. 12. R e m b ra n d t’s lan d scap es. 13. R e m ­
b r a n d t’s p o rtra its . 14. R e m b ra n d t’s etch in g s. 15. R e m b ra n d t’s
pen and in k d ra w in g s. 16. T he m asterpieces of V erm eer.
 Part IV.

X V I I I - X I X CENTURY ART

§ 1. Introduction

T he e ig h teen th c e n tu ry saw th e b eg in n in g of th e g reat E u ro ­

p ean crisis in a rt, science an d p o litic s — of th e desire to rep lac e
th e o ld social order b y a m ore ra tio n a l so ciety . T here w as also
a sh arp rise in se c u la risa tio n , w hich h a d s ta rte d u n d er th e R e­
n aissance b u t h a d d eclined w ith relig io u s discord an d th e rise
of ab so lu te m onarchies. B aroque a r t h ad lo st th e sacred an d e n ­
lig h ten in g in s p ira tio n it knew in th e sev e n te e n th c e n tu ry .
Its high ideals w ere lo st in th e friv o lity of rococo.

§ 2. W illiam Hogarth (1697— 1764)

W illia m H o g a rth was u n q u e stio n a b ly one of th e g rea test E n g ­

lish a rtis ts an d a m an of re m a rk a b ly in d iv id u a l c h a ra cter an d
th o u g h t. I t w as h is ach iev em en t to give a comprehensive view of
social life w ith in the fram ework o f m oralistic and dram atic narra­
tive. H e observed b o th h ig h life an d low w ith a keen and criti­
cal eye and his range o f observation was accompanied by an excep­
tional capacity fo r dram atic com position, an d in p a in tin g by a
te c h n ica l q u a lity w hich ad d s b e a u ty to p ic tu re s c o n ta in in g an
elem en t of sa tire or c a ric a tu re .
The fact th a t he was apprenticed as a boy to a silver-plate en­
graver has a considerable bearing on H ogarth's development. I t
in tro d u c e d h im to th e w orld of p rin ts a fte r fam ous m asters
or b y th e s a tiric a l co m m en tato rs of an e a rlie r day .
To ap p re c ia te th a t H o g a rth was not in ferio r to th e m ost
sk ille d of th e b aro q u e p a in te rs of h is day in c re a tin g a sense of
recession one sh o u ld stu d y the subtle a rtistry w ith which the eye is
guided step b y ste p , p ast a lte rn a tin g pro jectio n s, from e ith er side
of th e stre e t to th e tow ering steep le in th e back g ro und of his
en g rav in g “ G in L an e” . No less subtle is the feelin g of recession
created, despite the crowded foreground, by the h igh-lights in
the fa r and m iddle distance of “ T h e M arch to F in c h le y ” or, by th e

89
s tre e t scene in th e b ack g ro u n d an d the shafts o f lig h t entering
through two successive openings in the side w all of “ The Election
E n terta in m en t” .
T he electio n sa tire was occasioned b y th e O x fo rd shire elec­
tio n of 1754. I n “ T he E le c tio n E n te rta in m e n t” tw o W h ig c a n d id a ­
tes for P a rlia m e n t give a b a n q u e t for th e ir su p p o rte rs in th e local
in n w h ile th e riv a l T o ry p a rty p arad es o u tsid e th e w indow . On
th is occasion th e re are no social d istin c tio n s betw een g e n tle m an
a n d v o ter, an d alcohol h as c o n trib u te d to th e g en eral sense of
e q u a lity .
A t th e left th e first c a n d id a te , S ir C o m m odity T axem , re ­
ceives th e confidences of a fat w om an, a shoem aker pushes
th e ir heads closer to g eth er and tu rn s his pipe o u t over the head
of th e k n ig h t, w h ile a young g irl ad m ires his rin g . In the next
g roup a chim ney-sw eep tak es a sim ila r o p p o rtu n ity to score off
h is social su p erio r by squeezing p a in fu lly th e h a n d of th e second
c a n d id a te in an affected d e m o n stra tio n of frien d sh ip and loy­
a lty . A g lu tto n o u s clerg y m an acts as th e d iv isio n betw een these
groups and th e tw o succeeding ones, in w hich th e g e n try are
successfully am u sin g th e ir social inferio rs.
T he in sc rip tio n s, slogans, etc. refer to th e riv a l policies of
th e W higs an d T ories, th e form er ad v o c a tin g “ L ib e rty and L oy­
a lty ” an d th e la tte r “ L ib e rty an d P ro p e rty ” .
H o g a rth ’s m ethod of suggesting depth through receding struc­
tures and lig h tin g effects is a rtific ia l an d d elib e ra te : it is th e sce­
nic a r t i s t ’s device for a rtic u la tin g an d em p h asisin g th e d ra m a ­
tic a c tio n of his figures. B u t H o g a rth ’s acto rs are th e citizen s and
trad esm en , th e so ld iers a n d p o litic ia n s, th e beggars a n d th iev es
an d idle rich of e ig h te e n th -c e n tu ry L ondon. H is earth-bound
scenes teem w ith life, ev ery one of his acto rs is engaged in a spe­
cia l p lo t of his ow n. H ence H o g a rth c a n n o t, as a ru le , concen­
tra te h is sp o tlig h t on a sin g le p o in t, b u t m ust disperse his h ig h ­
lights over his composition to p ick out its successive sub-plots one
by one.
H e lo ath e d sy m m e try and p u t h is fa ith in th e “ b e a u ty of a
composed intricacy o f fo rm ” th a t leads th e eye alo n g a serp e n tin e
lin e th ro u g h th ree dim ensions — h is fam ous S -lin e an d espe­
c ia lly it en liv en s h is series of p ic to ria l satires.
T he first successful series ‘ T he H a rlo t’s P ro g ress” , of w hich
o n ly th e engrav in g s now e x ist (th e o rig in a ls w ere b u rn t in 1755),
was im m ed ia te ly follow ed b y th e trem en d o u s verve of “ The
R a k e ’s P rogress” ; th e m asterp iece of th e sto ry series “ T he
M arriage-a-la-M ode” follow ed after an in te rv a l of tw elve years.
H o g arth seem s to h av e h it on th e idea of these series by acci­

90
d e n t, b u t once conceived it w as soon backed b y a d e lib era te p ro ­
g ram m e. H o g a rth ’s s a tire s w ere n o t b urlesques; besides being,
in th e form al sense, serious p a in tin g , th e y w ere also serious
m oral an d social sa tire s. He was entirely in key w ith the m oral and
philanthropic mood o f his age. H is a rt was a reflectio n , an in te r­
p re ta tio n , an d a co m m e n ta ry on th e social c o n d itio n of his tim e .
H e found in s p ira tio n not in o th e r p eople’s a rt (though he borrow ­
ed re a d ily from a g reat v a rie ty of sources), b u t in life a n d n a ­
tu re on his doorstep and in th e L ondon s tre e ts. “ T he R a k e ’s
P ro g ress” , lik e th e o th e r series, w as m ade a com m ercial p o ssib il­
ity by its w id esp read sa le in en g rav ed form (th e p a in tin g s w ere
b a sic a lly only one sta g e to w ard s th e en g rav in g s).
In p o rtra itu re H o g a rth d isp la y s a g re a t v a rie ty and o rig i­
n a lity . T he ch arm of c h ild h o o d , th e a b ility to com pose a v iv id
gro u p , a d e lig h tfu l d elicacy of colour ap p e a r in “ T he G rah a m
C h ild re n ” of 1742. T he p o rtra it head s of h is se rv a n ts are pene­
tra tin g studies o f character. T he p a in tin g , of “ C a p ta in C oram ” ,
th e p h ila n th ro p ic sea c a p ta in w ho took a lead in g p a rt in th e foun­
d a tio n of th e F o u n d lin g H o sp ita l, adapts the fo rm a lity of the
cerem onial portrait to a democratic level w ith a sin g u la rly en­
g a g in g effect.
T he q u a lity of H o g arth as an a r tis t is seen to advantage in his
sketches and one sk etch in p a rtic u la r, th e fam ous “ S h rim p G irl”
q u ic k ly execu ted w ith a lim ited range o f colour, sta n d s alone in
his w ork, ta k in g its place am o n g th e m asterpieces of th e w orld
in its harm ony o f fo rm and content, its freshness and v ita lity .
In th is p o rtra it he rev eals him self as more concerned w ith charac­
ter than w ith basic form , and it is u su a lly d ep en d en t upon a feel­
ing for the revelation of a transient mood. The sw ift brush work­
ing, one feels, a t top speed to seize the passing m om ent, gives an
im pressionist's picture. F ran z H als, d esp ite his rich er im pasto,
com es to m in d . T he can vas is a liv e because of th e sw iftness of
the a r t i s t ’s visio n , h is u n d e rsta n d in g of th e sign ificance of ex ­
pression. L ike e v e ry th in g w hich cam e from H o g a rth it is his ow n,
u np reju d iced an d u n in flu en ced .

§ 3. Joshua Reynolds (1723— 1792)

In R eyn o ld s’ d ay society portraiture had become a monoto­

nous repetition o f the same theme, w ith o n ly th e m ost lim ite d
of v a ria tio n s p erm issib le. A ccording to th e form ula, the sitter
was to be posed centrally, w ith th e background (c u rta in , p illa r,
c h a ir perhaps a h in t of landscape) disposed lik e a b ack-drop b e­
hin d ; n o rm ally th e head was done by th e m a ste r, th e body by

91
a p u p il or “ d ra p e ry a s s is ta n t” , w ho m ig h t serve sev eral p a in te rs.
Pose and expression, even th e featu res them selves, tended to
be regulated to a standard o f polite and inexpressive elegance;
th e p o rtra its to ld l i t t l e a b o u t th e ir su b jects o th e r th a n th a t th ey
w ere th a t so rt of people w ho h a d th e ir p o rtra its p a in te d — th e y
c e rta in ly gave n o th in g aw ay beyond th e su m m ary descrip tio n
of th e featu res. T hey were effigies; life had departed.
I t w as R ey n o ld s w ho in sisted in his p ractice th a t a p o rtra it
c o u ld an d sh o u ld be also a fu ll, com plex w ork of a rt on m any
levels; he conceived his portraits in terms o f history-painting.
Each fresh s itte r w as n o t ju st a p h y sical fact to be recorded, b u t
ra th e r a sto ry to be to ld (or som etim es, one suspects, a m y th
to be created ). H is people are no longer static, b u t caught between
this movement and the next, betw een one m om ent and the n ex t.
T h e ir m inds an d bodies e x ist on th e b rin k of v ario u s p o ssib ili­
ties, and th e y are e sse n tia lly in v o lv ed in th e w eath er of life.
R eynolds was indeed a consum m ate producer of character
(w hether th ey bore m uch resem blance to th e o rig in als, th e raw
stuff from w hich th ey w ere c reated , is a n o th er, academ ic m a tte r;
in p o in t of fact, the catching of a convincing likeness was not his
forte), and his p ro d u ctio n m eth o d s rew ard in v e stig a tio n . For
th em h e c alled upon th e full re p e rto ire of th e O ld M asters; in
Ita ly , as a young m an , he h ad stu d ie d th e O ld M asters of all
schools, not so th a t h e could ape th e ir in d iv id u a l w orks, b u t
in order to w in a sim ila r m astery o f the effect which they knew how
to achieve: to riv a l th em in th e ir own language b u t n o t to p astiche
th em . In the b u ild in g up of the picture in lig h t and shade, his han d
lin g of com p o sitio n , he also p a id hom age to R e m b ran d t.
R ey n o ld s p a in te d p o rtra its , g roup p ictu res an d h isto ric a l
them es. H is s itte rs in clu d ed th e so cially p ro m in e n t people of
th e tim e an d w hen th e R oyal A cadem y was founded in 1768,
he n a tu ra lly becam e its first p re sid e n t.
A m ong his best w orks are those in w hich he departs from the
traditional form s o f ceremonial portraiture and abandons him self
to inspiration, as in “ T he P o r tr a it of N elly O ’B rie n ” , w hich is
aglow w ith light, w arm th and feeling.

§ 4. Thom as Gainsborough (1727— 1788)

G ainsborough turned to the Old Masters, esp ecially to V an

D yck. To th is stu d y he b ro u g h t an in n a te genius for d raw ing th a t
R eynolds never possessed, and a sensuous delight in colour and
movem ent that seems at tim es to am ount to almost an intoxication
w ith them . N o o th e r p a in te r h as th u s c a u g h t, a t h is best, th e es­
sence of silk s an d lace in m o tio n , nor—th e tre m u lo u s flicker of
an eyelash. In c o n tra st to R e y n o ld s’,ythe essence of his genius
w as in tu itiv e , th e touch of th e b rush g e ttin g ever lig h ter, th e
atm o sphere ever m ore a e ria l. T h e p a rtic u la r d iscovery of G a in s­
borough was th e c re a tio n of a form of a rt in w hich the sitters and
the background m erge into a single en tity. T he lan d scape is n o t
kep t in th e b ack g ro u n d , b u t in m ost cases m an and nature are
fused in a single whole th ro u g h th e a tm o sp h eric h a rm o n y of m ood.
I t is no accid en t th a t in th e w orks of G ain sb o ro u g h ’s la te m a tu ­
r ity the figures blend w ith the background to such an extent that
they become alm ost transparent. T h is effect was p ossible only
by s itu a tin g th e figures in th e backg ro u n d , n o t in o rd er to add
a n elem ent to th e p o rtra it b u t w ith th e sole purpose of achiev­
in g the greatest possible degree of spontaneity. I t was th is sam e
s triv in g for s p o n ta n e ity w hich prevented Gainsborough from por­
tra yin g his society people in historical costum e\or strikin g a tti­
tudes. T his w as a d istin c t in n o v a tio n a t a tim e w hen th e w hole
tra d itio n was to ex to l an id eal an d h isto ric a l concept of b e a u ty ,
to ab an d o n n a tu re an d em b race a rtific ia lity .
Each of G a in sb o ro u g h ’s p o rtra its is d istin c t and in d iv id u a l,
even though ta k e n as a w hole, they depict an entire society in
its sig n ifica n t m anifestations. G ain sb o ro u g h ’s tru th fu l and su b tle
ren d erin g of c h a ra c te r is ty p ic a l of h is p o rtra it p a in tin g .
H is special insight into the psychology o f women m ake h im essen­
tia lly the w om an's painter.
O ne of th e m ost fascin atin g of his w orks is th e stu d y of his
“ Two D a u g h te rs” . In its u n fin ish e d s ta te it is a n e x q u isite stu d y
o f young g irlh o o d . Its lig h t colour schem e of blues and yellow s
belongs to his e a rly p eriod. L ater he enriched his p a le tte , b u t he
in v a ria b ly k ep t h is schem e cool, p referrin g blu es. In such a
m asterp iece as th e glo rio u s “ M rs S id d o n s” th e p re v a ilin g colour
is blue, b u t it loses n o th in g in richness a g a in st an y w ork in
m ore in tim a te colour. T here is a kind of E ng lish reserve a b o u t
G ain sb o ro u g h ’s blues, w hich belong e sse n tia lly to h is s p irit.
G ain sb o ro u g h ’s p a in tin g is not overb u rd en ed by too sc ru p u ­
lous an observance of rules and precepts. The im m ediacy and spon­
taneity which are present in nature are p resent also in his w ork,
to th e ex te n t of g iv in g th e im pression th a t th e a r t i s t ’s suprem e
a b ility consists in m ak in g even th e m ost a rtific ia l elem ents
ap p ear e n tire ly n a tu ra l and spontaneous.
E m phasis is n early alw ays placed on th e season in b o th the
landscape and th e p o rtra its , from th e tim e a t, G ain sb o ro u g h ’s
e a rly w orks u n til th e years of h is la te m a tu riJ ty J ln his m ost fa­
m ous early p a in tin g “ R obert A ndrew s a n d M ary, H is W ife”
 С К А * 14
G ainsboroug h show s the pleasure o f resting on a rustic bench
in the cool shade o f an oak tree, w h ile a ll aro u n d th e rip e harvest
throbs in a hot atmosphere enveloped 4n a golden light. In his la te
w ork “ T he M arket C a rt” , p a in te d in 1786— 1787, th a t is sh o rtly
before G ain sb o ro u g h ’s d eath , th e season is a u tu m n , and the
picture is penetrated throughout by the richness and warm th of
colour of this season, b y its scents of drenched e a rth and m arshy
u n d ergrow th .
^ C o n trasts of lig h t an d shad e in a c o n te x t of flo w in g , curved
and broken lines, p roduce an im pression of anim ation arid m o b ili­
ty which is the characteristic of Gainsborough’s art. T h is m o b ility
is d ire c tly connected w ith his te c h n iq u e of seizin g an effect in
a rapid stroke, so th a t a beauty of fo rm emerges fro m his bold exe­
cution and m asterly technique. A m o b ile an d w eig h tless q u a lity
is found also in th e back g ro u n d d e ta ils and th e d rap eries, w here
vibrant patches o f lig h t h av e a flu id tra n slu c e n t co n sistency which
recalls the m anner of R ubens^and anticipates Goya. T he form al
elem ents of th e p a in tin g — colours an d lines — th u s become
expressive in their own right.
G ainsborough is th e p u rest ly ric ist of E nglish p a in te rs, R ey ­
nolds — th e m aster of th e epic sty le .

GEOGRAPHICAL A N D PROPER NAMES

William Hogarth ['wiljarn'houga:0] The Foundling Hospital Приют

У ильям Х огарт дл я найденышей
“Gin Lane” «Водочный переу­ “The Shrimp Girl” «Девуш ка с
лок» («Переулок джина») креветками»
“The March to Finchley” «Поход Franz Hals ['fraents'haels]
в Финчли» (полотно, рисующее Ф ранс Х альс (a D utch a rtist,
сцену отправления карательной 1580/85— 1666)
экспедиции в Ш отландию в loshua Reynolds [ 'd jo jw a ' renaldz]
1745 г., в связи с предпринятой Д ж ош уа Рейнольдс
попыткой восстановить на ан­ Thomas Gainsborough ['tomas 'geinz-
глийском троне династию Стю­ Ьэгэ] Томас Гейнсборо
артов)
“The Election Entertainment” се­ “Mrs Siddons” «Портрет актрисы
рия «Выборы» (a p art of the Сары Сиддонс» (the p o rtrait
E lection series) of Mrs S arah Siddons, the great
“The Harlot’s Progress” «К арьера E nglish tragic actress, 1755—
продажной женщины» (серия) 1831)
“The Rake’s Progress” «Карьера “ Robert Andrews and Mary, His
мота» (серия) Wife” «Чета Эндрюс»
“The Marriage-a-la-Mode” «Мод­ “The Market Cart” «Телега, еду­
ный брак» (серия) щ ая на рынок»

94
 VOCABULARY NOTES
§ 1. rococo n [ra'koukou] рококо
(a florid sty le in p ain tin g , sculp­
tu re and arch itectu re, ch aracter­
ised by curved lines, popular
in E urope in the X V IlIth
century)
§ 2. narrative ['naerativ] а сюжет-
но-тематический: a ~ picture;
a ~ painting; a ~ painter;
narrative n сюжетно-тематичес­
кая картина (или живопись);
m o ralistic and d ram atic ~ зд.
сюжетно-тематические серии
картин в форме развертываю-
ющейся драмы или морали­
зирующей сатиры,
caricature [ ,kaerika'tjua] п ка­
р и катура (на кого-л.),
карикатурное изображение,
ш арж ; изображение в к ар и к а ­
турном виде, высмеивание, п а­
родирование, e.g. This artist
is well-known for his caricatures
of prom inent poets and w riters,
caricature v t изображ ать в к а ­
рикатурном виде, сатирически;
caricaturist [ ;k aerik a'tju arist] п
шаржист, карикатурист.
B u t : the E nglish for «карика­
тура» as a draw ing in a magazine
or new spaper depicting people
and ev en ts (especially p o liti­
cal) in an am using or satirical
w ay is “carto o n ” [k a:'tu :n ] and
the a rtist who draws cartoons
is a cartoonist (карикатурист),
e.g. I find Boris Y efim ov’s
cartoons very w ell-pointed,
print n гравю ра, эстамп
recession n зд. удаление, отдале­
ние, перспектива (receding, go­
ing further aw ay from the
point of th e view er): to create a
sense (feeling) of ~ i n a picture;
recede vi удаляться, отходить в
глубь; receding а удаляю щ ийся:
а ~ landscape, trees, figures,
streets, buildings, etc.
crowded а зд. переполненный, н а ­
сыщенный фигурами или де­
талями: а ~ com position; а ~
foreground
a shaft of light луч, сноп, пучок
света
earth-bound а земной, житейский
с земными устремлениями:
~ sce n es, aspirations, problem s,
poetry, etc.
to teem with изобиловать, кишеть,
быть наполненным (to be full
of): to (be) ~ (ing) w ith life;
to (be) (ing) w ith fish,
snakes, etc.
highlight n световой блик (the
lightest spot in a pain tin g )
ceremonial portrait парадный пор­
трет. S y n . full-dress p o rtra it;
ceremonial portraiture парадная
портретная живопись
sketch n эскиз, набросок, зари­
совка: a pencil (w ater-colour,
oil, chalk, p astel, etc.) ~ ; to
m ake a — делать набросок:
to m ake a ~ direct from n atu re,
to m ake a ~ from th e model,
to make a ~ for a large canvas,
etc.;
sketch vt, vi делать набросок: to
— a scene (a picture), to —
from n atu re, e tc ., to ~ sm th. in
набросать в общих чертах, (ед­
ва) наметить, очень обобщенно
изобразить, e.g. The figures
in the background are b arely
sketched in. sketchy а эскизный,
свободный: a ~ p ain tin g ; a
~ technique
transient ['traenziant] а преходя­
щий, мимолетный, быстро ме­
няющийся: а ~ mood (sm ile,
feeling); ~ n atu re, etc.
§ 3. sitter n позирующий (ху­
дож нику, скульптору) (one
who is sittin g to have his p o rtra it
painted), e.g. Among Law rence’s
sitte rs were kings, princes, great
d iplom ats and generals. В u t
the E nglish for «натурщик,
натурщ ица» is “m odel” , e.g.
The a rt class had several models
posing for them once a week;
sitting n сеанс, e.g He did the
p o rtra it in (at) one sittin g ,
pose vt, vi 1) v t ставить в опре­
95
 деленную позу, e.g. In Serov’s
fam ous p o rtra it of Y erm olova
th e actress is posed against a
background of a grey wall.
2) v i позировать, принимать
позу, e.g. A model is a person
who poses for a rtists and sculp­
tors. The girl was asked to pose
for a p o rtra it. S y n . to sit (for);
pose n поза: to tak e (up), to
strik e a —- принять позу
effigy ['efid g i] n голое, бездушное
изображ ение
forte [ b : t] n сильная сторона
§ 4. an innate genius (for) природ­
н а я одаренность, врожденный
тал ан т (к)
catch v t схватить, передать: to
~ a likeness; to ~ a gesture, а
facial expression; to ~ the es­
sence of silks and lace in m otion,
etc. S y n . to capture, to seize
aerial а воздушный
airiness n воздушность
blend vt, vi 1) сливать(ся), смеши­
в а т ь с я ); 2) незаметно перехо­
дить (из оттенка в оттенок);
3) сочетаться, гармонировать,
e.g. The tree blends w ith the
background. These colours do
not blend. The colours in this
p ictu re blend into one another.
striking attitudes эффектные позы
insight n проницательность, спо­
собность проникновения: one’s
~ in to character, into sm b .’s
psychology, etc.
exquisite ['ekskw izit] а изыскан­
ный, утонченный, изящ ный:
~ b eau ty , poetry, taste, etc.
immediacy n непосредственность,
естественность. S y n . sp o n ta­
n eity
rustic a 1) деревенский, сельский:
~ scenes, charm , sim p licity ,
dress, speech, m anners, etc.;
2) грубый, крестьянский: a ~
seat, bench; ~ w orkm anship,
etc.
throb v t трепетать, пульсировать,
вибрировать: to ~ w ith life,
m ovem ent, (the) joy (of life)
excitem ent; throbbing with life
(joy, etc.) полный жизни (ра­
дости и т. п.), полнокровный
be enveloped быть окутанным, объя­
тым, покрытым, пропитанным:
~ in a golden lig h t, in a blue
haze, in m ist, in flam es, in m ys­
tery , etc.
be penetrated throughout by быть
насквозь пропитанным (чем-л.).
S y n . to be im bued (with)
patches of light световые пятна;
coloured patches цветовые пятна
recall smb.’s manner (style, etc.)
напоминать (чью-л. манеру,
стиль и т. п.). S y n . to be rem i­
niscent of, to call to m ind
anticipate v t зд. предвосхищать:
to ~ a m ovem ent in art, a m eth­
od, technique, style, theory,
discovery, etc.
in one’s own right сам по себе,
в силу собственных достоинств

WORK ON THE TEXTS

I. Translate the italicised words and phrases from the texts. Give a back
translation without consulting the text.

II, a) Translate in written form two passages from the text on Thomas
Gainsborough: one — beginning with “ No other painter has thus
cau gh t...” , up to “ ...ever more aerial” ; the other — beginning with
“ Its light colour scheme of blues...” , up to the end of the paragraph,
b) Translate your version back into English without consulting the
text, c) Check your version with the original, make all the necessary
corrections.

96
III. Find the English equivalents for:
§ 2 — сатирический или к ар и кату р н ы й элемент; соз­
д ав а т ь ощ ущ ение перспективы ; ул и ч н ая сценка на заднем
плане; в притворном проявлении д руж бы и верности; о ж и в­
л я ет его серии сати р в кар ти н ах ; коль скоро задум ан а; восхи­
т и тел ьн ая неж ность колори та; приходит на ум; полотно
ж и вет
§ 3 — портреты м ало говорили о своих персонаж ах;
они ничего не раскр ы вал и ; не д л я того, чтобы слепо копировать
их собственные работы; соперничать с ними при помощи их
ж е средств; среди позировавш их ему лю дей были
§ 4 — п ей заж подается не задним планом ; не случайно,
что; стремление к естественности; явное нововведение; п рав­
д и вая и то н кая передача х ар ак тер а; этю д, изображ аю щ ий
юных девуш ек; светл ая цветовая гамма; неизменно употреб­
л я л холодные тона; предпочитал голубы е тона; своего рода
а н гл и й ск ая сдерж анность; пропитанная вл агой зем ля; боло­
тистый подлесок; чистейший л и р и к
IV. Answer the following questions:
1. In w h a t genres did H o g a rth excel? 2. H ow d id H o g a rth
series of n a rra tiv e p ic tu re s becom e so w id ely know n? 3. W hich
of th e follow ing p h rases best describe H o g a rth ’s genre p a in tin g :
a fa c ility of tech n iq u e, an o b se rv a n t eye, a feeling for d ra m a tic
colour, a know ledge of social custom s, a love for chiaroscuro
effects, a keen sense of th e rid icu lo u s? 4. P ic k o u t w ords an d
p hrases from th e te x t to describe H o g a rth ’s w o rk in p o rtra itu re .
5. W h at new a ttitu d e d id G ain sb o ro u g h an d R ey n o ld s b rin g to
E n g lish p o r tr a it p a in tin g ? 6. W h a t w as fash io n ab le p o rtra it
p a in tin g lik e in E n g la n d before th ese tw o p a in te rs cam e on th e
scene? G ive som e ex am p les of re a lis tic tre a tm e n t of m a te ria l,
in th e w ork of these tw o p a in te rs. 7. W h a t w as th e fu n ctio n
of lan d scap e in G ain sb o ro u g h ’s p o rtra its? 8. W h a t effect does
G ainsboroug h ach iev e w ith h is p ecu liar colour schem e?
V. Retell each text in great detail.
VI. Give a summary of each text.
V II. Learn by heart the paragraph beginning with “The quality of Hogarth
as an artist...” (§ 2) and the paragraph beginning with “One of the
most fascinating of his works...” (§ 4).

§ 5. John Constable (1776— 1837)

Jo h n C o n stab le w as th e first E ng lish lan d scap e p a in te r to
ask no lessons from the D utch. H e w as b orn a t E a st B ergholt on
th e Suffolk side of th e riv e r S to u r. The b e a u ty of th e su rro u n d in g
*/a 5 - 6 1 4 97
scenery, its lu x u ria n t m eadow s, its w oods an d riv e rs becam e th e
su b jec t m a tte r of h is p a in tin g . I t w as his desire n o t m erely to
p a in t “ p o rtra its of p la c e s" b u t to g iv e a tru e a n d full im pression
of n a tu re , to p a in t lig h t, dews, breezes, bloom an d freshness.
C o n stab le saw th e lov ely greens in n a tu re a n d p a in te d th em
as he saw th e m . To accom plish his a im of re n d e rin g th e liv in g
m oving q u a lity of n a tu re he used broken touches o f colour. O n a
fo u n d a tio n o f^ v a rm red d ish m onochrom e he w o u ld b u ild up th e
fresh blues an d greens of n a tu re , th e u n d iv id e d sp o ts of p a in t
o ften la id on w ith a p a le tte knife in th e m o d ern m an n er. T he
sp ark les of lig h t a n d colour an d the deliberate roughness of tex­
ture broke w ith the tradition o f smooth p a in tin g .
C o n sta b le ’s p ic tu re “ T he H a y W a in ” w hich w as e x h ib ite d
a t th e L ouvre in 1824, h a d an im m e d ia te a n d la s tin g effect on
F rench a rt. H is p u re an d b r illia n t colour w as a re v e la tio n to
F rench p a in tin g . T hough he did n o t ex clu d e d a rk tones from his
p a le tte , th e g re a te r d e p th an d liv elin ess of th e colour scale op en ­
ed a new horizo n to lan d scap e p a in te rs w hen C o n stable d is­
covered th e effects of coloured p atch es placed densely side by
sid e on th e can v as.
I t w as C o n sta b le ’s h a b it to m ak e large p re p a ra to ry sketches
for h is p ictu re s of sp ecial im p o rtan ce. T here is a g re a t difference
betw een th e sketch es a n d -th e p ic tu re s p a in te d in th e stu d io . T he
sketches w ere done d ire c tly from n a tu re an d th e y c o n ta in a fresh­
ness a n d vig o u r o fte n lost in th e fin ish ed p a in tin g s w hile th e
p ictu res w orked u p in th e stu d io possess a refin e m e n t of com posi­
tio n n o t to be found in th e sketches.
For exam p le, in th e sk etch for “ T h e L eap in g H o rse” , th e b en t
w illow is to th e rig h t of th e horse an d its rid e r, as it doubtless
in th e scene th a t C onstable a c tu a lly beheld; b u t in th e p ic ­
tu re of “ The L eap in g H orse” in th e D ip lo m a G a lle ry of th e R o y ­
al A cadem y th e tree is sh ifted to th e o th e r side of th e horse and
rid e r m ore to .th e left, in o rd er to im p ro v e th e design and em p h a ­
sise th e rh y th m of th e d iag o n al accents from th e b ig tree on our
le ft to th e w ater-w eeds in th e o p p o site lower co rn er. He d id
not p a in t snapshots o f nature; he u n d ersto o d the science of picture-
m a k in g as w ell as a n y a r tis t an d w h ile desirous above all of p re­
se n tin g th e general tr u th of th e scene before h im , he d id not
scru p le to a lte r th e p o sitio n of one p a rtic u la r tree or o th e r o b ject,
if th e re b y he co u ld im prove th e co m p o sitio n of th e p ictu re.
§ 6. Joseph Mallord W illiam Turner (1775— 1851)
T u rn e r’s first know n w aterco lo u r was p a in te d in 1787 an d
th is m arks th e b eg in n in g of a long career d u rin g w hich he p ro d ­

98
uced a succession of m asterp ieces u n e q u a lle d in ran g e and power
b y h a rd ly an y o th e r B ritish a r tis t. T he ra n g e of h is su b jects,
a lth o u g h confin ed larg ely w ith in th e field of landscape, an d th e
v a st sweep of h is d ev elo p m en t from his first to p o g ra p h ic al d ra w ­
ings to his la te ev o catio n s of lig h t an d atm o sp h ere, to say n o th ­
ing of th e in trin s ic q u a litie s of th e w orks them selves, proclaim
h im one of th e g re a te st E ng lish p ain ters.
O ne of T u rn e r’s e a rlie st p a in tin g s (“ T he S h ip w reck ” , 1805)
show s h is a b so rp tio n w ith th e sea, an d esp e c ia lly th e sea as it
affected ships. T h e d ram a of lig h t is n o t y et th e d o m in an t
one; as co m p o sitio n it is an ch o red firm ly in th e tw o re p ea tin g
b rig h t tria n g le s of th e sails, a lth o u g h th e t i l t of these, as if in
co u n te rp o in t, speaks lite ra lly of d isaster. In h is narrative p ic ­
tu re s his p a s s io n for lig h t and c o lo u r is a lso so m e w h a t subdued
(“ U lysses D erid in g P o ly p h e m u s” , 1829, “ C h ild e H a ro ld ’s P il­
g rim ag e” , 1832). In “ G ran d C an al, V enice” (1835), th e w eight
of th e b lack g o ndola seem s less th a n th a t of its shadow , V enice
is drow ning, a w ash w ith lig h t.
A bout th e sam e tim e T u rn er also show ed one o f his several
recordings of “ T he B u rn in g of th e Houses of P a rlia m e n t” (1834).
T he scene becom es an alm o st su p erh u m an visio n : w h at is left
of th e w orld is no m ore th a n a reflectio n of fire; th e tw in tow ers
of W estm in ster A bbey (on w hose g h o stly u p rig h ts th e com posi­
tio n holds tog eth er) seem to flo at in th e flam es an d th e far end
of th e bridge to d isin te g ra te in to th em . T he p a in tin g , w hen first
show n, m y stified people b u t th e im p a c t w as so u n d e n iab le th a t
it w as accepted.
A c ritic w ro te a b o u t i t: “ T he ex ecu tio n of th e p ic tu re is cu ­
rio u s; to look a t it close, it ap p ears a confused m ass of daubs
an d streak s of co lo u r. T u rn er seem s to p a in t slo v en ly — d a u b in g
as one w ould say; y e t w h a t o th e r p a in te r preserves eq u al c le a r­
ness of co lo u r?”
B ut a p ic tu re show n seven years la te r “ T he Snow S to rm ”
(1842) w hich now seem s one of his m ost p ro p h etic and o rig in al
p a in tin g s was n o t so w arm ly g reeted. H ere he h a d gone a b it
too far ahead of h is tim e for his g en eratio n to be ab le to accep t his
e x p e rim e n t, let alone u n d e rsta n d and be fired by it. “ The Snow
S to rm ” , though even to m odern eyes not im m e d ia te ly obvious
to read , is an a tte m p t to convey th e m a te ria l pow er, th e b lin d ,
shoving w eight of th e flu rries of snow , sp ray an d w ave; fu rth e r,
it is a curio u sly personal sta te m e n t of triu m p h , of sheer s u r v i­
val.
In th is, as in his o th e r w orks (“ R a in , S te a m an d S peed” ,
1844, The F ig h tin g ‘T e m e ra ire ’ ” , 1838) we can see T u rn e r’s

99
re a lisa tio n of an in te rp la y betw een d a rk an d lig h t, w arm and
cold m asses. I n h i s in v e stig a tio n o f colour he a n tic ip a te s in som e
degree th e p ra c tic e of th e Im p ressio n ists; in some la t e works when
colour seem s to becom e a rb itra ry in th e sense th a t it is indepen­
d e n t of th e form s it no longer describes, he a n tic ip a te s som e­
tim es th e F auves a n d m ore o fte n c e rta in of th e tw e n tie th cen ­
tu ry p u re ly a b s tra c t p a in te rs.

GEOGRAPHICAL AND PR O P E R NAMES

John Constable [^ a n 'k A n s ta b l] издевается над Полифемом»).

Дж он Констебль По греческому мифу, Улисс
East Bergholt ['i:st'b a :g h o u lt] (Одиссей) хитростью ослепил
Восточный Б ергольт одноглазого великана П оли­
Suffolk ['sAfak] Суффолк (граф­ фема и спасся на корабле со
ство) своими спутниками.
the Stour [stua] in Suffolk, Essex; “The Burning of the Houses of Par­
|staua] in Kent and other coun­ liament” «Пожар зданий П ар­
ties p. Ст(а)ур ламента»
“The Hay Wain” «Телега для Westminster Abbey ['W e s tm in s te r
сена» 'ae b i] Вестминстерское аббатство
the Louvre [lu:vr] Л увр (N ote the “The Snow Storm” «Снежная буря»
use of the definite article w ith “ Rain, Steam and Speed” «Дождь,
the nam es of museums; also the пар и быстрое движение»
Prado — Прадо (in M adrid), “The Fighting ‘Temeraire’ ” «Пос­
th e H erm itage ['h arm itid g ] — ледний рейс ‘О тваж ного’»
Эрмитаж (in L eningrad), etc.) (английский корабль, просла­
Joseph Mallord W illiam Turner вившийся сраж ениям и с фран­
I'd gouzif 'maelad 'w iija m 'ta.-na] цузскими фрегатами во время
У ильям Тернер Семилетней войны 1798—
“Ulysses Deriding Polyphemus” 1805 гг.)
[ju (:)'lisi:z d i'ra id ig ,рэН 'fi:m as] the Fauves [fa.-vzj «Дикие» (те­
«Бегство Улисса от П олифе­ чение во французской ж иво­
ма» (буквально: «Улисс писи, подробнее см. ч, V)

VOCABULARY NOTES

§ 5. touch п штрих, мазок: bro­ on view, on show; to be hanging,

ken ~ es отдельные мазки
foundation п грунт
palette knife мастихин
exhibit Lig'zibit] vt, vi 1) выстав­
л ять, экспонировать, показы ­
вать (на выставке); 2) участво­
вать в выставке, вы ставляться,
e.g. T hat year he did not exhi­
bit in the Salon, exhibit n
1) экспонат; 2) показ, выставка;
exibition [/ekst'biS(a)n] n выс­
тавка, демонстрация, показ;
to be on exhibition быть выстав­
ленным. Syn . to be on display,
to be ex h ib ited , displayed, e.g.
This p o rtrait is now on e x h ib i­
tion (on display, oh view, !on
show, etc.) in th e T rety ak o v Art
G allery.
§ 6. range n диапазон, размах,
сфера, масштаб: the ~ of su b ­
jects (широкий) диапазон сю­
жетов, тем: а — of colours
гамма цветов. S y n ■ colour-
scale
his absorption with the sea его глу­
бокий интерес к морю

100
awash with light залитый светом.
S y n . bathed in light, suffused
w ith light, flooded w ith light.
hold together (about com posi& n)
объедин яться), e.g. The lin-
ear rhythm holds the composi-
tion together. Syn. (for the tran-
sitiv e use) to bring (pull) some-
thing together, e.g. The repeating
blue coloured patches bring the
com position together.
daub [do:b] n плохая картина, маз-
ня, пачкотня; daub vt, vi ма-
зать, пачкать, малевать; daub-
er n плохой художник, м азилка
. ,
streak n полоска, полоса, ж илка,
прож илка: a ~ of colour light,
e tc ' : *‘геакУ 0 полосатый
to 8° to° far ahead of one’s time
значительно опередить свое
время
one’s investigation into (of) light,
atmosphere, colour искания в
области света; атмосферы, ко­
лористические искания

WORK ON THE TEXTS

1. Reproduce the sentences from the texts in which the new vocabulary is
used.
II. Explain or paraphrase the phrases from the texts in italics.
III. Find the English equivalents for

§ 5 — пейзаж ист; красота окруж аю щ ей природы; о т к а ­

заться от традиционной гладкой манеры письма; не исклю ­
чал темных тонов из своей палитры ; больш ая глубина и ж и ­
вость его цветовой гаммы; цветовые пятна, густо полож енны е
на полотне; эскизы делались прям о с натуры ; соверш енство
композиции
§ 6 — его первая известная аквар ел ь; непревзойденные
по разм аху и силе воздействия шедевры; он предвосхищ ает
работы импрессионистов
IV. a) Translate in written form the last sentence from the text (§ 5)
and the sentence from the text (§ 6) beginning with “ In his narrative
pictures...” , b) Translate your versions back into English without con­
sulting the text, c) Check it with the original, make all the necessary
corrections.
V. Answer the following questions:
1. W h a t was th e su b ject m a tte r of C o n sta b le ’s p ain tin g ?
2. D escribe C o n stab le’s w ay of a p p ly in g p a in t to th e canvas and
te ll how it differed from p revious m ethods. 3. H ow did C onsta­
b le ’s p ictures differ from his sketches? 4. W h a t effect d id T u r­
n e r’s shim m erin g lig h t som etim es h av e on objects in the p a in t­
ing? 5. H ow did some of T u rn e r’s later p a in tin g s strik e his
view ers w hen seen close up? 6. W h at su b seq u en t schools of
p a in tin g were influenced by C onstable? by T urn er?
VI. Retell each of the texts in great detail.
VII. Give a summary of each text.

4—614
 § 7. Goya (1746— 1828)

G oya w as b orn in a v ery poor v illa g e in A ragon, on 30 M arch

1746. G o y a’s fa th e r w as a g ild er in Saragossa, th e c a p ita l of
A ragon, an d it w as th e re th a t G oya sp en t his ch ild h o o d and
adolescence.
H e found h is s ty le in p o rtra itu re . For G oya th e p o rtra it w as,
a b o v e a ll, a problem of th e tech n iq u e of p a in tin g an d the passionate
search fo r the m ystery o f th e hum an in dividual. T he m ost im p o rta n t
th in g for h im w as to go stra ig h t to th e h e a rt, to sum up q u ick ­
ly h is m od el’s c h a ra c te r. H is son w rote, m an y years after
his d e a th , th a t th e p o rtra its w hich h a d given th e a r tis t g re ate st
s a tisfa c tio n w ere th o se of his frien d s, for w hich he needed not
m ore th a n one s ittin g . S p o n ta n e ity , ra p id ity , fra n k and gay
ex ec u tio n w ere G o y a’s id eals in p o rtra it p a in tin g . H e w as alw ays
affected by his m odels a n d so his p o rtra its could be v ery u n eq u al.
H is lik in g or re v u lsio n for th e person before h im w ere u n m is­
ta k a b ly reflected in h is p a in tin g . B eau ty , goodness, in te lli­
gence, g e n tility , tim id ity , v a n ity , p rid e, s tu p id ity , can all be
seen in G oya’s w ork, p o rtray ed w ith su rp risin g sin c e rity . N o­
w here can we find a m ore p itile ss exposure of serene s tu p id ity
th a n in h is “C harles IV on H o rse-b ack ” .
T he m agic tec h n iq u e th a t h as g iv en us so m a n y m asterpieces
is very m uch h is ow n. In th e p o rtra it of “ T he Condesa del Car-
p io ” , as w ell as in h is m an y o th e r p a in tin g s, we see G o y a’s
suprem e a r tis tr y . T h e Condesa is silhouetted against a background
of a single wash of p a in t, a s G o y a lik ed to place his m odels. No
concession has been m a d e in th e tre a tm e n t of th e face; it is m od­
elled w ith m agic s k ill as are th e tw o gloved h an d s, th e fan and
th e d ancing shoes e le g a n tly su p p o rtin g th e s itte r ’s lig h t and e x ­
pressively fem inine w eight. A nd th e b ackground sings in e x a c t­
ly th e rig h t n ote, as in th e w ork of a ll g reat m asters. A ll G o y a ’s
a rt, h is m a rv e llo u sly sim p lified c o m p le x ity , his ra re g ifts as a
“ p u re ” p a in te r, his desire to te ll th e tr u th h av e been poured o u t
to g ether here in m a ste rly fashion. W e recognise th e w ork of a
great a r tis t, for a r t ’s h ig h est ach iev em en t is to overcom e every
danger: Goya has not sacrificed character to grace, he rem ains ro ­
bust w hen he is sed u ctiv e, he av o id s over-sw eetness by his re ­
s tra in t, he tre a ts a d angerously p leasing su b ject w ith o u t le ttin g
th e danger be a p p a re n t, an d fin a lly he has achieved style, w ith ­
o u t ex ag g eratin g form . H ere, in fact, we see th a t suprem e q u a l­
ity — all th e m o r e ' re m a rk a b le in th e case of so to rm en ted a
genius — a sense of p ro p o rtio n .
L ike so m an y S p a n ia rd s of h is tim e , in those years w hen E u ­
102
 ro p e w as b u b b lin g over w ith ideas of re v o lu tio n , G oya sy m p a­
th ised w ith lib e rty an d condem ned th e abuses of an arc h aic
social stru c tu re .
A t the v e ry "height of his success G oya w as stru c k dow n by
a v io len t illness in S eville.
T his fran k jo v ia l m an, w ho loved society, co n v ersatio n , th e ­
a tres, b u llfig h ts an d his friends, w as now c u t off from it a ll by
deafness.
I t is not o n ly in his eng rav in g s th a t we see th e im p act of th e
. crisis b u t also in a new ty p e of p a in tin g ; im a g in a tiv e p ictures in
w hich he gives full expression to his in te rio r w orld. H is ideas
are given form s. H is technique becomes more free and daring, and
his palette more violent and personal.
A bout 1789 th e deaf p a in te r began w ork on th e p re lim in a ry
sketches w hich w ere to becom e h is series of etch in g s, “ T he Cap-
ric h o s” . G ra d u a lly G o y a’s o rig in a l idea developed in to a condem ­
n a tio n of sin fu l h u m a n ity , dragged along by its vices a n d pas­
sions. In these etchings no state, profession or social class was free
from his stin g in g sarcasm: nobles, legal p ra c titio n e rs, doctors,
p ro stitu te s, m onks, w itches ap p e a r as a cross-section of incor­
rig ib le and degraded h u m a n ity . T ogether w ith his social c r it­
icism th ere ap p ears in h is a r t th e w orld of th e subconscious:
“ T he dream of reason produces m o n sters” , he declared a t the
foot of one of h is etch in g s, an d in seeking a g rap h ic lan guage to
express th is a b y sm al w orld, G oya, a tru e precursor of m odern
a rt, freely d isto rte d his figures. T he w hole v e n tu re was d a rin g .
W h en he p u b lish ed “ T he C aprich o s” in 1799 he h ad to w ith d ra w
th e m from sale for fear of being in d ic te d b y th e In q u isitio n .
H is pessim ism becam e deeper. H is p a ssio n ate c o n d em n a tio n
of m an in his b rillia n t series “ The D isasters of W a r” , a collec­
tio n of eig h ty -tw o etchings gives us his personal v iew of th e w ar.
W ar is not e x a lte d here; in these etchings he depicts hunger and
suffering, devastation, horror and barbaric cruelty. T here is no
docum ent in th e h isto ry of a rt m ore te rrify in g an d m ore accu ­
s a to ry th a n G o y a’s “ D isasters of W a r” .
A n even m ore p essim istic G oya ap p eared after h is recovery
in 1820, in th e so-called b lack p a in tin g s an d th e etch in gs of “ The
In c o n g ru itie s” or “ P ro v e rb s” . A new crisis an d a new sty le ,
an ex tension of w h a t he h a d begun in “ T he C aprichos” .
A n ex p ressio n ist a rt, v io le n t, p a in te d in greyish ochre and
black, also covered th e w alls of his co u n try house. T w isted im ­
a g in a tio n , h a llu c in a tio n s, su p e rn a tu ra l visio n s w ere p a in te d w ith
g reat sp o n ta n e ity an d sin c e rity .

4* 103
 GEOGRAPHICAL A N D PROPER NAMES

Francisco Goya [fraen 'si:sk o u “The Condesa del Carpio” [lo n 'd e sa
'g a ja :] Франсиско Гойа del 'k a :p jo u ] «Графиня дель
Aragon ['эегэдэп] . Арагон Карпио»
Saragossa [ ,s3era'g3s3| г. Capa- “The Caprichos” [ka'pritSouz]
rocca «Капричос»
Charles IV [t$a:lz] Карл IV “The Disasters of War” «Бедствия
(King of Spain, 1 7 88 -1 808 ) войны»

WORK ON THE TEXT

1. Translate the italicised words and phrases from the text. Give a back trans­
lation without consulting the text.
II. Translate in written form the passage beginning with “ Sponta­
neity, rapidity...” and ending with “Charles IV on Horse-back.”

III. Complete the following sentences using the text as a guide.

1. T he p o rtra its th a t gave G oya g re a te st s a tisfa c tio n w ere

those o f... 2. G o y a’s p o rtra its co u ld be very u n e q u a l becau se...
3. T he p o rtra it of “ C harles IV on H o rse-b ack ” is a p itile s s ...
4. G oya lik e d to place h is m o d els... 5. T he tw o gloved h an d s and
the face a re ... 6. In th is m asterp iece of h arm o n y (“ T he Condesa
del C arp io ” ) G oya h as a c h ie v e d ... 7. In h is etch in g s “ T he D isas­
ters of W a r” G oya d e p ic ts...
IV. Find the English equivalents for

Он наш ел себя в портретной ж ивописи; портреты, которы е

он писал за один сеанс; его натурщ ики не о ставляли его р ав ­
нодушным; лицо изображ ено особенно п р а в д и в о ;•точно най­
дена тональность фона; чувство меры; внутренний мир худ ож ­
ника получает полное вы раж ение; война в них не превозно­
сится
V. Answer the following questions:

1. In w h a t a rt genres did G oya rev eal his c re a tiv e ta le n t?

2. W h a t w as G o y a’s ap p ro ach to p o rtra it p a in tin g ? W hy could
he n o t be im p a rtia l to his m odels? W h a t featu res does G oya bring
ou t in h is p o rtra its? 3. H ow is th e a r t i s t ’s te m p e ra m en t re v e a l­
ed in his m anner of p a in tin g ? 4. H ow did G oya lik e to place
his m odels? 5. W h a t other, a rt m edium s engaged th e a r tis t’s
a tte n tio n ?
VI. Retell the text in great detail.
V II. Give a summary of the text.

104
 § 8. Jacques Louis David (1748— 1825)

D av id in c a rn a te s th e esse n tia l of N eo-classicism . The Neo­

classic a ttitu d e stressed traditional values in p a in tin g . P ro ficien ­
cy an d precise te c h n ic a l sk ill w ere held to be of p rim e im p o r­
tan c e. Idealised them es, stro n g ly based on d raw in g an d c o n ta in in g
in te lle c tu a l ra th e r th a n p a ssio n a te im p lic a tio n s, served as th e
fo u n d atio n for p a in tin g . L ines w ere w ell-defined, colour w as u su ­
a lly fla t, an d co m p o sitio n s ta tic . Im agery w as se n tim e n ta lise d ,
som ew hat fa c tu a l a n d less friv o lo u s th a n tre a tm e n ts e v id e n t in
th e e arlie r baro q u e m an n er. T he a im of th e m ore p ro m in en t N eo­
classic a rtis ts w as to v is u a lly b rid g e th e p resen t w ith a selected
p a st.
O n th e ad v ice of h is first te a c h e r, D a v id w ent to R om e and
th e re drew from a n tiq u e m odels. O n his re tu rn to P a ris in 1780,
he w as com m issioned b y L ouis X V I to p a in t th e “ O a th of th e
H o ra tii” w hich he did in 1784. T h is can v as, in s ta n tly successful,
ap p eared as a m an ifesto , for a new p a in tin g s ty le w hen u n v e il­
ed in th e S alon of 1785.
T he s e ttin g is th e co u rt of an an cien t p alace enclosed in
a colonnade. T he th ree H o ra tii sta n d in pro file, ra isin g th e ir
sw ords and sw earin g before th e ir fath er w h ile th e ir w ives sit
a t th e rig h t la m e n tin g . T he re a lism of th e b ack g ro u n d and a c ­
cessories a c c e n tu a te d th e c la r ity of the com position, which has
been conceived o f as a bas-relief in w hich th e m e n ’s rig id p o sture
c o n tra sts w ith th e softer, m ore flex ib le a ttitu d e of th e w om en.
T he lin ear o rg a n isa tio n of th is can v as an d sh arp lines o u t­
lin in g th e figures reflect D a v id ’s tr y for a new v irile sty le as o p ­
posed to th e s e n tim e n ta l a n d fem in in e a rt of th e 18th c e n tu ry .

§ 9. Dominique Ingres (1780— 1867)

T he o u ts ta n d in g e x p o n en t of D a v id ’s teach in g , p a rtic u la rly

in th e field of p o rtra itu re , was J e a n A uguste D o m in iq u e Ingres.
In his p encil p o rtra its he united a fastidious line w ith ex­
quisite characterisation. I t is th e rare c o m b in a tio n of su b tle
in tu itio n , s k ilfu lly m in u te d e lin e a tio n , a n d fid e lity to a p p e a r­
ance which gives his drawings their special character and charm .
H is p o rtra its, like th e one of th e m u sician P a g a n in i, are accounts
o f the outer rather than the inner m an. T he em p h asis is u p o n those
assured aspects of life an d fo rtu n e w hich are show n to th e
w orld. Through cla rity and precision, these serene pencil por­
traits achieve distinction w ith o u t, how ever, th e p e n e tra tio n of the
g re a t six te e n th c e n tu ry m asters. “ P a g a n in i” , in th e L ouvre, is

105
p resented ca lm ly , c le a rly w ith o u t a tra c e of th e k in d of ro m a n ­
tic passion th a t ch a ra c terise s th e su p erb oil sk etch of th e sam e
m usician by D elacro ix .
PROPER NAMES

Jacques Louis David ['за:к 'lu:i Dominique Ingres [dom i'ni:k 'aeijgr]
d a :'v i:d j Ж ак Л уи Д авид Д оминик Энгр
“Oath of the Horatii” [ho'rei$iai] Paganini ['p a e g a 'n i:n i(:)] П аган и ­
«К лятва Горациев» (Горации— ни (an Ita lia n v io lin ist and
древнеримский патрицианский composer, 1782— 1840)
род)
VOCABULARY NOTES
§8. imagery n образы, изобра­ § 9. characterisation n умение соз­
жаемое, образное воплощение
давать характер
замысла, e.g. The noisy deafness
w hich surrounded G oya may be minute delineation детальное
the origin of his strange im agery,
setting n место действия изображение

WORK ON THE TEXTS

1. Translate the italicised words and phrases from the text. Give a back
translation without consulting the text.
II. Translate in written form the passage beginning with ... “ Lines were
w ell-defined...” and ending with “ ...with a selected past” (§ 8).
III. Find the English equivalents for:

§ 8 — воплощ ает идеи неоклассицизм а; больш ое техничес­

кое мастерство; четкие и уверенны е линии; действие происхо­
дит во внутреннем дворе зам ка;
§ 9 — последователь ш колы Д ав и д а; его исклю чительное
своеобразие; нет той проникновенности, которая свойственна
м астерам XVI века
IV. Complete the following sentences using the text as a guide:

1. In his pencil p o rtra its Ingres u n ite d a fastid io u s lin e w ith ...
2. H is draw ings owe th e ir special c h aracter an d ch arm to ...
3. H is p o rtra its are acco u n ts o f... 4. These serene pencil por­
tr a its achieve d is tin c tio n th ro u g h ... 5. P a g a n in i, in the Louvre,
is presented c a lm ly , w ith o u t...
V. Make up questions for which the following sentences would serve as an
swers:
1. T he N eo-classic a ttitu d e stressed proficiency and precise
te ch n ic al sk ill in p a in tin g . 2. Id ealised them es, stro n g ly based
on draw ing, served as th e fo u n d a tio n for N eo-classic p a in tin g .

106
3. T he “ O ath of th e H o ra tii” w as in s ta n tly successful and a p p e a r­
ed as a m an ifesto for a new p a in tin g sty le . 4. T h e s e ttin g of th e
“ O a th of th e H o r a tii” is th e co u rt of an a n c ie n t p alace.
VI. Answer the following questions:
- 1. W h at featu res c h a ra c terise th e N eo-classic a ttitu d e in
p a in tin g ? 2. W h y d id D av id go to Rom e to d raw from a n tiq u e
m odels? 3. H ow does D a v id ’s s ty le differ from th a t of his predeces­
sors? 4. W h a t m ed iu m did Ingres w ork in? 5. W h a t gives his
draw ings th e ir sp ecial c h a ra c ter an d charm ? 6. W h a t is th e gen­
eral im pression of his pencil p o rtra its? 7. W h a t q u a lity seem s
to be lack in g in th e pencil p o rtra its draw n b y Ingres? 8. Com ­
p are his d raw in g of P a g a n in i, in th e L ouvre, w ith th e oil sketch
of th e sam e m an by D elacro ix .
V II. Retell the texts in great detail.

§ 10. Eugene Delacroix (1798— 1863)

In the m id d le of th e n in e te e n th c e n tu ry F ren ch p a in tin g was
ru le d w ith an iron h a n d by th e A cadem y of F in e A rts, w hich was
com posed of th e v ario u s teach ers in th e E cole des B eaux-A rts,
in whose stu d io s young a rtis ts received th e ir e d u c a tio n . T he
m em bers of th is au g u st body c o n tro lle d th e ju rie s of th e b ie n ­
n ia l Salons, w hich w ere th e o n ly m eans of p u b lic reco g n itio n for
th e a r tis t. T hey were in flu e n tia l in p la cin g p u b lic commissions
and also advised on museum purchasing policy. T he sty le of th eir
p a in tin g was som e fifty years o u t of d a te an d g en erally based
on th e neo-R om an recipes of D av id or th e m ore su p p le b u t e q u a l­
ly d o ctrin aire classicism of h is m ost c eleb rated p u p il, Ingres.
B oth D avid and Ingres were m en o f genius, b u t in the hands of their
followers their a rtistic form ulas were reduced to uninspired pedantry
and vulgar eclecticism. T he A cadem y b an n ed re a listic subjects
taken directly fro m contemporary life; these w ere considered u n ­
w o rth y of th e h ig h v o catio n of a rt.
I t was a g a in st th e s te rile ru les an d procedures of th e A cad­
em y th a t th e “ ro m a n tic ” p a in te rs D elacroix an d G e ric a u lt had
re v o lted . D elacro ix w as so m eth in g of an a r tis tic a n o m a ly in
his in d iv id u a lism , and his g reatn ess w as by no m eans ap p a re n t
to th e w orld of a r t or to th e p u b lic a t large. In his own period
his genius, w ith its in ca lc u la b le influence on m odern a r t, had
to be “ sm uggled th ro u g h ” , as a F rench c ritic has a p tly
phrased it.
In D elacro ix ’s a r t we find th e them es so c h a ra c te ristic of
w h a t is loosely c a lle d th e ro m a n tic m ov em en t: scenes of v io ­
le n t physical a c tio n an d e m o tio n a l co n flict; th e stru g g le for lib ­

107
e rty ; m om ents of g re a t psycho lo g ical d ra m a . D elacro ix ’s ro ­
m a n tic tem p e ra m e n t rev eals itself in h is w h irlw in d ex ecution,
use of pure colour an d th e d y n am ics of his v isib le brush-w ork.
L ater in his career, after a trip to N o rth A frica, D elacroix
in tro d u ced a new ex o tic ism of colour an d su b je c t in h is a rt. In
fact, his tec h n iq u e an d his su b jects rep resen ted a m uch m ore per­
sonal expression based on th e m ost v iv id colour o rc h estra tio n s.
In his w orks th e re p re se n ta tio n of an e la b o ra te an d som ew hat
lite ra ry c o n te n t is alw ay s overshadow ed by th e im pression
from h is splashes of colour, and he can th u s be considered as
one of the forerunners of the a rtistic avalanche w hich swept E u ­
rope near th e end of th e cen tu ry .
By m id -c e n tu ry , th e tem po of ro m a n tic ism h a d slackened,
an d D elacroix alone carried it on, in the face of intense official
disapproval. T he A cadem y refused D elacro ix ad m issio n six
tim es and on ly g ru d g in g ly to o k h im in six years before his death
in 1863. In h is la st y ears he becam e a s o lita ry and rem ote
figure.

§ 11. Honore Daumier (1 8 0 8 — 1879)

W e com e n e x t to an o th er one of th e m aster a rtis ts of th e

n in e te e n th c e n tu ry , one o f the most personal o f French draughts­
m en, th e illu s tra to r an d c a u stic c a rto o n ist H o n o re D aum ier,
w ho stu d ie d th e w o rk of M ichelangelo an d R e m b ra n d t. F rom th e
form er he learned construction of massive form , an d from th e la t­
ter — d ra m a tic in te n s ity th ro u g h th e p ic to ria l a n d em o tio n al
device of chiaroscuro. In D a u m ie r’s w ork we find a sim ila r dra­
m atic use of lig h t and shade to render em otion.
D au m ier m ay be com p ared in th e field of g ra p h ic a rt to th e
n o v e list D ickens. T h ey are b o th c ity m en w ho o b serve and re ­
cord w ith rare in sig h t th e d a ily life, th e v a ry in g em otions and
a c tiv itie s of th e ev e ry d a y m an. D au m ier possesses th§ a sto n ish ­
ing a b ility of D ickens to m ake h is in d iv id u a ls sta n d for types.
D au m ie r, how ever, pushes h is rid ic u le of bourgeois so ciety fa r­
th e r th a n D ickens.
W e need not re a d th e cap tio n s u n d e rn e a th h is pictu res to
u n d e rsta n d th e sto ry w hich he te lls so c le a rly an d c o n v in c in g ­
ly ... H is a b ility to depict through fa cia l expression — punctuated
by the emphasis o f gestures — fleetin g and co n flictin g hum an emo­
tions is unequalled.

108
 GEOGRAPHICAL AND PROPER NAMES

Eugene Delacroix [ s i 'j e n Daumier [dou'm jei] Домье

,d ela'krw a:] Эжен Д ел ак ру а
Ecole des B eax-A rts [ei'kolda
^ o u 'z a r] Ш кола изящных ис­
кусств (в Париже)
VOCABULARY
G ericault [ ^ e r i 'k o u j Ж ерико
(a French p ain ter, 1791 — 1824)
NOTES

§ 10. artistic formulas зд. худож е­ caustic cartoonist язвительный к а ­

ственные рецепты
eclecticism [ek'lektisizm ] n экл е­
ктизм
the high vocation of art высокое
назначение искусства
scenes of violent physical action and
emotional conflict изображение
бурного движ ения и внутрен­
них страстей
pure colour чистая краска (без
добавления другой краски)
splashes of colour ярки е пятна
§ 11. master artists мастера изо­
бразительного искусства
рикатурист
dramatic intensity драматическая
напряж енность
make one’s individuals stand for
types создавать обобщенные
образы
caption n подпись под иллю стра­
цией
to be punctuated by the emphasis
of gestures акцентироваться вы­
разительны ми жестами
fleeting and conflicting emotions
быстрая смена и борьба чело­
веческих чувств

WORK ON THE TEXTS

I. Translate the italicised words and phrases from the text. Give a back
translation without consulting the text.
II. Complete the following sentences using the text as a guide.

1. The sty le of A cadem ic p ain tin g in th e m iddle of th e 19th

c e n tu ry in F ran ce w as based o n ... 2. T he a r tis tic form ulas of D a ­
v id and Ingres w ere reduced to ... 3. T hem es c h a ra c te ristic of th e
so-called ro m a n tic m o v em en t w ere: ... 4. D elacro ix ’s tem p era­
m en t reveals itself in ... 5. F ro m M ichelangelo D au m ier le a rn e d ...
6. T hrough facial exp ressio n an d e m p h a tic gestu res D aum ier de­
p ic ts ... 7. D a u m ie r possesses th e a sto n ish in g a b ility of D ickens
to m ak e ...
III. Find the English equivalents for

§ 10 — отстать на пятьдесят лет; высокое назначение ис­

кусства; о к а за т ь огромное влияние; темпераментное испол­
нение; м азки явственно видны; я р к а я симфония красок
§ 11 — нап р яж ен н ы е световы е контрасты ; м ногосторонняя
карти н а ж и зни; он более реш ительно вы смеивает бурж уазн ое
общество; наблю дать и запечатлеть что-либо; бы ть непревзой­
денным

109
IV. Answer the follow ing questions:

1. W hy did D elacro ix an d G e ric a u lt rebel a g a in st th e A cad

em y of F in e A rts in F rance? 2. W h a t them es are c h a ra c te ristic
of th e “ ro m a n tic ” m ovem ent? 3. W h a t new q u a lity did D ela­
c ro ix ’s w ork o b ta in a fte r his trip to A frica? 4. W hy was D ela­
cro ix considered to be an a rtistic an o m aly ? 5. W hose w ork did
D aum ier stu d y an d w h a t did he learn from these g re a t m asters?
V. Retell the texts in great detail.
VI. Give a brief summary of each text.

EXERCISES TO PART IV

I. Give as many word combinations as possible with the following and trans­
late them into Russian.
a) Supply attributes for the following nouns:

n a rra tiv e , c a rto o n , im ita to r, sk etch , in sig h t, p atc h , ex­

h ib it, d e lin e a tio n , brush -w o rk , d raw ing, ex ecu tio n , g ift
b) Give “of-phrases” with the following:
c a ric a tu re , to c re a te th e illu sio n (sense), a sh a ft, a stu d y ,
g re a t pow er, a ran g e, a stre a k , a c o m b in a tio n , th e o n ly m eans,
scenes, m om ents, a new ex o ticism , touches, stro n g o p positions,
d ynam ics, sp la sh e s, foreru n n ers, c o n stru c tio n
c) Supply direct objects for the following verbs:
c a ric a tu re , im ita te , sk etch , r iv a l, catc h , b len d , recall, a n ti­
c ip a te , e x h ib it, set dow n, achieve, d ep ict, rev eal, p arad e, e n ­
hance, m ar, reflect, reduce
d) Supply prepositional objects for the following:

to teem w ith , to (m ake a) sk etch from , to pose for, to h av e

an in n a te genius for, to be fused in, to b len d w ith , in sig h t in to ,
to th ro b w ith , to be enveloped in , to be p e n e tra te d th ro u g h o u t
by, to in n o v a te in , to place sm b. am ong, o n e’s in v e stig a tio n
in to , one’s a b so rp tio n (concern) w ith , to be aw ash w ith , to be
based on, to be u n w o rth y of, to ad v ise on, to co p y from , to be
devoid of, to h av e n o th in g to do w ith , to be im bued w ith
e) Supply nouns to go with the following adjectives:
n a rra tiv e , receding, crow ded, e a rth -b o u n d , cerem onial,
sk e tc h y , tra n sie n t, su b tle , e x q u isite , ru stic , v ib ra n t, som bre,
pow erful, fa ith fu l, high-(low -)keyed, p ic to ria l, em o tio n al, in ­
n a te , suprem e, m agic, m asterly

110
II. Translate the following in written form. Give a back translation without
consulting the text. Check your version with the original and make all
the necessary corrections:

a) T he “ P o r tr a it of M rs G ra h a m ” is one of G a in sb o ro u g h ’s
b est know n p ain tin g s; it was co m p leted in 1777 an d e x h ib ite d
in th e R oyal A cadem y in th e sam e y ear. A t a b o u t th is tim e G ain s­
borough executed a h alf-len g th p o rtra it of th e sam e s itte r, now
in th e N atio n a l G a lle ry , W ash in g to n . In co n n ectio n w ith his
fu ll-len g th p o r tr a it of Mrs G ra h a m a c ritic w rote: “ G ain sb o ­
ro u g h ’s gift for c a tc h in g a likeness is u n riv a lle d , b u t h is por­
tr a its becom e essays in p oetic m o o d s.”
b) In m ost of h is draw ings, as in his p a in tin g s, D elacroix
th in k s of th e co m p o sitio n as a w hole ra th e r th a n of th e v ario u s
p a rts. T his is p erfectly illu s tra te d in th e “ A rab R ider A tta c k ­
ed by a L io n ” . S uch draw ings reflect his p ic to ria l ideas e x p re ss­
ed in a nervous d ra u g h tsm a n sh ip of rh y th m ic accents, broken
co n to u rs and d ra m a tic em p h asis. D elacroix d ep icts force and
stru g g le. In h is draw ings th ere is h u rrie d m ovem ent and su p er­
h u m a n stre n g th . H is lin e, u n lik e th e cool lin e of Ingres, b e tray s
em o tio n as he a tte m p ts to re c re ate th e rich an d ch an g in g visions
of his im a g in a tio n .
III. a) Make up a series of special questions the answers to which will form
an outline of the text given below, b) Reproduce the text as close to
the original as possible.

Delacroix’s Contribution to Modern Painting

W h at did th is a rtis t c o n trib u te to m odern p a in tin g ? T here
w as first his general se n s ib ility . H e was p erhaps th e first m odern
a rtis t of se n sib ility ; th is q u a lity is a b u n d a n tly revealed in his
jo u rn a l* , w hich is so often concerned w ith th e a n aly sis of his
m ost in tim a te th o u g h t and feeling. A nd th e re w ere h is actual te c h ­
nical discoveries in co lo u r, w hich helped to free th e n e x t g en ­
e ra tio n from th e b itu m e n an d o p aq u e shadow s of p re v a ilin g pic­
to ria l styles. T h e full im p lic a tio n s of these discoveries w ere not
realised by D elacro ix , b u t th e N eo-im pressionists la te r system a-
tise d his m eth o d of m o d ellin g form w ith b ro ad tou ch es of ju x ta ­
posed colour and found new p o ssib ilitie s of lu m in o sity in th e
sp lendors of h is p a le tte .
T he in terest of m odern p a in te rs in him can be associated w ith
his sta te m e n t th a t “ lig h t, shade, reflectio n s and atm osphere
can n o t be su b s titu te d by lin e and s ty le .” T h is rem ark im p lied a
new approach to p a in tin g based on n a tu ra l o b serv atio n .
* journal дневник

111
 D e lac ro ix ’s in te re s t in th e lu m in o u s p o ssib ilitie s of “ lig h t,
shade, reflectio n s an d a tm o sp h ere” a c tu a lly b egan, in p ractice,
in 1824, w hen he w as deeply im p ressed b y a C o n stab le landscape
e x h ib ite d in P a ris. A fter seeing it, h e re tire d to h is stu d io in
a s ta te of g re a t e x c ite m e n t an d re p a in te d th e lan d scape b ac k ­
g ro u n d of his “ M assacre at C hios” *, g iv in g it m o re d istan ce and
fresh colour. H e la te r described C o n sta b le and T u rn er as “ real
refo rm e rs” and acknow ledged h is debt to th em . In h is jo u rn al
he w as soon to n o te from d irect o b se rv a tio n th a t n a tu re w as full
of colour an d th a t h er m o st lu m in o u s effects co u ld be analysed
as th e stro n g est o p p o sitio n s of c o n tra stin g colour.
“ (A t noonday) th e g ray of th e even in g clouds tu rn s into blue;
th e p a rt of th e sky w h ich is clear is b rig h t yellow or orange. T he
general law is: th e m ore th e c o n tra s t, th e m ore th e b rillia n c y .”
A t th e v ery end of h is life D elacro ix a p p lied these radical
th eo ries of b rillia n c e th ro u g h c o n tra st w hen he w as called on
to d ecorate th e C hapel of S t S u lp ice, in P a ris. S ince th e p a in t­
ings w ere to be seen at som e d ista n c e and w ere to be large, h e
d ra m a tise d his effects b y se ttin g dow n m a n y sm a ll, broken
areas of c o n tra stin g co lo u r, to be b len d ed by th e eye. T he resu lts
w ere m ore liv ely th a n p rem ix ed colour w o u ld h a v e been. H e
th u s a n tic ip a te d th e d iv id e d colour an d o p tic a l m ix tu re s of th e
Im p ressionists.
IV. Learn the following by heart:
P eo p le found it h a rd to b elie v e th a t a n y th in g so ra d ic a lly
E n g lish as C o n sta b le ’s lan d scap es co u ld re a lly be g re a t and sig ­
n ific a n t art.
In a rt th e E n g lish h av e an in s tin c tiv e ta s te for th e sm o o th ,
closely-w orked su rface in preference to th e b ro a d im ag in a tiv e
to u ch , and C o n sta b le ’s lack of “ fin is h ” , ...h is use of th e p a le tte
k n ife w ere so m eth in g th e p u b lic co u ld n o t endure.
A fter C o n sta b le ’s d eath in 1837 h e an d h is w o rk w ere v ir­
tu a lly fo rg o tten u n til 1888 w hen th e a r tis t’s d a u g h te r b e q u e a th ­
ed a large n u m b e r of h er f a th e r’s p a in tin g s an d draw ings to th e
n a tio n . T h is red isco v ery of C o n sta b le m ark ed a tu rn in g p o in t
in B ritish p a in tin g . W h a t sh a rp en ed th e im p act of h is a rt w as
th e re a lisa tio n th a t it a n tic ip a te d m uch of w h a t h a d been done
in F ra n c e b y th e Im p ressio n ists an d th a t in C o n sta b le ’s day E n g ­
lish a rt, far from b ein g p ro v in c ia l an d d e riv a tiv e w as in fact th e
focal p o in t of th e E u ro p e a n tra d itio n . T hus C o n sta b le , w ho had
first been recognised in F ran ce, re tu rn e d to h is n a tiv e c o u n try
w ith h is ach iev em en t h e ig h te n e d b y th e glow of F ren ch prestige.
* “ Р езн я на Х иосе”

112
V. Retell the following:

Few of T u rn e r’s c ritic s seem to h a v e realised th e significance

of w h a t they te rm e d “ h is e x tra v a g a n t colour schem es” . In his
la te r p ictu re s colour h a d becom e alm ost an en d in itself. H e used
it as th e m u sician uses h is tu n e s, chords an d m e lo d y , as a th in g
liv in g and d elig h tfu l for its ow n sak e, and as a m ean s of aw ak en ­
ing, su sta in in g an d c o n tro llin g em o tio n . In n o th in g he h a d y et
p a in te d h a d he re lie d m ore im p lic itly upon th o se in trin sic q u a l­
ities of colour th a n in “ T he Fighting* T e m e ra ire ’ ” , tu gged to
h er last b e rth to be broken u p , one of th e fiv e p ic tu re s h e e x h ib ­
ite d at th e R o y al A cadem y in 1838.
M any descrip tio n s of th is g re a t p a in te d poem w ere w ritte n
at th e tim e b u t n one can co m p are w ith th a t m a d e by T h ack eray .
“ If you are p a rtic u la rly an x io u s to know w h a t is th e best p ic tu re
in th e room (at th e A cadem y), not th e big g est, I m u st req u est you
to tu r n your a tte n tio n to a n o b le riv e rp ie c e by J.M .W . T u rn er
“ T he F ig h tin g ‘T e m e ra ire ’ ” , as g ra n d a p a in tin g as ever figured
o n th e w alls of an acad em y , or cam e from th e easel of any p a in t­
er. T he old ‘T e m e ra ire ’ is dragged to her last hom e b y a little ,
sp ite fu l, d iab o lic steam er. A m ig h ty red su n , a m id st a host of
flarin g clouds, sin k s to rest on o n e side of th e p ic tu re an d illu ­
m in es a riv e r th a t seem s in te rm in a b le , an d a co u n tless nav y
th a t fades aw ay in to such a w onderful d ista n c e as never w as p a in t­
ed before. T he little dem on of a steam er is b elch in g o u t a v o l­
um e of foul, lu rid , red-hot m a lig n a n t sm oke, p a d d lin g furio u sly
and lashing up th e w ater ro u n d ab o u t it, w h ile b ey o n d it slow ,
sad , m ajestic follow s th e b ra v e o ld sh ip , w ith d e a th , as it w ere,
w ritte n on her.
It is a b su rd , you w ill say , to grow p o litic a lly e n th u sia stic
a b o u t a four-foot c an v as rep re se n tin g a sh ip , a steam er, a r iv ­
er and a sunset. B u t herein su rely lies th e pow er of th e a rtis t.
H e m akes you see an d th in k a g re a t deal m ore th a n th e o b je cts
before you; he know s how to so o th e or to in to x ic a te , to fire or to
depress, by a few notes, or form s, or colours of w hich w e can n o t
tra c e th e effects to th e source b u t acknow ledge th e po w er.”

VI. Read the following text and speak on the sim ilarities and differences
between Constable’s and Turner’s painting.

T he two geniuses u su ally p laced h ead an d shoulders above

th e ir con tem p o raries are C o n sta b le and T u rn er. T hey are so es­
s e n tia lly different from each o th e r th a t it is d iffic u lt to com pare
th e ir sta tu re . S uch co m parisons are in any case id le except w hen
th e y shed lig h t on th e figures concerned.
113
 If one w a n ts to u n d e rsta n d th e e ssen tial difference betw een
th e m , a com parison betw een th e ir w ater-co lo u rs w ill perhaps
show it best. Y et in n o tin g th e difference one is rem in d ed too
of th e th in g s th ey h ad in com m on. B oth w ere a c u te observers
of n a tu re a n d b o th sh ared th e ro m a n tic passion for lig h t. W here
th ey differed w as n o t in fu n d a m e n ta l p rin c ip le s, b u t in th e ir
w ay of looking at th in g s. W ith C o n stab le it is th e sen satio n of
th e m om ent th a t c o u n ts su p rem ely , and one feels, especially
in th e la te r w ater-co lo u rs, th a t h e d e lib e ra te ly p u ts im a g in atio n
aside in order th a t th e su bject he is p a in tin g m ay be freshly seen
and th e m in d cleared of falsify in g p reconceptions. For him lig h t
is th e m eans by w hich a tre e or cloud m ay ta k e on som e p a rtic ­
u lar significance in th e o rd in a ry scale of th in g s. W h a t he seeks
to do is n o t to “ im p ro v e ” n a tu re n o t to ru b off th e bloom in th e
n am e of higher a r t, b u t to p a in t e x a c tly w h a t he sees in th e c le a r­
e st, freshest tones; so th a t even to d a y th e b lu es an d greens on
th e pages of his la te r sketch b o o k s flash o u t lik e p u re colour rays
reflected in a prism .
In T u rn e r’s a rt th e v ision te n d s to be m ore in w ard , m ore con­
sciously d istille d , so to speak, an d even w hen h e p a in ts m ost
closely to n a tu re , one feels th a t th e im a g in a tio n h as at som e p o in t
intervene'd an d add ed an elem en t of stu d ie d a rt. F or him lig h t
is n o t so m uch a m ean s of h e ig h te n in g re a lity as of d im in ish in g
it, of dissolving aw ay th e solid form an d ren d erin g it m ore m y ste ­
rious and rem ote. A nd as he grew older he becam e — u n lik e
C o n stab le — a p a in te r of a p riv a te w o rld , a w o rld of m ists and
nu ances, like som e v isio n of th e e a rth itself before th e p rim a l v a ­
pours coalesced... E v en in h is la te r to p o g rap h ical draw ings
T u rn er gives h is su b jects th e film y q u a lity of dream s, using sun-
shaft and rain b o w to dissolve aw ay re a lity an d tran sfo rm a view
of tow n or riv e r into a vision of engulfing lig h t.
V II. Reproduce and discuss the following:
By som e chance, e n th u sia sts for T urn er h av e ra re ly h a d m uch
sy m p a th y for C o n sta b le an d th e reverse is e q u a lly tru e. T heir
approach to th e c a n v a s is d ifferent; C o n stab le w as alw ays c o n ­
cerned w ith th e s tru c tu re of h is lan d scap e in d e p th , w h ile T u rner
comes m ore and m ore to dissolve d ep th in th e p la y of colour over
h is surfaces. C o n sta b le ’s ow n d escrip tio n of p a in tin g s by T u rn er
shows th a t he w as fu lly aw are of th e ir “ d istin c tio n : he seem s
to p a in t w ith tin te d steam , so evanescent an d a i r y .” T he few
cloud stu d ie s w hich T u rn er m ade are often co m p ared w ith those
by C o n stab le as th o u g h th e y w ere of th e sam e tim e and carried
o u t for th e sam e purpose. B u t th e d istin c tio n ju s t m ade applies
114
h ere, too. T u rn e r is m ore concerned to n o te th e colour nuances
in v eils of vap o u r th a n to em p h asise th e d ep th in th e sky th ro u g h
w hich th e clo u d s stre tc h . C o n stab le is concerned w ith clouds as
alm o st sc u lp tu ra l th ree-d im en sio n al e n titie s. W ith C o n stab le
th e sense of m o v em en t is a ttr ib u te d to th e clouds as bodies; w ith
T u rn e r to th e fin e sh ad es of to n e an d colour h e n o tices w ith his
in cred ib ly sharp eye.
W h ile C o n stab le confined h im self to a n arro w ran ge o f su b ­
jec t m a tte r, a n d h a rd ly a tte m p te d illu s tra tiv e or h isto ric al p a in t­
ing, T u rner alm o st in defiance of th e fact th a t it w as a dying
ta s te , liked to p a in t alleg o rical, m y th o lo g ical .a n d po etical
scenes.
VIII. Describe the portrait of the Dutchess de Beaufort by Gainsborough.
(See Illustration No 9.) Use the following words and phrases in your
description:
colour-scale, p a le tte , cool to n es, lig h t-k e y e d , p re v a ilin g col­
o u r, to be im b u ed w ith , to b e su rro u n d ed w ith an a u ra of,' to
re n d er, to convey, to suggest, s p o n ta n e ity , reserve, airin ess,
s p iritu a lity , g e n tle , e x q u isite , su b tle , in sig h t, to b len d , to be
enveloped, to c a tc h a tra n s ie n t m ood
IX. Without translating the extracts give the English equivalents for the
italicised words, groups of words or phrases and render the paragraphs.
1. Ж ивой интерес к окруж аю щ ей ж изни подсказал Х огар-
ту обрат ит ься к совсем новому ж анру, к созданию сат ирико­
м оралист ических сюжетных серий — области, еще не испро­
бованной ни в одной стране и ни в как и е времена. Вместе
с писателям и-просветителям и первой половины X V III века
худ ож ни к вступил в борьбу за искоренение пороков, в которых
п огрязло общество. А чтобы донести свой замысел до ш ироких
кругов зрителей, которым он и адресует свой работы, Х огарт
воспроизводит свои полот на в гравюрах, расходивш ихся по
стран е больш ими тираж ам и.
2. Великолепны м прим ером искусства Х о га р т а являет ся
«П орт рет ка пит ана Корэма». По своим изобразительны м
средствам он весьм а близок к парадны м порт рет ам . О днако
н а фоне т радиционны х колонн и драпировок, в о круж ении а т ­
рибутов, х арактеризую щ и х зан я т и я порт рет ируем ого, на
этот раз появи л ся человек т а к назы ваем ого “ среднего к л асса” .
Н е знатность происхож ден ия, вы сокий чин и богатство выде­
ляю т кап итана К орэм а на портрете Х о гар та, а благородство
доброго ума и достоинство много видевш его на своем веку
старого человека. Х удож ни к не скры вает своих явны х сим па­
тий к кап итану К орэм у, и это чувство передается зрит елю .

115
 3. «Модный брак» по глубине зам ы сла и совершенству
художественного воплощ ения — одна и з самых значит ельны х
среди серий Х огарт а. О бразы «Модного брака» настолько ем­
ки, что за ними стоят уж е не отдельные л ица, а целы е социаль­
ные группы.
4. Совершенно особое место среди работ Х огарта занимает
«Д евуш ка с креветками». О на написана исключительно легко,
свободными, ст ремит ельны ми м азкам и, ж идкой, почт и про­
зрачной краской. М анера исполнения настолько о переж ала его
врем я, что было принято считать, что «Д евуш ка с кревет ками»
скорее всего просто эскиз. Н о ф иксация мимолет ного впечат­
лен ия превращ ается у Х о гар та в нечто гораздо больш ее. Вся
в движ ени и, улы баю щ аяся, бью щ ая через к р а й радостью
ж изни продавщ ица креветок восприним ается к а к частица ш ум­
ной лондонской толпы , той, что зап о л н яет полотна худ ож н и ­
ка. Но она — и олицетворение этой толпы. В подлинно народ­
ном образе «Д евуш ки с креветками» есть поэзия ж изненной
правды , что в сочетании с великолепны м ж ивописным м астер­
ством ставит это полот но в один ряд с лучш им и произведения­
м и мирового искусства.
5. Б удучи великолепны м колористом и мастером ком пози­
ц и и , Рейнольдс создал более двух тысяч порт рет ов государ­
ственных деят елей, выдаю щ ихся писателей и актеров, имеющих
к ак больш ую худож ественную , т а к и историческую ц ен ­
ность. И з-под кист и Рейнольдса вышли не т олько парадные
портреты, но и т акие великолепные подлинно реалистические
произведения, как порт рет Сэмюэля Дж онсона — ист инны й
шедевр порт рет ного искусства Рейнольдса. В этом портрете
передана и небреж ность ту ал ета, и тучность, и близорукость.
Н о главное — есть слож ны й х ар актер Д ж о н со н а, великолепно
переданный худож ником . Т ак и каж ется , что д-р Д ж онсон
сейчас произнесет одну из своих излю бленных иронических
ф раз.
X. Translate the following:
1. Созданные Х огартом образы высмеивают различны е
пороки, однако при этом они не являю тся к ар и кату рам и . Сам
худож ник неоднократно утверж дал, что в отличие от к а р и к а ­
туристов, допускаю щ их искаж ения и преувеличения, он пи­
ш ет характер ы . Он говорил, что произведения худ ож ни ка,
изображ аю щ его комическую сцену, отличаю тся от кари катур
«точным воспроизведением» ж изни.
2. Знам ениты й «Голубой мальчик» Гейнсборо замечателен
непринуж денностью позы и естественностью вы раж ен и я юно­
го лица. Ф и гура его рельефно вы ступает на фоне удаляю щ егося

116
б ер ега реки , пасм урного неба и едва намеченного темного
леса.
3. Гейнсборо, с его способностью проникновения в об раз,
умел не только внести д аж е в традиционны й парадны й портрет
глубокую психологическую х ар актер и сти ку , но и передать ми­
молетное настроение человека.
4. Гейнсборо писал мелкими м азкам и, нередко свободно
в к р ап л и вая один цвет в д р у го й , й картины его поэтому очень
бли зки к быстро меняю щ емуся обли ку природы. Это новатор­
ство в области ж ивописной техники во многом предвосхитило
будущ ие достиж ения импрессионистов.
5. В еликолепны й ак в ар ел и ст, придававш ий особое з н а ­
чение свету, во зд у х у , колористическим и сканиям и, и в этом
во многом предвосхитивш ий импрессионистов, У и льям Т ер ­
нер был преж де всего ром антиком. Его при влекали необычные
и ф антастические сю ж еты — дикие скалы , развал и н ы , грозы
и преж де всего — море. Его «Мол в Кале»* (1803) — типичный
романтический м орской пей заж . Здесь все — и хм урое небо,
почти сливаю щ ееся с бурны ми волнам и, и парус на переднем
п лан е, и гребеш ки волн — создает атмосферу надвигаю щ ейся
катастрофы.
6. В 1838 году Тернер нап исал знам енитую картину «П ос­
ледний рейс «Отважного», в которой сказал и сь результаты его
колористических исканий. П розрачны й чистый воздух, много­
цветная гамма солнечного з а к а т а , ш тилевое море — все это
передает настроение спокойствия и некоторой грусти. Вся
карти н а каж ется пропитанной золотистым светом заходящ его
солнца.
7. П ейзаж и Констебля — чащ е всего спокойны е, гарм о­
ничные картины природы, залиты е солнцем. Н о в и зображ е­
нии природы худ ож ни к пошел своим подлинно новаторским
путем. Главное содерж ание этого новаторства заклю чается
в о тказе от какой-либо идеализации природы. К онстебль пи­
сал этюды с натуры . Он подходил к природе как исследова­
тел ь, . интересую щ ийся частностями — стр у кту р о й почвы,
формой и движ ением облаков, и к а к ж ивописец, для которого
все эти частности сливаю тся в одно прекрасное целое. П ри род а
Констебля — это не идиллический сельский п ей заж , а ж и вая
полнокровная среда, о кр у ж аю щ ая человека.
8. Этюд 1825 года «Д еревенская дорога» в гал ер ее Т ейта —
один из лучш их образцов ж ивописи, когда-либо вышедших
из-под кисти К онстебля. Н ичего не может бы ть изы сканнее

* “ The C alais P ie r"

117
этой гаммы всевозмож ны х и бесчисленных оттенков светлой
зелени, пронизанной солнцем!
9. И сторические полотна Д е л а к р у а резко отли чались от
современных ему академ ических картин новизной и убедитель­
ностью тракто вки исторических событий, смелостью и поэтич­
ностью зам ы сла, стремлением п о к азать ж ивы х людей с их
сильными страстям и.
10. В области колори та Д е л а к р у а был крупнейш им н ова­
тором , внесшим в свою ж ивопись необычайную эм оциональ­
ную вы разительность цвета, богатство полутонов, дополни­
тельны х тонов и рефлексов.
11. Ж ивопись Д ом ье отличается пластической силой, б л а­
городной сдерж анностью колори та, напряж енны м и световы ми
контрастам и.
12. Р анние работы Э нгра отмечены тонким чувством цвета,
гармоничностью ясного, светлого колорита.
13. Главную р о л ь в творчестве Э нгра, в том числе и в ж и в о ­
писи, играл р и су н о к, безукоризн енно точны й, гибкий и эк о­
номичный, отличаю щ ийся порази тельной ритмичностью и ц е­
лостностью реалистического воплощ ения натуры .
X I. Expand on the following sentences.

1. ‘‘H o g arth w as an a rtis t w ith an edge to h is b r u s h .” 2. “ If

R ey n o ld s w as th e so lid prose of th a t age of prose, its in c ip ie n t
po etry w as w ith T hom as G a in sb o ro u g h .” 3. “C o n sta b le a u d a cio u s­
ly and fran k ly in tro d u c e d green in to p a in tin g .” 4. “ T he sp o n ­
ta n e ity of such p a in te rs as D elacro ix m ay be tra c e d in p a rt to
C o n sta b le .” 5. “ T u rn e r h a d been feeding his eye o n w aves and
sto rm s, upon clo u d s an d v a p o u r.”
X 11. Use one of the following subjects for oral or written composition:
1. T he c o n trib u tio n m ad e by E n g lish p a in te rs to w orld a rt.
2. G o y a ’s p o rtra its and how th e y are re la te d to th e m odels
(sitters).
3. “ The C a p rich o s” by G oya — an in d ic tm e n t of h is age and
society.
4. D elacro ix ’s th e o ry of colours.
5. D elacro ix ’s c o n trib u tio n to m odern p a in tin g .
6. Ingres’s pencil p o rtra its.
7. A c ritic a l su m m ary of th e w orks of a se lf-ta u g h t a r tis t.
8. D escribe and discuss a p ic tu re you h av e seen in one of our
e x h ib itio n h a lls (g alleries), th e P u sh k in M useum , th e T rety a k o v
A rt G a lle ry , th e S ta te H e rm ita g e , etc. or re p ro d u c tio n s No 8,
11 given in th is book.
 Part V.

FRENCH ART ( X I X - X X CENTURIES)

§ 1. W h at is Impressionism?

If w e look a t th e b o ttle s in “ A B ar at th e F o lies-B erg ere”

by M anet, w e sh all n o tice th a t th e tre a tm e n t of d etail here is
to ta lly different from th e tre a tm e n t of d e ta il by th e p a in te rs
of th e A cadem y w ho looked at each leaf, flow er an d b ran ch se p ­
a ra te ly and set th em dow n se p a ra te ly on c a n v a s like a sum in
a d d itio n . B u t all th e b o ttle s in M a n e t’s p ic tu re a re seen s im u lta ­
neously in re la tio n to each o th e r: it is a sy n th e sis, not an a d d i­
tio n . Im pressio n ism th e n , in th e first place, is th e re su lt of si­
m ultaneous vision th a t sees a scene as a whole, as opposed to co n ­
se cu tiv e visio n th a t sees n a tu re piece b y piece. L e t us suppose,
for a m o m en t, th a t w e are s ta y in g at a house on th e ban k s of
th e S eine o p p o site th e chu rch a t V ernon. L e t us suppose th a t,
h a v in g arriv ed th e re in darkness th e p revious ev en in g , w e ju m p
o u t of bed in th e m o rn in g , o pen th e w indow , an d p u t o u t o u r
head to see th e view . M onet’s p ic tu re “ T he C hurch at V e rn o n ”
show s us w h a t w e sh o u ld see a t th e first glance; th e g lance, th a t
is to say , w hen we see the scene as a whole, before anu detail in it
has riveted our a tte n tion and caused us iin c o n s c in n s ly /o alter
tJuTfocus of our eye in order to see that detail more sharply. A n ­
o th e r w ay of p u ttin g th e m a tte r is to say th a t in an Im p ressio n ist
p ic tu re th ere is o n ly one focus th ro u g h o u t, w h ile in an academ ic
p ic tu re th e re is a different focus for every d e ta il. These tw o
m eth o d s of p a in tin g rep resen t different w ays of looking a t th e
w o rld , and n e ith e r w ay is w rong, o n ly w hereas th e acad em ician
look p a rtic u la rly at a series of o b je c ts, th e Im p ressio n ist looks
g en e ra lly at th e w hole.

§ 2. The Science of Colour

T his w ay of view ing a scene bro a d ly, how ever, is o n ly a p a rt of

Im pressionism . I t w as not a new in v e n tio n , for V elasquez saw
a n d p a in te d figures an d g roups in a sim ila r w a y , th erefore Im ­

11»
p ressio n ists lik e W h istle r an d M anet (in h is e a rlie r w orks) w ere
in th is respect d eveloping an e x istin g tra d itio n ra th e r th a n in v e n t­
ing a new o n e .B u t a later developm ent o f Im pressionism , which was
a complete innovation, was the new palette they adopted. From th e
tim e of D au b ig n y , w ho said , “ W e never p a in t lig h t en ough” ,
th e m ore progressive p a in te rs h a d striv e n to m ak e th e colours in
t-heir p ictu re s closer to the actual hues o f nature. D elacroix w as
one of the pioneers in the analysis o f colour. W h en he w as in Mo­
rocco he w ro te in h is jo u rn a l a b o u t th e shadow s he h ad seen on
th e faces of tw o p easan t boys, re m a rk in g th a t w h ile th e sallow ,
yellow -faced boy h ad v io le t shadow s, th e red-faced boy h ad green
shadow s. A g ain , in th e stre e ts of P a ris D elacro ix n o ticed a b lack
and yellow cab , an d o bserved th a t , b esid e th e greenish-yellow ,
the black took on a tinge o f the com plem entary colour, violet. E v ­
ery colour h as its c o m p le m e n ta ry , th a t is to say , an opposing
colour is evoked b y th e a c tio n of th e h u m a n eye a fter w e h av e
been gazing a t th e sa id colour; consequently a ll colours act and
react on one another. D elacroix discovered th a t to o b ta in th e
full b rillia n c e of an y g iv en h u e it sh o u ld be flan k ed and su p p o rt­
ed by its co m p le m e n ta ry colour. H e did n o t a tta in to full
know ledge; it w as left for a la te r g e n e ra tio n to m ak e nicer dis­
tin c tio n s and to recognise th a t if v io le t is th e rig h t com plem en­
ta ry for a green ish -y ello w , an o range-yellow req u ires a tu r ­
quoise b lue, an d so on.
The n in e te e n th w as a sc ie n tific c e n tu ry d u rin g w hich g reat
a d d itio n s w ere m a d e to o u r know ledge of o p tics. T he F ren c h
sc ie n tist C hevreuil w ro te a learn ed book on co lo u r, w hich w as
s tu d ie d w ith a v id ity by th e younger p a in te rs. I t becam e clear
to them th a t colour w as n o t a sim p le b u t a very com plex m a tte r.
F or exam ple, w e say th a t grass is g reen , an d g reen is th e local
colour of grass, th a t is to say , th e colour of g rass at close ran g e,
w hen w e look dow n on it at o u r feet. B u t grass-covered h ills
seen at a g reat d ista n c e do n o t ap p ear green , b u t b lue. The
green of their local colour is affected by the veil o f atmosphere
through which we view it in the distance, an d th e b lu e w e see is an
ex am p le of atm o sp h eric colour. A g ain , th e local colour of snow is
w h ite , b u t ev ery b o d y w ho h as been to S w itz e rla n d is fa m ilia r
w ith th e “ A lp in e g lo w ” w hen th e snow -clad peak s of th e m o u n ­
ta in s ap p ear a bright copper colour ow ing to th e ra y s of th e se t­
tin g sun. T h is “ A lp in e g lo w ” is an ex am p le of illu m in a tio n c o l­
o u r, and since th e colour of su n lig h t is ch an g in g th ro u g h o u t th e
d ay, e v e ry th in g in n a tu re is affected b y th e colour of th e lig h t
w h ich falls upon it.
T he lan d scap e p a in te r, th e n , w ho w ishes to rep ro d u ce th e ac­
120
tu a l hues of n a tu re , h as to con sid er n o t o n ly “ local c o lo u r” ,
b u t also “ atm o sp h eric co lo u r” and “ illu m in a tio n c o lo u r” , and
fu rth e r ta k e in to c o n sid e ra tio n “ co m p le m e n ta ry colo urs” . O ne
of th e m ost im p o rta n t d iscoveries m ad e by th e la te r Im p ressio n ­
ist p a in te rs w as th a t in the shadows there alw ays appears the
com plem entary colour o f the lig h t. W e sh o u ld p o n d er on all th ese
th in g s if w e w ish to re a lise th e fu ll sig n ifican ce of M onet’s sa y ­
ing, “ The p rin c ip a l person in a p ic tu re is lig h t” .

§ 3. The Impressionist Palette

T h is new intensive study o f colour brought about a new p a l­

ette and a new technique. F o r c e n tu rie s all p a in tin g h a d been
based on th re e p rim a ry colours: re d , b lu e and yellow , b u t sci­
ence now ta u g h t th e p a in te rs th a t th o u g h these m ig h t be p rim a ­
ry colours in p ig m e n t, th e y w ere n o t p rim a ry colours in lig h t.
T he spectroscope an d th e new science of sp e c tru m -a n a ly sis m ad e
them fa m ilia r w ith th e fact th a t w h ite lig h t is com posed of a ll
th e colours of th e rain b o w , w h ich is th e sp ectru m of s u n lig h t.
T hey le arn t th a t th e p rim a ry colours of lig h t w ere green, o ra n g e -
red , b lu e-v io le t, an d th a t yellow — th o u g h a p rim a ry in p a in t
w as a secondary in lig h t, because a yellow lig h t can be p ro duced
b y blending a green lig h t w ith an orange-red lig h t. O n th e o th e r
h a n d green, a secondary in p a in t because it can be p ro d u ced by
m ix in g yellow w ith b lu e p ig m en t, is a p rim a ry in lig h t. T hese
discoveries rev o lu tio n ise d th e ir ideas ab o u t c o lo u r, an d th e Im ­
p ressionist p a in te rs co n cluded th e y co u ld o n ly h ope to p a in t
th e tru e colour of su n lig h t b y em p lo y in g p ig m e n ts w h ich m a tc h ­
ed th e colours of w h ich s u n lig h t w as com posed, th a t is to say,
th e tin ts of th e rain b o w . T hey discarded black altogether, for,
m odified by atmosphere and lig h t, th e y h eld th a t a tru e b la ck did
n o t ex ist in n a tu re , th e d ark est colour w as in d ig o , d ark green,
or a deep v io le t. T hey w ould n o t use a b row n, b u t set th e ir p a l­
e tte w ith in d ig o , b lu e, green , yellow , o ran g e, re d , and v io le t,
th e nearest colours th e y co u ld o b ta in to th e seven of th e solar
spectrum .

§ 4. The Impressionist Technique

F u rth e r, they used these colours w ith as little m ix in g as pos­

sible. E v ery a m a te u r in w a te r-c o lo u r know s th a t th e m ore he
m ixes h is p a in ts , th e m ore they lose in brilliancy. T he sam e is
tru e of oil pain t?. B y being juxtaposed rather than blended, the
6 -6 1 4 121
colours achieved a sc in tilla tin g fresh range o f tones — the h ig h -
keyed radiance of d a y lig h t ra th e r th a n th e c a lc u la te d chiaroscuro
of th e stu d io . A nd th e tra n sm issio n of lig h t from th e canvas is
g re a tly increased. T h e Im p ressio n ists re fra in e d , th erefore, as
m uch as possible from m ix in g colours on th e ir p a le tte s, and a p ­
p lied them pure in m in u te touches to the canvas. If th e y w a n te d
to render secondary or te rtia ry colours, in ste a d of m ix in g tw o or
th re e pig m en ts o n th e p a le tte , th e y w ould secure the desired ef­
fect by juxtaposed touches of pure colours w h ich , a t a c e rta in d is­
ta n c e , fused in the eye o f the beholder and. pro d u ced th e effect of
th e tin t desired. T h is device is know n as o p tic a l m ix tu re , because
th e m ix in g is done in th e s p e c ta to r’s eye. T hus, w hereas red and
green pig m en t m ix ed on a p a le tte w ill g iv e a d u ll g rey , th e Im ­
p ressio n ists produced a b rillia n t lum inous grey b y speckling a
sky; sa y , w ith li t tl e p o in ts of yellow an d m a u v e w h ich a t a d is­
ta n c e gave the effect o f a pearly grey. S im ila rly th e effect of a
b r illia n t brow n w as g iv en b y th e ju x ta p o sitio n of a series of m in ­
u te touches of g reen , re d , an d yellow ; an d th is association
of m in u te tou ch es of th re e p u re colours set up a q u iv erin g v ib r a ­
tio n w hich h a d g re a te r lu m in o sity th a n an y stre a k of brow n p ig ­
m e n t. I t w as an en d eav o ur to use p a in ts as if th e y w ere coloured
lig h t.
. V a rio u s n am es h a v e been g iv e n to th is te c h n iq u e . I t h a s been
c alle d D iv isio n ism , because b y it th e tones of seco n d ary and te r ­
tia r y colours w ere d iv id e d in to th e ir c o n s titu e n t elem ents. I t
h as been called P o in tillis m , because the colour was a p p lie d 'to
the canvas in p o in ts instead of in sweeping brush strokes. I t has
been c a lle d L u m in ism , because th e aim of th e process is p r im a ­
rily to express th e colour of lig h t w ith all its sp a rk le an d v ib r a ­
tio n . T h is la st is th e b est n am e of a ll, because it serves to e m p h a ­
sise th e new o u tlo o k of th e new p a in te rs. T h e te n d e n cy before
th e Im p re ssio n ists w as to re g a rd colour from th e s ta n d p o in t
of b la c k a n d w h ite . T h u s, in co n sid erin g a g re y , it w o u ld h av e
been asked is it a d ark grey or a lig h t g rey , does it approach
b la ck or w h ite? T h e Im pressionists to o k q u ite a different a t t i ­
tu d e and asked w h eth er it w as a b lu ish grey o r a greenish grey
o r a p u rp lish grey , o r a red d ish grey; in a w o rd , n o t w h e th er it
w as lig h t or d ark , b u t w h ich colour in th e solar sp ectru m it
cam e closest to.
To th e Im p ressio n ists shadow w as not an absence of lig h t, b u t
lig h t of a d ifferen t q u a lity an d of different v alu e. In th e ir ex ­
h a u stiv e research in to th e tru e colours of shadow s in n a tu re ,
th e y conquered th e la st unknow n te rrito ry in th e dom ain of R e ­
a list P a in tin g .
122
 To sum u p , th e n , it m ay b e sa id th a t Im p ressio n ist P a in t­
ing is based on tw o g re a t p rin cip les:
1. T he s u b s titu tio n of a S im u lta n e o u s V ision th a t sees a
scene as a w hole in p lace of C o nsecutive V ision th a t sees n a tu re
piece b y piece.
2. T he s u b s titu tio n of a C hiaroscuro b ased o n th e colours of
th e so la r spectru m for a C h iaroscuro based o n B lack a n d W h ite.
T h is new te c h n iq u e , w ith all th e research an d ex p e rim e n t
w hich it im p lies, w as n o t th e in v e n tio n of one m a n b u t th e o u t­
com e of th e life stu d ie s of a w h o le group of m en. M ost p ro m in en t
am ong those w ho b ro u g h t Im p ressio n ist p a in tin g to perfection
in th e o ry and p ra c tic e w ere C am ille P issa rro , C lau d e M onet, and
A uguste R enoir.

GEOGRAPHICAL AND PROPER NAMES

Impressionism [im 'pre$ nizm] им­ Daubigny [/ d o :b i'n i:] Д обиньи

прессионизм (The term , first
used in 1874, w as derived from
the nam e of a p ictu re by Monet
e n title d “Sunrise, Im pression” .)
Fol ies- Bergere [fo 'liibea'^ea]
Ф оли-Берж ер
Edouard Manet [ei'dw a: mae'nei]
Эдуард Мане (a French painter,
1832— 1883)
the Seine [sein] p. Сена
Vernon [Ч 7э:пэп] г. Вернон
James McNeill Whistler ['dgeimz
m a k 'n iil'w is b ] Д ж . Уистлер
(an American p ain ter, 1834—
1903)
(a French landscape p ain ter,
1 8 17-1878)
Chevreuil [$ e v 'ra :i] Ш еврейль
(a French scientist)
Switzerland ['sw itsaland] Ш вей­
цария
Camille Pissarro [k a'm il pi'saerou]
Камиль П исарро (a French
pain ter, 1830— 1903)
Claude Monet [ 'k b : d m o:'nei]
Клод Моне (a French p ain ter,
1 8 40-1926)
Auguste Renoir [o :'g ju :s t ra'nw a:]
Огюст Р енуар (a French p a in t­
er, 1 8 4 1 -1 9 1 9 )

. VOCABULARY NOTES

§ 1. set down запечатлевать, фик­ — вид спереди; a back ~ вид

сировать: to — w hat one sees,
one’s im pressions, etc., e.g.
N othing could com pare w ith the
grace and charm captured in the
p ain tin g and set down forever,
scene n сцен(к)а, картин(к)а,
пейзаж : a w oodland a ge; cool ~ s холодные тона,
co u ntry a sylvan ~ ; a rustic
~ ; an urban ~ ; a street
e tc., e.g. They p ain ted riverside
scenes.
view n вид: a ~ of the lake (m oun­
tains, etc.): a ~ from the bridge;
a side ~ вид сбоку; a front
6*
сзади
§ 2 colour n 1) цвет, тон; краска
flesh ~ телесный цвет; w arm
~ s теплые тона, e.g. The w arm
colours are red, yellow and o ran ­
e.g. The blues and greens are
cool colours, co m plem entary ~
дополнительный цвет; local —
локальны й цвет; atm osphe­
ric ~ цвет в определенной све-
то-воздушной среде; illu m in a ­
tion ~ освещающий цвет (цвет
123
 при заданных условиях осве­
щения)
N o t e 1: The word “colour” is
often used as an uncountable
noun, e.g. R e m b ran d t’s colour
is rich and warm.
N o t e 2: The noun “colour” is
seldom used after the nam e of
the colour (cf.: красного цвета,
желтого цвета), e.g. The fru it
is p ainted red and yellow heav­
ily outlined w ith blue.
N о t e 3: The nam es of colours
in English m ay be both adjec­
tives and nouns, e.g. The green
in C onstable’s p ain tin g s is com ­
posed of a m u ltitu d e of dif­
ferent greens. ~ schem e палитра
(колорит) худож ника, e.g.
V erm eer’s colour scheme was
based on brig h t blue and lemon
yellow, the p lay of ~ (s)nrpa
(переливы) красок, e.g. O b­
serve the play of colours upon
th e w ater, a rio t of ~ (s) изоби?
лие, богатство красок, e.g.
The riot of colours in R enoir’s
outdoor scenes catch the eye
im m ediately.; oil ~ s масляные
краски; w ater- ~ s акварели;
colouring n колорит, e.g. Re­
noir was im pressed by the
strik in g colouring of D elacroix’s
“ W omen of A lgiers” , col­
ourist n колорист
take on (colour, form , etc.) при­
нимать (цвет, форму и т. п.),
e.g. 1 glanced at the p o rtra it
once more and found th a t the
lips had taken on an im percep­
tib le smile.
tinge n легкая окраска, оттенок,
тон; tinge v t сл егка окраш и­
вать, придавать оттенок, e.g.
There was a tinge of violet and
blue in the shadow s fallin g on
her neck. The lig h t falling from
side lights tinged the dancer’s
dresses a yellow ish green.
WORK ON THE
I. Translate the italicised words and phrases from the texts. Give a back
translation without consulting the text.
124
brilliance, b rillian cy п яркость,
интенсивность цвета, e.g. M atisse
obtains b rillian cy by se ttin g his
blue figures against" a red back­
ground. The brilliance of a hue
is enhanced by its com plem ent,
orange-yellow a, n оранж ево­
желтый
turquoise |'ta :k w a :z ] lueb бирю­
зовый
§ 3. prim ary colour(s) первичный,
основной цвет (red, blue and
yellow)
secondary colour(s) сдвоенный или
сложный цвет (green, orange,
and violet. They are produced
by m ixing two prim ary colours
together, i.e. yellow and blue =
green; red and yellow = orange;
red and blue = violet)
§ 4. am ateur « любитель, диле­
тант; am ateurish а непрофессио­
нальный, дилетантский, e.g.
His w ater-colours were am ateu ­
rish.
key n тон, оттенок, тональность:
to p ain t in a low (high) ~ пи­
сать в темных (светлых) тонах;
low- ~ ed (high- ~ ed) tones,
hues, colours темные (светлые)
тона, оттенки, краски
pure colour (p u re lone) чистый цвет
e.g. Sisley’s art evolved tow ard
a style w hich used more blended
colours instead of the ju x ta ­
position of pure tones so charac­
teristic of the Im pressionists,
beholder [b i'h o u ld s] n зритель,
смотрящий; tf'so: spectator,
viewer
dull grey a, n глухой серый цвет
m auve a, n розовато-лиловый цвет
pearly grey a, n перламутрово­
серый цвет
pointillism ['p w aegtilizm 'point-
ilizm ] n пуантилизм
TEXTS
II. Find the English equivalents for.

§ 1 — видеть природу ф рагм ентарно;

§ 2 — ш и р о кая м анера письм а; гл а з восприним ает противо­
полож ны й цвет;
§ 3 — кр аск и , соответствую щ ие цветам радуги;
§ 4 — см еш ивать кр аск и ; писать небо м аленьким и м аз­
ками; бли ж е к черному или белому
III. Answer the following questions;
1. W h a t is th e essen tial difference in th e tre a tm e n t of d e tail
in an Im p ressio n ist p ic tu re as com pared w ith a p ic tu re p a in te d
b y an academ ie p a in te r? 2. W h a t is m e a n t b y sim u lta n e o u s
vision? 3. W h a t is m e a n t b y co n secu tiv e v isio n ? 4. W h at c o n tri­
b u tio n did th e Im p re ssio n ists m ak e to p a in tin g ? 5. W hy is
D elacroix co n sid ered to be o n e of th e p ioneers in th e an aly sis
of colour? 6. E x p la in th e phenom enon of co m p lem en tary colours.
(H ow do co m p lem en tary colo u rs act upon o n e an o th er?) 7. W h a t
is m e an t b y local colour, atm o sp h eric co lo u r, illu m in a tio n
colour? 8. W h at are th e p rim a ry colours in p ig m en t? 9. W h at
are th e p rim a ry colours in lig h t? 10. W hy d id th e Im p ressio n ist
p a in te rs discard b lack ? 11. W h y did th e Im p ressio n ists re fra in
from m ix in g colo u rs on th e ir p a le tte s? 12. H ow w as colour a p ­
p lied? 13. H ow d id th e y secure th e effect of th e t i n t desired in a
p a in tin g ? 14. W h a t is m e a n t b y o p tic a l m ix in g ? 15. H ow did
th e y get th e effect of a p early g re y , of a b r illia n t brow n? 16. W h a t
n am es have been g iv en to th is te c h n iq u e an d w hy? 17. H ow can
o ne recognise an Im p ressio n ist p ain tin g ?

§ 5. Edouard M anet (1832— 1883)

A fter tra v e llin g in G erm an y , A u stria an d Ita ly to stu d y th e
O ld M asters, M anet fin a lly found in th e p a in tin g s by V elasquez
an d G oya a t th e L ouvre th e answ er to all his q u estio n in g s and
a sp ira tio n s for lig h t an d tr u th . Influenced by these m asters and
b y th e ex am p le of C o u rb et, a F rench re a list p a in te r, he g ra d u a lly
evolved a new tec h n iq u e w hich presented m odern aspects by m od­
e rn m ethods. O b serv in g how one colour m elted in to another
in n a tu re, he declared, “ T h ere are no lines in N a tu re ” , and
in his p ictures he ab an d o n ed th e co n v en tio n of th e o u tlin e and
shaped h is form s b y a m o d ellin g o b ta in e d by su b tle g ra d a tio n s
of tin ts w hich fused in to one a n o th e r. T he p ro b lem of ju st illu ­
m in a tio n was to M anet a m a tte r of p rim a ry im p o rtan ce. H e
b u ilt up his p ictu res by th e d irect a p p lic a tio n of planes of colour
ra th e r th a n by w orking up an u n d e rp a in tin g based on linear de­

125
sign an d lig h t an d sh ad e, an d he also chose h is su b jects from th e
life aro u n d h im .
M an e t’s p a in tin g aroused g re a t co n tro v ersy . H e c o n trib u te d
a larg e canvas “ L uncheon on th e G rass” to th e S alo n of 1863.
W e h av e an acco u n t of how th e p ic tu re o rig in a te d .
“ O ne S u n d ay w e w ere a t A rg en teu il stre tc h e d o u t on th e riv-
e r-b an k , w a tc h in g th e w h ite yaw ls furrow ing th e scene, and
th e ir lig h t colours set in relief aga in st the dark blue water. W om en
w ere b a th in g . M anet h a d fixed h is gaze o n th e sk in of one com ing
o u t of th e w a te r. ‘I t looks’ he sa id , ‘as th o u g h I sh a ll h av e
to p a in t a nude. W ell th e n , so I w ill. W hen w e w ere a t th e s tu ­
dio, I copied G io rg io n e’s w om en, th e w om en w ith th e m u sician .
T h a t p a in tin g w as d a rk . T he b ack g ro u n d s are pushed to one
sid e. I ’m go in g to repaint this and do it in a transparent atmosphere
w ith ch a ra c ters lik e those over th e re . T he c ritic s w ill savage
m e, b u t th e y can sa y w h a t th e y lik e .” M an et p a in te d tw o v e r­
sions, one four feet w ide an d a large one, n e a rly n in e feet w ide,
d estin ed for th e S alo n . T he co m p o sitio n is th e sam e, b u t the
sm aller of the two is more lum inous, the landscape more airy, the
execution more spontaneous w ith its contrasting, unsoftened lig h t
a nd the nude fashioned w ithout the traditional m odelling, o n ly
from splashes of shadow . H a v in g learn ed from th e reception
g iv en to h i s “ M usique au x T u ile rie s” M anet p ro b a b ly trie d —
in th e larger p a in tin g — to soften the harsh effects o f contrast that
shocked the public. B u t by doing so he p a rtia lly k ille d th e lu ­
m inous life of his com position th e elem en ts of w h ich no longer
a m a lg am ate h a vin g lost their sole factor of u n ity . The figures no
longer, as in the sketch, integrate w ith the landscape a n d th e ir group­
ing seem s a rtific ia l an d th e ir p o sitio n s fixed.
Because of th e p ic tu re ’s su b je c t, a m o d e rn isa tio n of a
R enaissance th em e, an d M a n e t’s new sk e tc h y tech n iq u e, it
caused an u n p reced en ted sc a n d a l. W h y w as it such a shock to
th e public? S im p ly , because those passages in full lig h t, and
those in shadow , in ste a d of p assing v ery g rad u ally one in to th e
o th e r, w ere sh a rp ly c o n tra ste d ; hence th e p ic tu re s crude, h arsh
look.
M an e t’s m ost im p o rta n t w ork of 1866 is “ T he F ife r.” T he
p ic tu re w as b u ilt u p in th ree stag es w ith a sureness and q u ic k ­
ness of h a n d w h ich no o th e r a r tis t h as ever su rp assed . As a s tu ­
d en t M anet h a d been ta u g h t to p rep are a p ic tu re in m onochrom e.
N ow he rejected such leading-strings. H e p a in te d s tra ig h t on to
th e canvas w hich h a d been g iv en a g ro u n d of u n ified co lo u r.
L ig h t and shade were arrived a t by the most economical means.
To th e face, an d th e flesh-tones he gave a w o n d erfu l liv in g te x ­
126
tu re , first e sta b lish in g th em b y m eans of a m id d le tone, th e n la y ­
ing in th e shadow s, an d th e n fin a lly a d d in g th e h ig h lig h ts. H e
m ixed his colours v ery little . Seen from close u p , th e red bree­
ches seem a ll one tone, lik e a lacq u er. B u t a few touches of
b lack , h a rd ly v isib le w hen one is looking a t th e c a n v a s from
close up to serve as soon as one g ets aw ay from it, to give splen­
d id m odelling to the coarse unifo rm cloth.
T he a r tis t becam e th e pioneer of th e new g e n e ra tio n of p a in t­
ers, w ho w ere goin g even b eyond C o u rb et’s re a lism in th e ir
a tte m p t to record n o t th e ir know ledge of th e su b je c t b u t th e ir
v isu al conceptions of it. M a n e t’s p a in tin g s m et th e ir dem ands:
form s are suggested b y th e ju x ta p o s itio n of b ro ad stro k es of
colours in stead of d e fin ite co n to u rs. H is can vases d e p ic tin g to p ic ­
al them es an d p a in te d in sm o o th , even colours m ade M anet an
in n o v a to r of th e new a rt.

GEOGRAPHICAL A N D PROPER NAMES

Courbet [kua'bei] Курбе (a French “Musique aux Tuileries» [m ju 'z i:k

p ain ter, 1819-1877) ou ' tw i:la ri(:)] «Музыка в
Argenteuil [а :,з а :д 'ta :i] г. Ар- Тюильри»
ж антейль (in N orthern France)

VOCABULARY NOTES

copy n копия, e.g. T his is a ge­ th e first p a rt of the day in the

nuine Repin, not a copy, copy gallery copying th e faces of th e
vt копировать, e.g. E ugene spent M adonnas.

WORK ON THE TEXT

I. Translate the italicised words and phrases from the text. Give a back
translation without consulting the text.
II. Translate in written form the passage beginning with “ Influenced by
these masters...” and ending w ith “from the life around h im .” Trans­
late your version back into English without consulting the text, then
check with the original and make all the necessary corrections.
III. Find the English equivalents for:

р азработать новую тех н и к у письма; о тк а за л с я от тр ад и ­

ционного ри сун ка; их цвет рельефно вы ступает на фоне; Пи­
сать обнаж енную н ату р у ; задний план смещен; см ягчить р ез­
кие контрасты ; ф игуры не у вязы ваю тся с пейзаж ем ; средний
тон; при близком рассм отрении; еле заметны; отойти от к а р ­
тины

127
IV. Paraphrase the following sentences:

1. Colours b len d ed in to one a n o th e r. 2. T he a r tis t fashioned

h is form s by s u b tle g ra d a tio n s of tin ts . 3. T he figures w ere p a in t­
ed w ith o u t th e tra d itio n a l m o d ellin g . 4. T he elem en ts of th e
co m p o sitio n do n o t h o ld to g eth er.
V. What is meant by the following:
1. “ T here are no lines in N a tu re .” 2. M anet presented a
m o d e rn isa tio n of a R en aissan ce them e.
VI. Answer the following questions:

1. W h a t new te c h n iq u e d id M anet evolve? 2. W h a t w as M a­

n e t’s p rim a ry con cern in th e p a in tin g of h is p ictu res? 3. H ow d id
M anet b u ild up h is p ictu res? 4. W h a t in sp ired M anet to p a in t
“ L uncheon on th e G ra ss” ? 5. W h a t c ritic is m d id M an et h av e con­
cern in g G iorg io n e’s p a in tin g ? 6. H ow m an y v ersio n s d id M anet
p a in t an d w h erein do th e y differ? 7. W h y d id th e “ L uncheon on
th e G ra ss” shock th e p u b lic? 8. W h a t gives th e p ic tu re its “ crude
h arsh lo o k ” ? 9. H ow w as th e p ic tu re “ T he F ife r” b u ilt up?
10. H ow d id M anet achiev e th e w onderful liv in g te x tu re of his
flesh tones? 11. W h a t q u a litie s of Im p ressio n ism can be found in
M a n e t’s p a in tin g ?

§ 6. Claude M onet (1840— 1926)

M onet w as th e m o st convin ced an d c o n siste n t Im p ressio n ist
of th e m a ll. F rom h is e a rlie st d ay s as an a r tis t, he w as encouraged
to tru s t h is p ercep tio n s an d th e h a rd sh ip s he suffered never de­
te rre d h im from t h a t p u rsu it.
D e v o tin g h im self to th e p a in tin g of landscap es in b rig h t su n ­
lig h t, he has carried the p itch o f p a in tin g into a higher key th a n
a n y a r tis t before h im h a d done. “ P in e-T rees a t A n tib e s ” is a b ea u ­
tifu l ex am p le of h is s ty le a t its m a tu rity ; rad ia n t colours are
la id side by side in sm a ll broken touches to suggest the vibration of
light, w h ile the decorative arrangem ent show s Ja p a n e s e influence.
L ig h t is alw ay s th e “ p rin c ip a l p erso n ” in M o n et’s landscape,
and since he is alw ay s aim in g a t seizing a fu g itiv e effect, he has
in siste d on co n sisten cy of illu m in a tio n a t p a rtic u la r hours of
th e d a y and season. W ith th is o b je c t he ad o p te d since th e ea rly
e ig h ties a h a b it of p a in tin g th e sam e su b je c t u n d e r d ifferen t con­
d itio n s of lig h t. In th is w ay he p a in te d a series of view s, all
of th e sam e su b je c t, b u t a ll d ifferen t in colour an d lig h tin g .
H is aim w as to g ive a serial, c o n tin u o u s im p ression of th e
m ost m in u te tra n sfo rm a tio n s of lig h t; by de-em phasising the
subject m atter through repetition, he felt he co u ld m ore re a d ily

128
control th e v a ria b le of lig h t. In some of these m otifs he lost th e
freshness of his e a rly w ork an d becam e o v e re m p h a tic an d m o n o to ­
nous.
In 1890 M onet b o u g h t th e p ro p e rty a t G iv e rn y a n d began w ork
on th e series of h a y sta c k s w hich he pursued for tw o years. M onet
p a in te d th e stack s in su n n y an d grey w eath er, in fog an d covered
w ith snow .
T hough it is one of th e sim p le st v ersions, “ H a y s ta c k ” m ag ­
n ific e n tly ex em p lifies M onet’s stru g g le to capture the transient
splendor of lig h t. T he h ill, trees, houses, an d fields, as passive in
local colour as th e p ile d h ay , are bathed in unnam eable nuances of
colour that radiate fro m behind the stack. T he c o n to u r of its peak,
dissolved in a h e a te d au ra, w rith e s as if it w ere a b o u t to m e lt.
M onet’s renow ned series of th e c a th e d ra l a t R ouen seen u n d er
d ifferen t lig h t effects was p a in te d from a second-floor w indow
above a shop o p p o site th e facade. H e m ade eig h teen fro n ta l
view s. C hanging can vases w ith th e lig h t, M onet h ad follow ed th e
hours of th e d a y from e a rly m o rn in g w ith th e fagade in m isty
b lue shadow , to th e aftern o o n , w h en it is flooded w ith sun, and
fin a lly to th e en d of th e day , w hen th e su n set, d isap p earin g be­
h in d th e b u ild in g s of th e c ity , w eaves th e w eath ered stone w ork
in to a stran g e fab ric of b u rn t orange an d b lue.
M onet p o e tic a lly d e m o n stra te d , as m o tio n a n d colour p h o to ­
g ra p h y w ere to prove, th a t n a tu r e ’s colour lies in atm osphere
and c o n sta n tly ch an g in g lig h t ra th e r th a n in in e rt m a teria ls;
th a t d u rin g a sh o rt tim e th e a p p earan ce of a sin g le su b stan ce can
m o d erate th ro u g h th e e n tire sp e c tra l an d to n a l ran g e.
H is lily pad m o tifs, where close-valued, b u t lower-keyed colour
is enhanced by a loose a nd flu e n t brush-work, to d a y assum e power
an d o rig in a lity .
D u rin g his la st years, M onet ex p an d ed on th e th em e of the
w a ter-lilie s, u sin g an inform al p o in tillis tic s ty le . H e w as the
leader cf the Im p ressio n ist School, a p a in te r of tw in k lin g lig h t
and lum inous colour; his se n sitiv e eye brought the representation
of colour gradations in the landscape to an unequalled height.

§ 7. Auguste Renoir (1841— 1919)

R enoir was b orn a t L im oges, an d a t th e age of th irte e n b e­

gan to earn h is liv in g as a p a in te r on p o rcelain . T his early a p ­
prenticeship left a certain trace on his art which was always deco­
rative in sp ite of its la te r realism . In tim e R en o ir saved up enough
m oney to go to P a ris an d becam e a p u p il of G ley re in w hose
stu d io he m et S isley a n d M onet. W o rk in g to g eth er in 1868—
129
1869, M onet an d R en o ir m ad e som e p a in tin g s a t a riv ersid e res­
ta u ra n t near P a ris w hen th e y w ere forced, in th e ir tre a tm e n t of
lig h t and colour reflected in th e w a te r a n d over th e figures, to
break up the p a in t texture in sketchy touches and use brighter hues.
R enoir p a rtic ip a te d in th e 1876 e x h ib itio n of th e Im p ressio n ­
ists w ith a series of canvases in w hich th e lig h t p la y in g over
the b rig h t clo th es of th e figures is th e m ain fe a tu re . E ven th e
shadow s in these p a in tin g s are fu ll of colour, an d th e p a in tin g
as a w hole becom es a sh im m erin g an d q u iv e rin g surface.
T h ro u g h o u t h is Im p ressio n ist p eriod th a t is from 1872— 1883,
R enoir p rac tise d a v a rie ty of tech n iq u es, p u ttin g on his colour
now in th ic k , sq u a sh in g stro k es, now in th in layers, now in
distinct, separate touches, now in smooth strokes th a t melted into
one another.
I t w as not u n u su a l for R en o ir to sw itch from one tech n iq u e
to an o th er in th e sam e p ic tu re as in “ T he P a th W in d in g up
th ro u g h T a ll G ra ss” . O n ly th e grass in th e foreground is p a in te d
in th ic k , vigorous com m a-like b ru sh stro k es, w h ile the m iddle
distance and the background glide aw ay in th in , fla t patches of
colours m erging into one another.
In h is co m p o sitio n s of 1875 an d 1876 he com es to use th e h u ­
m an figure in a v ery o rig in a l fashion, like a subject that is part of
a landscape, on which lig h t m a y p la y w ith greater richness and fa n ­
tasy. In a so rt of b lu ish h alf darkness, th e lig h t ap p ears in th e
form of large round patches, a little p in k , placed in d iffe re n tly on
faces and c lo th in g an d c re a tin g a p h a n ta sm a g o ria of colours, p a r­
tic u la rly on c h a rm in g dresses w ith th e ir b u stles o rn a m en te d w ith
strip e s and rib b o n s. In th is s p irit he produces “ T he S w ing” and
th e g reat co m p o sitio n of th e “ M o u lin de la G a le tte ” , one of th e
finest, m ost sm ilin g of his m asterp ieces. It is lik e a m arv ello u s
tissu e of interw o v en su n lig h t a n d soft h azy b lu e. In foregoing th e
sm all sep ara te touches he used for so m an y landscapes an d open-
a ir scenes a t th is p eriod, he p a in te d w ith criss-crossing brush
strok es, la id on in th in , successive lay ers an d m e ltin g in to one
a n o th e r, w hich re p e a te d form an d volum e, w h ile a t th e sam e
tim e renderin g th e lum inous atm o sp h ere b a th in g th e fig­
ures.
“ T he P o r tr a it of J e a n n e S a m a ry ” m ay w ell be th e m ost im ­
pressionist of R e n o ir’s p o rtra its. W ith no h in t of shadow s or
d arkness anyw here, w ith little or no v a ria tio n in valu es, th e
w hole canvas is a q u ilt of tin y q u iv e rin g touches a liv e w ith lig h t
and a gem like sp ark le. T he s itte r in th is w ork w as J e a n n e S a m ­
ary , an actress a t th e C om edie F rangaise w ho h a d th e n a tu ra l
c h arm and b e a u ty th a t R enoir req u ired in h is m odels, as w ell as
130
a lu m inous co m p lex io n so th a t, in th e a r t is t ’s w ords “ she seem ed
to ra d ia te a lig h t from w ith in ” .
O u tings in th e c o u n try an d b o a tin g on th e riv e r w ere th em es
th a t never fa ile d to in sp ire th e Im p ressio n ist p a in te rs. A fter th e
p leasure g ard en of th e “M oulin de la G a le tte ” , R en o ir p a in te d
h ere th e su n n y a n im a te d atm o sp h ere of a riv e rsid e re s ta u ra n t
on th e Seine, ju s t o u tsid e of P a ris . N ow he trie d h is h a n d a t
special effects of lig h t filte rin g th ro u g h an aw ning, an d superbly
evoked the beauty o f a sum m er d a y out o f doors. N or d id he ever su c­
ceed b e tte r th a n h ere in in d ivid u a lisin g his figures, reco rd in g th e ir
every m ovem ent an d a ttitu d e . “ L uncheon of th e B o a tin g P a r ­
t y ” is c e rta in ly one of R e n o ir’s fin est can v ases. T here are how ­
ever several passages th a t m ay s trik e us as b ein g a trifle d ry . T he
lig h t, on th e o th e r h an d , is beyond a ll p raise, p la y in g b e a u ti­
fu lly over th e you n g w om an h o ld in g a p u p p y in th e left fore­
g ro u n d — none o th e r th a n A lin e C h arig o t soon to becom e R e n o ir’s
w ife — and the s till life on the table, th e lefto v ers of th e p icn ic
lunch. The g irl in th e c en ter, lo llin g on th e ra ilin g , outlined
against the landscape is ag ain R en o ir a t his b est. B u t we get a d isso­
n a n t note in th e low er rig h t h a n d corner of th e can v as, p a rtic u ­
la rly in th e m an s tra d d lin g th e c h a ir, w ith h is h a t ra k ish ly back ,
w ho is handled more d ry ly th a n th e re st, a n d seen in a h a rs h e r
lig h t.
L a te r on in h is career, R en o ir ab an d o n e d th e Im p re ssio n ist
tech n iq u e of p a in tin g w ith sk e tc h y touches of th ic k p a in t, an d
defined his form s w ith lay ers of th in , tra n s p a re n t glazes th a t
gave h is tones a deep inn er glow ra th e r th a n a surface sp a rk le .

GEOGRAPHICAL A N D P R O P E R NAMES
Giverny L g iv a i'n i:) Ж иверни
Rouen [ 'ru:a:r|] г. Руан
Limoges [li'm og] г. Л имож
Charles Gleyre^ ['g leia] Ч арльз
Глейр (Swiss p ain ter, 1808—
1874. He train ed some 600 pu-
pil s; his studio becam e fam ous as
th e m eeting place of the Impres»
sionists)
Alfred Sisley ['aelfrid r sisli]
Альфред Сислей (a p ain ter and
lan d scap ist of E nglish o rig in ,
born in P aris, 1839— 1899)
“M oulin de la G alette” [m u :'lae g
da la: g a :'le t] «Мулен де л а
Г алетт»
Jeanne Sam ary [ 'з а :п saem a'ri:]
Ж анна Самари
“Comddie F ran faise” [k am a'd i:
fra:j)'sez) «Комеди Франсез»
Aline C harigot [r aeli:n'$aerigou]
Алина Ш ариго

VOCABULARY NOTES
§ 6. nuance n нюанс, оттенок: radiate vt излучать; e. g. G augin
~ s of colour, hue, green, e.g. uses g rap h ic devices to ra d ia te
A colourist is sensitive to the expressive vigour, ra d ia n t a
nuances of tone in nature. лучистый, светящ ийся изнутри

131
dose-valued a (colours, hues, tones)
близкий по тону
§ 7. porcelain ['pDrslinJ n фарфор;
porcelain а фарфоровый: ~
clay фарфоровая глина, као­
лин
vigorous а сильный, энергичный:
~ brush strokes, lines, etc.,
e.g. F rag o n ard ’s vigorous brush-
w ork gives th e p a in tin g life and
m ovem ent,
patch n пятно неправильной фор­
мы: a colour ~ (or a ~ of
colour)

WORK ON THE TEXTS

1. Translate the italicised words and phrases from the text. Give a back trans­
lation without consulting the text.
I!. Translate into Russian the passage beginning with “ It is like a marvel­
lous tissue...” and ending with a surface sparkle” (§ 7). Translate
your version back into English without consulting the text; then check
with the original and make all the necessary corrections.
III. Complete the following sentences using the text as a guide.

( § 7 ) 1. It w as n o t u n u su a l for R en o ir to ... 2. T he “ M oulin

de la G a le tte ” is lik e a ... 3. T he b ru sh stro k es are la id on in ...
4. T he a r tis t defined his form s w ith ... 5. R en o ir trie d h is h a n d
a t...
IV. Find the English equivalents for.
§ 6 — уловить мимолетное впечатление; м ельчайш ие и з­
м енения в освещ ении; уловить изм енчивость света; зал и т
солнцем
§ 7 — в передаче света и цвета; н ак л ад ы в ая кр аск и то
жирными м азкам и, то тонким слоем; переходить от "одной тех ­
ники письма к другой ; т р ав а на переднем плане; энергичны е
м азки , похож ие на запяты е; голубоватая полутень; всю к а р ­
тину покры вает м я гк а я го л у бая ды м ка, с кв о зь которую п ро­
ни кает солнечный свет; м азки полож ены крест-накрест; все
полотно покры то м елкими вибрирую щ ими м азкам и и и скри т­
ся всеми цветами радуги ; и зл у ч ать свет изн утри ; попробовал
передать особые световы е эффекты; на переднем плане слева
V. Answer the following questions:
a) 1. W hy is M onet con sid ered to be th e m ost c o n siste n t Im ­
p ressio n ist p a in te r of th e w hole g roup? 2. W h a t w as th e “ p rin ­
c ip a l perso n ” in M o n et’s lan d scap es an d how do his p a in t­
ings prove th is? 3. W h y d id M onet p a in t so m a n y v a ria tio n s of
th e sam e them e? D escribe M onet’s “ H a y s ta c k ” .4. D id M onet m a n ­
age to c o n tro l th e “ v a ria b le of lig h t” ? Illu s tra te w ith descrip ­
tio n s of p ictu re s you know .
b) 1. W h a t c h a ra c terise d R e n o ir’s can vases show n a t th e
132
1876 e x h ib itio n ? 2. W h a t te c h n iq u e d id R en o ir p ractise? H ow
does h is p a in tin g “ T he P a th W in d in g u p th ro u g h T all G rass”
show th is? 3. H ow does R enoir tre a t th e h u m a n figure in th e com ­
p o sitio n s p a in te d d u rin g h is Im p re ssio n ist p eriod? D escribe th e
m ood th a t is c re a te d in a ll these p a in tin g s. 4. W h y is “ Je a n n e
S a m a ry ” co nsidered to be th e m ost im p ressio n ist of R e n o ir’s
p o rtra its? 5. W h a t them es in sp ire d th e Im p re ssio n ist p ain ters?
6. W h a t problem w as R en o ir concerned w ith in th e p a in tin g of
“ L uncheon of th e B o a tin g P a r t y ” ? 7. W h a t a re th e m erits and
th e d em erits of th is p ictu re? 8. H ow d id R e n o ir’s m anner of p a in t­
ing change a fte r he ab an d o n ed th e Im p ressio n ist technique?
VI. Retell the texts in great detail.
VII. Give a summary of each text.

§ 8. Edgar Degas (1834— 1917)

E d g ar D egas w as closely asso ciated w ith th e Im p ressio n ists

a n d even p a rtic ip a te d in seven o u t of e ig h t e x h ib its held by th e
g ro u p . H e sh ared th e ir ta s te for lig h t colours an d a spot te c h ­
n iq u e, b u t ra re ly if ever w orked o u t of doors, b eliev in g th a t a rt­
istic creation la y w ith in the im agination or a t least in th e m em ory
of a n experience. F ro m th e v ery b eg in n in g of th e Im p ressio n ist
m ovem ent, D egas in sisted on u sin g th e te rm “ in d e p e n d e n t”
p a in te r to d istin g u ish him self from th e o th e r p a in te rs.
In his p a in tin g s, space an d figures are in te g ra te d w ith
alm o st too g re a t a diligence; th e room s are p erfectly c o n s tru c t­
ed in perspectiv e, th e h u m an b o d y is an aly sed ru th le ssly , every
p a rt f ittin g to g e th e r, th e g estu res a n d poses are c a re fu lly b a l­
anced, an d th e ju x ta p o s itio n m ean in g fu l.
D egas becam e in te re ste d in dancers a t th e d an cin g classes of
th e O pera, in th e m ovem ents an d poses he co u ld ex p lo re in th e ir
v a rio u s steps an d p o sitio n s. Each p a in tin g occasioned an extensive
series of studies. In fact he w atch ed th e dancers not o n ly w hen th e y
were a t th e b a r, or re stin g , b u t ev ery m om ent of th e ir long hours
of p ractice, w eariness an d rest: w h en th e y w ere p a y in g a tte n tio n
to th e ir m a s te r’s c ritic ism , an d w hen th e y w ere a t ease, w hen
th ey stretc h e d , yaw ned or a d ju s te d th e ir co stum es.
T he p a in tin g s of horses a n d race-courses to u ch ed on th e sam e
problem s as th e p a in tin g s of dancers. D egas gave a true rendering
of the dynam ic m ovem ent a n d th e su p erb lines of th e lim b s. T he
jockeys’ colours an d th e carriag es of th e sp e c ta to rs served as
fo ils for the horses, in a space cut by diagonals a n d by in creasin g ly
bolder asy m m etrical o penings. T he co m p o sitio n is s tric tly b a l­
133
anced as a h arm o n io u s w hole, w ith an illu sio n of a d ev elo p m en t
in tim e confined in a lim ite d space.
D egas’ a b ility to g rasp and convey th e cru cial m o m ent in
a scene of sw ift m ov em en t re m a in s u n p a ra lle le d an d is a p p a re n t
in a ll his p a in tin g s, even in th o se la te w orks in w hich he invests
new themes (a w om an d ry in g her h a ir or iro n in g clothes) w ith
a m onum ental grandeur of com position.
D egas lik e M onet, loved to re tu r n ag ain a n d ag ain to th e sam e
su b je ct, in endless v a ria tio n s of h a n d lin g an d v ie w p o in t, c re a t­
ing an e x tra o rd in a ry re la tio n sh ip betw een th e e x p lo ra tio n of
th e su b jec t an d th e use of th e im a g in a tio n an d m em ory.
A superb ex a m p le of h is la te r sty le is th e p a ste l “ A D ancer
on th e S ta g e ” , w hich gives a w o n d erfu l im p ressio n of a b a lle t-
d ancer alm o st flo a tin g in to th e b r illia n t lig h t of th e stag e from
th e o b sc u rity of th e “ w ings” . I t is m iracu lo u s in its suggestion
of q u iv e rin g m o v em en t.
H e trie d new ap p ro ach es in h is la te r years; th e dancers were
no longer studied in poses taken from a ctu a lity or captured in the
spectacular m om ent of the arabesque. T he dancers b re a k forw ard
in to th e foreground, a lm o st b u rstin g o u t of th e p ic tu re space and
are b ro u g h t to g eth er from a d ista n c e scarcely h eld w ith in the
range of the spectator. T h eir “ tu tu s ” * are fringed w ith flashes of
colour w hich v iv id ly dem oH strate th e ro ta tio n of th e figure.
T ech n ically D egas w as faced w ith a conflict between his linear
tendencies and an im pressionist feelin g for b rillia n t, dissolving
colour. Pastel became his exclusive a nd m ost suitable m edium .
W ith coloured ch a lk s he w as a b le to d raw in a lin e a r m an n er a n d
g iv e colour to his figures a t th e sam e tim e . T h is so lu tio n en ab led
h im to keep the form s solid and to m ake them move, tw o elem ents
often lack in g in o rth o d o x o u td o o r Im p ressio n ism .
PROPER NAMES
Edgar Degas [ed'ga: d a 'g a :] Эдгар Дега

VOCABULARY NOTES
§ 8. spot technique точечная тех- medium ['m iid jsm ] материал, тех­
ника. S y n . p o in tillism ница работы, e.g. T urner found
out of doors, also: in plein air «a w ater-colour an excellent me-
открытом воздухе; plein-air dium for im m ed iate studies from
technique, manner пленэрная naturg.
живопись, e.g. M anet decided to pastel [paes'tel] n пастель (a soft
w ork in the plein-air m anner.; coloured crayon delicate in
plein-airist ж ивописец-пленэ- colour), pastel а пастельный:
рист (работающий на открытом а ~ blue; а ~ p in k
воздухе)
* tu tu s [ 'tu 'tu :] фр. пачка

134
 WORK ON THE TEXT

I. Translate the italicised words and phrases from the text. Give a back trans­
lation without consulting the text.
II. Write out a translation of the passage beginning with “ He tried new
approaches...” and ending with “ ... rotation of the figure” . Translate
your version back into English without looking at the text. Check
it with the original and make all the necessary corrections.
III. Complete the following sentences using the text as a guide.

1. Degas sh a re d th e Im p ressio n ists’ ta s te fo r... 2. In h is

p a in tin g s of horses an d race-courses D egas g av e a tru e ren d erin g
o f... 3. D egas re m a in s u n p a ra lle le d in his a b ility to ... 4. D egas’
“ A D ancer on th e S ta g e ” is m iracu lo u s in its suggestion o f...
IV. Write out all the sentences containing the word “balance” , translate
them into Russian and memorise them.
V. Find in the text the English equivalents for.

устраи вать вы ставку; точечная техника; писать на откры ­

том воздухе (на пленэре); ж есты и позы тщ ательно сбал ан си ­
рованы; противопоставления приобретаю т смысл; сл у ж и л и
фоном д л я ...; гармоничное единство; способность уловить и
передать кульм инацию дви ж ен и я; р азнообразие тр актовки и
множество точек обозрения
VI. Answer the following questions:

1. W h at d id D egas h av e in com m on w ith th e Im p ressionists?

W h erein d id he differ? 2. W h a t problem s w as D egas p rim a rily
concerned w ith in h is p a in tin g s an d how d id he set a b o u t so lv ­
ing them ? 3. W h a t c h a ra c terise s D egas’ e a rly com positions?
4. W h a t is D eg as’ ap p ro ach to co m p o sitio n in la te r years?
5. W h a t m e d iu m d id D egas prefer an d w h a t effects d id he achieve?
VII. Retell the text in great detail.
VIII. Give a summary of the text.

§ 9. Auguste Rene Rodin (1840— 1917)

A uguste R o d in achieved th e g re a te st fam e w on by an y sculp­

to r since M ichelangelo. H e w as of h u m b le o rig in an d in h is y o u th
had to e arn his liv in g w o rk in g in a m ason’s y a rd , w here he be­
cam e fa m ilia r w ith th e m a te ria l he was d e stin e d to m aster.
H is m ost sig n ific a n t e a rly w ork was “ T he M an w ith th e B ro­
ken N ose” . R o d in spoke of it la te r as “ th e first good piece of
m o d ellin g '’ he ever d id . In th is w ork th e featu res, b a tte re d by
135
tim e and experience, show th a t R o d in , p erh ap s u n consciously
w as a lre a d y fa sc in a te d b y th e to rm e n ts an d p roblem s w hich
h a u n t h u m a n beings.
T he d ev elo p m en t of R o d in ’s s ty le w as g re a tly influenced by
M ichelangelo. In a le tte r to h is p u p il he p o in te d o u t: “ M ichel­
angelo lib e ra te d m e from academ ic m e th o d s” . M ichelangelo
h a d m ade th e b o d y th e c e n tre of h is a rt, in h is p a in tin g s no less
th a n in his sc u lp tu re . W ith M ichelangelo it is th e body w hich ex ­
presses th e em o tio n s — an d the emotions are rendered by means of
p hysical m a n ip u la tio n , to achieve his ends he twisted the hum an
form alm ost to the lim it] th e g ran d io se elem en ts in M ichelangelo’s
w ork w ere in to x ic a tin g to m an y sc u lp to rs. F or R o d in , too, th e
g ig a n tic an d th e h o rrific form ed a n a tu ra l p a rt of h is v isio n .
T o d ay it is R o d in ’s m o d ellin g , his a b ility to tw ist his m ate­
rial in a n y w ay he wished an d h is use of th is for expressive p u r­
poses w hich m a in ly e x cite us.
I n 1880 R o d in received his first m ajor commission — “ T he
G ate s of H e ll” . H is ta s k w as to design a decoration on a theme
fro m D a n te's “ T he D iv in e C om edy” for th e doorw ay of th e p ro ­
posed D eco rativ e A rts M useum . H e agreed to finish it by 1884,
b u t th is pro ject w as to engage h im a lm o st u n til th e end of his
life.
A bove th e doors in “ T he G ates of H e ll” a n ude m ale figure
sits w ith his ch in re stin g on his h a n d c o n te m p la tin g th e fearful
scene below . O n top of th e doors th re e n ude figures sta n d w ith
th e ir heads low ered an d rig h t h an d s p o in tin g dow nw ard as if
u n a b le to resist th e force w hich p u lled th e m in to h e ll.
As R odin w orked on th e groups of figures w h ich he h ad su b ­
tra c te d from “ T he G a ’.es” , each becam e a separate piece of sculp­
ture. In 1889 R o d in e x h ib ite d th e groups of figures a t a P aris
g a lle ry . T he p u b lic w as e n th u sia stic . T he title s of th e sta tu e s
h ad no re la tio n to “ T he G ates of H e ll” , P ao lo an d F rancesca
w ere no longer th e to rtu re d lovers described b y D a n te . T his
p a ir em b racin g te n d e rly w as n am ed “ T he K iss” . T he th ree fig­
ures p o in tin g dow nw ard w ere “ T he S h ad es” , an d th e seated
m an, ponderin g ten sely , w as c alled “ T he T h in k e r” . “ The T h in k ­
er th in k s not o n ly w ith h is b r a in ,” w ro te R o d in , “ b u t w ith
every m uscle of h is arm s, back, a n d legs, w ith h is clenched fist
and g rip p in g to e s.”
“ The G ates of H e ll” w as never fin ish ed . B ronze and marble
casts were made from the plaster figures a n d w ere sold to m useum s
in E urope an d A m erica.
W h at c h aracterizes R o d in ’s w ork m ost is the extraordinary v i­
ta lity of his images, the bounding m ovem ent and virtuosity of ges­
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ture. I t w as h is d e te rm in a tio n to m ake m odellin g as expressive
as possible w hich im p a rts to h is im p ro v isa tio n s th e ir b rillia n c e
an d fire. H e w as also a ra d ic a l org an iser of space.
R o d in ta u g h t h is co n tem p o raries th a t d istin c tio n in sc u lp ­
tu re is o b ta in e d n o t by selectin g a c e rta in ty p e of figure, b u t
b y th e gift an d a r t of m o d e llin g .R o d in in tro d u c e d im pres­
sio n ism in to s c u lp tu re , show ing us heads a n d figures as th e y
ap p eared to th e h u m a n eye en v elo p ed in a tm o sp h ere and b a th e d
in lig h t. H is fam ous m o n u m en t “ T he C itizen s of C alais” is re ­
m ark ab le, not o n ly for th e p o ig n a n t ex pression of th e different
c h a ra c ters of th e v ario u s figures, b u t also for the truth of atm os­
phere and m ovem ent in th is procession w in d in g its w ay along
slow ly and sad ly .
T he rugged tec h n iq u e b y w hich R o d in o b ta in e d h is w onder­
ful effects of atm o sp h e ric re a lity w as long in e sta b lish in g itself
in p u b lic favour, y e t th ere h av e been few sc u lp to rs a n im a te d
w ith a m ore p ro fo u n d respect for th e m a te ria l of th e ir a rt. I t
w as R o d in ’s love of m a rb le itse lf w hich led to a new d evelopm ent
of his a rt, in w hich he w ould leave rough th e m a trix from w hich
h is sc u lp tu re w as hew n, so th a t d elicate head s an d figures
seem ed to grow lik e flowers o u t of th e m arb le of th e ir orig in .
A m em orable ex a m p le of h is w ork in th is s ty le is “ T h o u g h t”
in w hich a fem in in e h ead of e x q u isite refin em en t an d s p ir itu ­
a lity em erges from a rough-hew n block of m arb le.
R o d in reached h is ex trem e lim it of im p ressio n ism in scu lp ­
tu re w ith his colossal sta tu e of “ B alzac” . T he su b lim e sim p lic ­
ity of th is figure loosely w rap p ed in a dressing-gow n w ith th e
u p tu rn e d face, th e lion-m aned h ead of genius, soaring, as it
w ere, to h eav en , rev ealed R o d in a t his h ig h est n o t o n ly as a m as­
ter of impressionist m odelling, b u t also as a p sychologist w ho could
conceive an d c re a te an u n fo rg e tta b le ex pression of th e very
soul of genius.

GEOGRAPHICAL A N D PROPER NAMES

Rodin [rou'daeg] Роден Francesca [fraen't^eska] Франческа

“The Gates of Hell” «Врата ада» “The Citizens of Calais” ['kaelei]
Paolo [ps'oula] Паоло «Граждане города Кале»

VOCABULARY NOTES

§ 9. cast n слепок, литье, форма v отливать: to ~ in bronze or

для отливки: bronze — скуль­ m e ta l,'e .g . The m odelled p las­
птура, отлитая в бронзе; m ar­ ter sculpture was then cast in
ble ~ скульптура в мраморе; bronze, casting ti литье; caster
plaster ~ гипсовый слепок; cast n литейщик, скульптор —

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 специалист по литью, e.g. My- block п глыба, кусок: а of
гоп, the ancient G reek sculptor, stone, m arble, wood, g ran ite ,
was a fine bronze-caster. etc.
spirituality n одухотворенность,
возвышенность;

WORK ON THE TEXT

I. Translate the italicised words and phrases from the text. Give a back
translation without consulting the text.
II. Translate into Russian in written form the passage beginning with“ The
rugged technique...” and ending with “ ... block of marble” . Trans­
late your version back into English without consulting the text. Check
with the original and make all the necessary corrections.
III. Find the English equivalents for:

мастер пространственной ком поновки; о ку тан о воздухом

и светом; грубо ско л о тая глы ба м рам ора
IV. Answer the following questions:

1. W h a t specific featu res of M ichelangelo’s sty le did R o d i

ad o p t? T race these q u a litie s in R o d in ’s w ork. 2. W h a t was R o ­
d in ’s first m ajo r com m ission? H ow did he h a n d le th e them e?
3. H ow are th e figures in “ T he G ates of H e ll” rendered? 4. W h a t
does “ T he T h in k e r” rep resen t? 5. W h a t effect d id R o d in achieve
w ith his a r t of m odelling? 6. W h a t is th e d is tin c tiv e q u a lity
of “ T he C itizens of C a la is” ? 7. W h y can R o d in ’s “ B alzac” be
c h ara cterised as tr u ly im p ressio n ist?

§ 10. P au l C ezanne (1839— 1906)

C ezanne’s a r t m ark s a conscious effo rt to r e tu r n to p a in tin g
th e k in d of c o n tro lle d form a n d space it h a d n o t know n since th e
O ld M asters. In th e stren u o u sn ess of h is a tte m p ts he ten d e d
to treat his themes more as arrangem ents o f form , colour, and tex­
tu re than as subjects w ith em otional m eaning. T h e su b je c t m a tte r
chosen by th e a r tis t h a d alm o st alw ay s been a d ire c t re flec tio n
of h is feelings. W ith C ezanne a ll th is changed; he d evoted h is
life to tec h n iq u e . H e trie d to m ak e of Im p ressio n ism “ so m eth in g
as so lid an d d u ra b le as th e a rt of th e m u seum s” an d neglected
th e o v e rtly e m o tio n a l side of p a in tin g .
A m em ber of th e o rig in a l Im p ressio n ist gro u p , C ezanne soon
s e p a ra te d from th e m . H e av o id ed th e a tm o sp h eric effects of h is
associates in favour of a m ore c a re fu lly c o n stru c te d an d a r­
ran g ed c o m p o sitio n . A lth o u g h he used th e ir little sp o ts of clean
colour, he ap p lie d these in such a w ay th a t th e y m o d u la te th e

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form from h ig h lig h t to shadow . H e felt also th a t th e rich e r th e
colour th e m ore ro u n d ed th e u ltim a te form effect w ould be.
C ezan n e’s m ost sig n ific a n t c o n trib u tio n , how ever, cam e in h is
tre a tm e n t of space. In order to g et tig h te r co m p o sitio n , he g ra d ­
u a lly lim ite d th e degree to w hich th e s p e c ta to r co u ld p e n e tra te
th e d istan c e . To achiev e th is , he b ro u g h t th e b ack g ro u n d as
close to th e foreground as possible, p ro je c tin g th e form s to w ard
th e sp e c ta to r r a th e r th a n aw ay from h im .
In “ T he C ard P la y e rs ” each figure is a so lid form c o n sist­
in g of clean colour areas th a t m ove from one in te n s ity to a n o th e r.
T he ca rd p lay ers are blended into a solid arch balanced by -the
m an a t the left and the curtain a t the right. T he s ta n d in g m an and
th e c u rta in , lik e th e pipes on th e w a ll an d th e con v erg ing glances
of th e p layers, lead to a c e n tra l p o in t in th e foreground. T h is
reverses th e u su a l fro n t-to -b a c k m ov em en t of e a rlie r p a in tin g .
T he to ta l effect is to b rin g th e w a ll close to th e ta b le a n d to m ove
th e ta b le itself to w ard us. T h is illu sio n is a id e d b y m ak in g th e
side play ers to u ch th e u p rig h t figure a n d th e c u rta in , as
w ell as th e sides of th e p ic tu re . E v e ry th in g is re la te d to th e
re c ta n g u la r, fro n t o u tlin e of th e p a in tin g . Y et a p ic tu re of th is
k in d , though fo rm al in purpose, is n o t w ith o u t e m o tio n al m ean ­
in g . I t has a c e rta in seriousness a n d solem n q u ietn ess.
T he difference b etw een C ezan n e’s a p p ro ach a n d th e ou td o o r
Im p ressio n ists’ is ev en m ore s trik in g in lan d scap e p a in tin g .
“ M t. S te. V ic to ire ” ag ain show s h is a b ility to org an ise a th e m e
in to a series of c o n tro lle d an d d e fin ite ly lim ite d elem en ts. T he
trees a t th e left a n d rig h t n o t o n ly establish the foreground bound­
aries of the picture, th e y also re la te th is foreground area to th e
m o u n ta in s in th e b ack g ro u n d . N ote, for ex am p le, how th e b ra n c h ­
es of th e tree fit in to th e curves m ade by th e m o u n ta in s. T hus
the background and the p a in tin g as a whole are tilted forward and
brought into close relationship w ith the foreground.

§ II. Vincent Van Gogh (1853— 1890)

T he D u tc h m a n V in cen t v a n G ogh cam e to P a ris in 1886 to

s tu d y p a in tin g , a fte r unsuccessful efforts to m ake him self in to
a p ic tu re salesm an , a p a sto r, a n d an e v an g elist p reacher in th e
B elg ian m in in g c o u n try . In P a ris he m et th e Im p ressio n ists,
D egas, S eu ra t, L au treo an d sh ared th e ir e x c ite m e n t in colour
an d in th e co n v e n tio n s of th e J a p a n e s e p r in t. T h e w orks of th e
Im p ressio n ists fa irly dazzled h im . T h eir b rig h t a n d singing c o l­
ours, the lig h t created by the separation of their brush strokes, the
suppression o f local colour, contour and chiaroscuro, th e fervour

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a n d love of n a tu re e v id e n tly in th e p u rsu it of its m ost fu g itiv e
effects, w ere th rillin g n o v elties for V in cen t. T h ey w ere bound
to fascin ate h im .
H e w orked w ith Signac, lig h ten in g his dark northern palette
in favour of bright, su n n y colours an d em p lo y in g p a in t in th e p o in ­
tillis t tech n iq u e.
V in c e n t’s pow erful em o tio n s found release u n d er th e b ril­
lia n t so u th e rn su n . L ike S e u ra t, C ezanne , an d G a u g u in he de­
c la re d h is new alleg ian ce to D elacro ix ra th e r th a n to th e Im pres­
sio n ists. “ In ste a d of try in g to rep ro d u ce e x a c tly w h at I have
b efore m y eyes, I use colour m ore a r b itr a r ily ” , he w rote, “ so
as to express m yself fo rcib ly ” . Influ en ced by G au g u in , w hom
h e h a d com e to know in P a ris an d w hose aim s he found sy m p a ­
th e tic , V in cen t to ld h is b ro th e r th a t he w as “ try in g now to exag­
g e ra te th e e sse n tia l a n d to leave th e obv io u s v a g u e ” .
V ary in g th e Im p ressio n ist te c h n iq u e , he a p p lie d h is sp ots
of p a in t in a sy ste m a tic personal m an n er. T in y w riggles of pure
p ig m en t w ere squeezed o u t of th e tu b e d ire c tly o n to th e canvas.
H is “ L a M ousm e” u tilise s th is tric k of colour a p p lic a tio n ;
th ro u g h it the picture is set in m otion in a new way. T he em phasis
now is on sinu o u s cu rv in g m o v em en ts, on o u tlin e s of form as in
G a u g u in , b u t sp a rk lin g and vibrant in effect ra th e r th a n b road
and reso n an t. T he slig h t clashes of colour c re a te a restless
re a c tio n , as do th e rough an d irreg u lar o u tlin e s.
S u perficial ch arm an d surface d escrip tio n are th e fu rth est
th in g s from th e p a in te r ’s m in d . H e d isto rts th e v ario u s elem ents
of th e figure an d m ak es th em conform to th e o u tlin e of th e ch a ir,
th e body is redu ced to a series of colour an d form p a tte rn s.
O ne of th e p ic tu re s in w hich h e m ost co m p le te ly expressed
h im self w as “ T he P riso n Y a rd ” .H e re h e conjures up w ith forcible
econom y th e tra g ic aspect of th e se p risoners p acin g th e ir m o n o t­
onous ro u n d an d m ak es th e h ig h w a lls elo q u en t of th e im possi­
b ility of escape. N o th in g is m o re affecting th a n th e endless ro ­
ta tio n of th e se m a rc h in g figures, th e ir c irc u la r m o v em ent em ­
phasised in its m o n o to n y b y th e ir r a d ia tin g shadow s.
In “ T he P o r tr a it of D r R e y ” th e en erg etic an d sm ilin g fe a ­
tures of the subject h a v e been observ ed an d recorded w ith g re at
p e n e tra tio n , the likeness caught by a sure hand. F o rm s h a v e been
o u tlin e d and v o lu m e em p h asised w ith equ al c e rta in ty . T he sam e
confidence is ev id e n t in th e w ay V an G ogh has placed the model
against the green background of the ornam ental spiral and lozenge
shapes w hich are closely re la te d to th e in flectio n s of th e s itte r ’s
sh oulders an d facial ro tu n d itie s.

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 § 12. Paul Gauguin (1848— 1903)

P a u l G au g u in cam e to p a in tin g in h is la te tw e n tie s, first

e x h ib itin g in th e S a lo n of 1876 an d th en w ith th e Im p ression­
ists in 1880 a n d 1886. U n d er th e influence of E m ile B e rn ard , a
frien d of V an G o g h ’s, h e b ro k e aw ay from Im pressionism and
adopted a bolder style, som ew hat in sp ired by J a p a n e se p rin ts ,
w ith rad ica l s im p lific a tio n s of d raw in g , b r illia n t, p u re, b rig h t
colours, an o rn a m e n ta l c h a ra c te r of c o m p o sitio n , and w ilful
flatn e ss of p lan es — a s ty le w h ich h e c alled S y n th e sism . I t de­
fined a less im ita tiv e ap p ro ach to n a tu re , a te c h n iq u e of reducing
form s to th e ir essen tial o u tlin e s an d arranging them w ith a new
s im p lic ity in b rig h tly coloured fla t patterns.
In O ctob er 1888 h e w ent to A rles an d , w o rk in g besid e V an
Gogh produced vio len tly coloured landscapes. A gain b ack in B r it­
ta n y , h e execu ted some o f h is m ost tellin g w orks, in clu d in g th e
“ Y ellow C h ris t” an d “ S p rin g ” .
G a u g u in consciously modelled h is style on non-western cu l­
tures. I t w as d raw n from a v a rie ty of tra d itio n s : In d ia n , In d o n e ­
sia n , E g y p tia n . G a u g u in ’s p rim itiv ism w as th e re su lt of a so c ia l­
ly co n d itio n e d a s p ira tio n to w a rd a sty le of m o n u m en ta l deco­
ra tio n an d of th e w ish to re ju v e n a te a rt b y g oing to “ sa v ag e ”
sources. H is desire to fin d a new p rim itiv e b asis for a rt and for
h is very life fin a lly to o k him to T a h iti in 1891. H is w ill to sim ­
p lify form s as w ell as h is a r b itr a r y use of colours co m bined w ith
h is lite ra ry a sp ira tio n s, gave his work its decorative stam p. T hus
th e n o v e lty of G a u g u in ’s a rt consisted not o n ly in h is subjects, but
also in h is conception o f these subjects, in h is efforts to reconcile
th e M aori idols w ith E u ro p ean a rt.
“ T he W h ite H o rse” illu stra te s p a rtic u la rly w ell th e pecu liar
fashion in w hich G a u g u in com b in ed the fla t pa ttern and asym m et­
rical composition o f Japanese p r in ts w ith an ex e c u tio n derived
from th e Im p ressio n ists an d a p a le tte rich in ex o tic colours and
c o n trasts. H e p a in te d th is w o rk w ith vivid brush strokes (occa­
sionally usin g a palette kn ife) a p p lie d on coarse can v as, the
rough texture o f w hich adds to its m ysterious savagery.
T h e diagonal b ran ch es p ro v id e th e arab esq u e th a t p u lls to ­
g e th er th e v a rio u s larg e p lan es of m ore or less u niform colours.
A g ain st th ese fla t areas, w h ich g iv e th e lan d scap e an a b stra c t
c h a ra c te r, ap p ear th e horses an d th e rid ers tre a te d in a three-
d im ensional w a y , w ith shadow s c a re fu lly m o d ellin g th e ir form s.
Y et c o n tra sts of co lo u r, lin es, an d form s are w ell in te g ra te d , lead-
•ng th e eye from th e w h ite flow er in th e rig h t h a n d corner to

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th e c u rv ed lines of th e horse an d across th e m e a n d e rin g branches
into an u n d efin ed d istance.
“ T he W om an w ith M angoes” also know n as “ T he F e m ale
C hief” an d “ T h e Q ueen of B e a u ty ” is d escribed b y G au g u in as
follows: “ I h a v e ju s t m ad e a p ic tu re of 120 cm b y 1 m eter w hich
I th in k is b e tte r th a n a n y th in g else to date: a n a k e d queen ly in g
on a green c a rp e t, a s e rv a n t p ic k in g f r u it, tw o o ld m en near th e
big tre e d iscu ssin g th e tre e of know ledge, a beach in th e b a ck ­
g round. I th in k th a t in colour I h a v e n ev er m a d e a n y th in g of
such m aje stic deep so n o rity . T h e trees are in flow er, th e dog
is on g u ard , th e doves on th e rig h t are cooing. T h e fan signifies
an c ie n t n o b ility , an d th e m angoes, T a h itia n fru it in th e fore­
g ro u n d , recall th e fru it of E v e .”
In a co m p o sitio n of a p p ro p ria te fo rm a lity , th e o b liq u e lines
are p u n c tu a te d b y th e rh y th m of th e descending v e rtic als.
In 1901, G a u g u in left T a h iti for th e islan d of D o m in ica w here
h is colours grew even m o re lu sh an d w h ere h e e x ecu ted such
p in k and m a u v e p a in tin g s as “ R id e rs on a P in k B each ” and
“ T he C a ll” .
W henever he d etach ed him self som ew hat from h is lite ra ry in ­
s p ira tio n s an d dream s, G auguin conceived p a in tin g s w h ich seem
based m ore closely on h is o b se rv a tio n s of d a ily life in th e tr o p i­
cal islands. “ T he C a ll” is one of th ese canvases. H ere th e a r tis t
m akes less freq u en t use of the ornam ental elem ents and fla t patterns
w hich ap p e a r in m ore im a g in a ry w o rk s lik e “ T h e W h ite H o rse” .
In stea d , h e striv e s for a m ore n a tu r a lis tic re p re s e n ta tio n , using
sm all brush stro k es w h ich m odel form s and in d ic a te te x tu re s ,
and his colour h arm o n ies are softer. H e avoids th e sh arp c o n trasts
w hich he favours elsew here w hen he w a n ts to c re a te a d ream lik e
atm osphere.

GEOGRAPHICAL A N D PROPER NAMES

Paul Cezanne Грэ:1 sei'za:n] Поль
Сезанн
“The Card Players” «Игроки»
“Mt. Ste. Victoire” ['m a u n t sn(t)
v ik 'tw a :] «Гора Сент-Виктуар»
Vincent van Gogh ['v in san t
vaen'gag] Винсент ван Гог (a
French painter)
Georges Seurat [ ' 30:5 sa(:)'ra:J
Ж орж С ёра (a F rench p ain ter,
1859-1891)
Henri Toulouse-Lautrec [a: J)'ri •
tu 'lu :z b 'tr e k ] Анри Тулуз
Л отрек (a F rench p ain ter, 1864 —
1901)
Paul Signac ['рэ:1 si:'njaek] П оль
С иньяк (a French p ain ter, 1863—
1935)
“ La Mousme” [la:m uz'm ei] «Япо-
Аочка»
Paul Gauguin ['рэ:1дои'дае{)] П оль
Г оген
Emile Bernard [a 'm i:l Ьеэ'па:г]
Эмиль Б ернар (a French a r t­
ist and author)
Arles [a:lz] г. А рль (a city in
S outhern France)

142
Brittany ['britani] Бретань (a
province on the north-western
coast of France)
Tahiti [ta:'hi:ti] о. Таити
Maori ['m au ri] Maopu (a people of
P olynesian origin)
Dominica [^ a m i'n i'.k a ] о. Домини­
к а (an island in the W est In ­
dies)

WORK ON THE TEXTS

I. Translate the italicised words and phrases from the texts. Give aback
translation without consulting the text.
II. Translate in written form the passages beginning with: a) “ A mem­
ber of the original Impressionist group . . . ” up to “ ... than away from
him ” (§ 10); b) “ Superficial charm and surface description...” up
to “... and form patterns.” (§ 11); c) “The diagonal branches...”
up to “... into an undefined distance” . (§ 12); Translate your ver­
sions back into English without consulting the text. Check with the
original and make all the necessary corrections.
III. Find the English equivalents for:

§ 10 — передача пространства; добиться ком пактной ком­

позиции; формы вы ступаю т вперед, по направлению к зр и те­
лю; весомая форма; фронтальный разворот; обратите внима­
ние, к а к ...
§ 1 1 — извиваю щ иеся волнообразны е линии; грубые кон ­
туры ; очертания повторяю т линию стула;
§ 12 — нарочитая плоскостность; сведение формы к о с­
новным контурам ; лучш е, чем все, что я писал до сих пор;
ритмически нисходящ ие вертикали подчеркиваю т наклонны е
линии; краски стали еще более сочными; м елкие м азки , к о ­
торы е л еп ят ф орму
IV. Complete the following sentences using the text as a guide.

1. C ezanne tre a te d h is th em es a s... 2. C ezanne av oided th

atm o sp h eric effects of th e Im p ressio n ists in fav o u r o f... 3. V an
Gogh used colour a rb itra rily so as to ... 4. V an G ogh a p p lied h is
p a in t in tin y w riggles of p u re p ig m en t w hich set th e p ic tu re ...
5. In V an G o g h ’s “ L a M ousm e” th e e m p h a s is is n o w o n ... 6. G a u ­
g u in ’s p a le tte is ric h in ... 7. T h e diagonal b ran ch es (in “ T he
W h ite H orse” ) p u ll to g e th e r... 8. In "T h e W h ite H orse” by
G au g u in , th e horses an d th e rid e rs are tre a te d in ...
V. Answer the following questions:
a) 1. W h a t caused p a in te rs lik e C ezanne, V an Gogh an
G au g u in to tu rn aw ay from Im pressionism ? 2. W h a t d irectio n
did G ez an n e ’s a rt ta k e after he se p a ra te d from th e Im p ressio n ­
ists? 3. H ow did he tre a t h is them es? 4. W h a t is th e ro le of colour

143
and lig h t in C ezan n e’s pictu res? 5. H ow does “ T h e C a rd P la y e rs ”
b ear o u t C ezan n e’s ap p ro ach to th e tre a tm e n t of space? H ow are
th e figures tre a te d ? W h a t does he achieve w ith h is s p a tia l arran g e­
m ents? W h a t is th e em o tio n al im p act of th is p a in tin g ? 6. How
does C e za n n e ’s ap p ro ach to lan d scap e p a in tin g differ from th a t
of th e Im p ressio n ists? H ow did he org an ise th e them e? Illu s­
tr a te w ith co n crete exam ples.
b) H ow d id th e w orks of th e jm p r e s s io n is ts affect V in cen t
v an Gogh? 2. W h a t i s th e r o le of colour in V an G o g h ’s p ain tin g ?
D escribe “ T he P o r tr a it of D r R e y ” . 3. W h a t is th e general im ­
pression of V in c e n t’s p ic to ria l surfaces? H ow does he achieve
th is? 4. H ow do V an G o g h ’s p ic tu re s differ from th ose of th e
Im p ressionists? D escribe “ T he P riso n Y a rd ” . 5. W hich of
V in c e n t’s p ic tu re s h a v e you ever seen? D escribe it.
c) 1. W h a t sty le did G au g u in ad o p t a fte r he b roke aw ay
from th e Im p ressio n ists? 2. W h a t did th e n o v elty of G a u g u in ’s art
consist in? 3. W h a t is th e su b ject m a tte r of h is p a in tin g s? 4. W hy
did G auguin go to T a h iti? 5. W h a t is th e general im pression of
G a u g u in ’s “ T he W h ite H o rse” ? H ow is th is achieved? H ow does
th e com positio n h o ld to g eth er? H ow does th e a rtis t ach ieve u n ity ?

§ 13. Henri Matisse (1869— 1954)

M odern a rt in th e first decade of th is c e n tu ry w as an e x te n ­
sion and in te n sific a tio n of tre n d s alread y ev id e n t in th e w orks
of C ezanne, V an Gogh an d G au g u in . French art m aintained its
traditional form al bent, b u t on a m ore a b s tra c t level. T he g re a t­
er dynam ism of th is p eriod re su lts in F a u v ist c o lo u ristic ex ag ­
g era tio n , C u b ist fragm entation of form , F u tu ris t g lo rific a tio n of
th e m ach in e, an d s im ila r expressions of th e a r ti s t ’s rea c tio n to
th e tim es.
T he first im p o rta n t group of th e p eriod w as c a lle d th e F au v es
or “w ild b e a sts” b y th e c ritic s. It w as fo rm ally o rg an ised in
1905 u n der th e lead ersh ip of H e n ri M atisse and in clu d ed D erain ,
V lam in ck , R o u a u lt an d D ufy. L ik e m ost p a in te rs e a rly in th e
c e n tu ry , th e y w ere influenced b y C ezanne, V an G ogh and
G auguin.
From C ezanne, M atisse an d o th e rs d eriv ed th e ir in te re st in
colour as a fo rm -b u ild in g device. T he e a rlie r p a in te r c o n tro lled
his space and lim ited it; th e ne-wer pain ters w ere even m ore se­
vere. They confined the figure to an arbitrarily restricted space
w hich req u ire d a new k in d of m ovem ent. T h is m ovem ent w as
found in th e ex p ressiv e co n to u rs and large b o ld colour areas of
G auguin, as w ell as th e sh o rt sharp colour strokes of V a n G ogh.

144
These set th e fig u re in m o tio n w ith a c u rv ilin e a r sid e-to -sid e and
up-and-dow n ac tio n w h ile th e form itself c o n s ta n tly v ib ra te s.
W orks of this k in d deviate from physical rea lity and become
arrangements o f form and colour fo r their own sake.
In th e “ D e ssert” , M atisse su b o rd in a te s re a lity t o an a rtis tic
a rran g e m en t of form an d colour p a tte rn s. A lth o u g h th e re is a
specific su b ject — a w om an p lacin g fru its a b o u t a ta b le — th e
em phasis is on the balance o f rectangular and rounded form s ( the
straightness of the form er accentuating the rhythm ic curves of the
latter) and on th e carefu l p la c e m e n t of re la te d colour accents in
v ario u s p a rts of th e p ic tu re . T he sig n ifican ce of th e w o m an ’s
a c tiv ity or h er p ersonal in v o lv em en ts d isap p ear b efore th e jo y ­
ous p la y of form s an d colours.
M a tisse ’s w om an is a curv ed accent b a la n c e d b y th e re c ta n g u ­
lar a rea of th e c h a ir o p p o site. T h e squareness o f the window is
relieved by the form alised trees in the background (com pare w ith
th e trees of G auguin) w h ile th e se v e rity of th e ta b le a lte rn a te s
w ith th e cu rv ed b o ttle s , fru it, an d p a tte rn s t h a t cover it. These
p a tte rn s , re p e a te d in th e w all an d trees, g iv e th e p ic tu re its
all-over fla t m ovem ent and help to m a in ta in th e c o n tro lle d two-
dim ensional q u a lity . In th e ach iev em en t of such a textured and
b rillia n tly coloured surface, M atisse to o k a d v a n ta g e of th e deco­
r a tiv e so p h istic a te d a rt of th e N ear E a st w h ic h offers sim ila r
v iv id effects in its p o tte ry , m a n u sc rip ts an d te x tile s.
M atisse d ream t of an a rt of b a la n c e , of p u r ity an d sere n ity
d evoid of tro u b lin g or depressing su b ject m a tte r , “ so m ething
lik e a good a rm c h a ir in w h ich to rest from p h y sical fa tig u e .”
H e achieved th is in th e “ M usic” . I t re p re se n te d th e b eg in n in g
of a period of m o n u m e n ta l p a in tin g c u lm in a tin g in tw o g re at
w all decorations. In b o th th ese co m p o sitio n s the a rtist sought
a more radical sim p lifica tio n o f form and design, a g a in em p h a ­
sisin g a sinu o u s a rab esq u e of lin e an d im m ense u n ifo rm areas of
p u re colour. M atisse sum m ed up h is colour schem e in th e “ D a n c e ”
in th ese w ords: “ ...fo r th e sk y , th e b lu est of b lu e s, and a lik e
green for th e e a rth an d a v ib ra n t v e rm ilio n for th e b o d ie s.”

§ 14. Pablo Picasso (1881— 1973)

P a b lo P icasso, S p an ish p a in te r, th e in itia to r of C ubism and

p ro b a b ly th e p a ra m o u n t in fluence o n th e a rt of th e 2 0 th c e n tu ry ,
w as bo rn on O cto b er 25, 1881 at M alag a. H is fa th e r w as an a rtis t
an d professor a t th e A cadem y of F in e A rts at B arcelo n a, and u n ­
der h im Picasso receiv ed h is firs t lessons in a rt. A fter m an y v is its
to P a ris , he se ttle d th e re in 1903.

145
 D u rin g “ th e b lu e p e rio d ” (roughly 1901— 1904) Picasso con­
c e n tra te d alm ost ex clu siv ely on th e h u m an fig u re w hich he p la c ­
ed u su a lly alone an d s till a g a in st a sim p le b ack g ro u n d . In th e
“ S e lf-P o rtra it” , p a in te d e a rly in th e w in te r of 1901, th e a rtis t
shows us fra n k ly th e face of a m a n w ho h as know n cold, hunger
an d d isa p p o in tm e n t.
T h e p a in tin g of a b lin d , w a ilin g g u ita ris t (“ T he O ld G u ita r­
is t” ) sum m arises th e s ty lis tic ex trem es of “ th e b lu e p e rio d ” .
The colour is persistently monochrome an d th e co m p o sition c h a ra c ­
te ris tic — a sin g le figure placed against a relatively sim ple back­
ground. T he expressive distortions, rem iniscent o f E l Greco h a v e
been so ex ag g erated th a t th e y seem m an n ered . T he p a in fu lly
th in body of th e aged m an is c ram p ed an d tw iste d in to a s ittin g
po sitio n . L ik e th e w in d o w , w hose g lim p se of sky s ilh o u e tte s th e
b e n t h e a d , th e s tra ig h t lines of th e p ic tu re fra m e em phasise
th e an g u lar pose of th e cross-legged m u sician .
T he p a in tin g s of “ th e b lu e p e rio d ” , w ith th e ir p re d o m in an t
cool tones of b lu e an d blue-g reen , u su a lly dw ell on sad or deso­
la te people — b lin d m en , b eggars, th e h opelessly poor.
A round 1905 P icasso lightened his palette, relieveing it w ith
p in k and rose, yellow-ochre and grey. H e beg an to p a in t circus
perform ers, h a rle q u in s an d acro b ats in a m ore graceful m a n n e r,
w ith e x tra o rd in a ry s u b tle ty an d s e n sib ility .
In 1906, P icasso re tu rn e d to S p a in for th e sum m er. T here
he renew ed c o n ta c t w ith S p a n ish G o th ic sc u lp tu re a n d , m ore im ­
p o rta n t, w ith an cien t Ib e ria n sc u lp tu re , w h ich h ad a s ta rk sim ple
s tre n g th a n d u n re fin e d , u n c o n v e n tio n a l p ro p o rtio n s. U n d er th e
influence of Ib e ria n sc u lp tu re , Picasso ab an d o n ed h is “ rose
p e rio d ” a n d e x p e rim e n te d in a ru g g ed ly sim p lifie d new sty le , as
evidenced in h is “ Les D em oiselles d ’A v ig n o n ” . T h is p ic tu re is
e sse n tia lly an arran g em en t of figures, w ith th e b ack g ro u n d
drap eries fla tte n e d an d v io le n tly b roken up in to geom etric
p lanes.
In th e “ S eated N u d e” , p a in te d in 1909— 1910, re a listic de­
ta ils , atm o sp h eric effects and n a tu ra lis tic colour w ere abandoned.
A tte n tio n w as focused on m o v em en t in space, o n seeing
th in g s from d iverse angles, and on a rtis tic m eans ra th e r th a n on
su b jec t m a tte r.
D u rin g P ic a sso ’s e a rlie r C u b ist perio d , th e surfaces of h is c a n ­
vases w ere d e lic a te ly to n e d in brow n or g rey b y d o ts in p o in til­
list fashion, d isp lay in g som e c o n stru c tiv e design, m a in ly a b ­
s tra c t, th o u g h h ere an d th e re re a lis tic fra g m e n ts of reco g n i­
sa b le objects w ere in tro d u ced . T he g ra d a tio n s of lig h t and d ark
su g g e ste d sh ad in g an d space.

146
 A fter 1918 Picasso re tu rn e d m a in ly to tra d itio n a l p a th s and
based h is p ic tu re s o n n a tu ra l form . H is p a in tin g s becam e m a g n if­
icen tly p la s tic an d m o n u m e n ta l. T hen he ch anged ag ain. M uch
of h is w ork after 1925 is fa n ta s tic and v isio n a ry in ch aracter.
O n A p ril 28, 1937 th e B asque to w n of G u ern ica w as rep o rte d
destroyed b y G erm an b o m b in g p la n e s fly in g for G eneral F ranco.
P icasso, alread y an a c tiv e p a rtis a n of th e S p a n ish R e p u b lic ,
w en t in to actio n im m e d ia te ly in p ic tu re s w h ich w ere th e m ost
e lo q u en t in d ic tm e n ts of organised b r u ta lity in m o d ern tim es.
“ G u e rn ic a ” , a h uge c a n v a s, is one of P icasso ’s g re a te st creatio n s.
P icasso used th e a n c ie n t an im al sym bols of S p ain to spell o u t
th e te rrib le c a ta stro p h e . B riefly , o n e sees: at th e rig h t a w om an
w ith arm s ra ise d fa llin g from a b u rn in g house, an o th er ru sh in g
in to w a rd th e c e n tre of th e p ic tu re ; a t th e left a m o th e r w ith a
dead c h ild an d on th e g ro u n d th e hollow frag m en ts of a w a rrio r’s
figure, h is featu res askew , one h a n d c lu tc h in g a b ro ken sw ord
n ear w h ich a flow er is grow ing. A t th e c e n tre of th e ca n v as is a
disem bow eled h orse w ith a sp ear-p o in t tongue; a n o th er w om an
w hose b re a st n ip p le s h a v e becom e b o lts an d w ho is crazed and
cross-eyed w ith p a in an d grief — all th ese im ages and the e x­
pressive distortions suggest cruel a fflictio n . From th e rig h t o u t of
a w in d o w , flows th e fearful face of a w om an and a long arm lik e
a h a llu c in a tio n . She h o ld s a c an d le o v er th e scene, a n d it seem s
to b e a sym bol of a h o rrib le h u m a n ity . The w ar-tim e agony of
death and senseless destruction is emphasised by the stark black,
white, and grey com position; th e re is no colour.
P icasso e x p la in e d th e sym bolism of th e w ork s im p ly , d e clar­
ing th a t th e b u ll “ is b r u ta lity an d d a rk n e ss,... th e horse re p re ­
sents th e peo p le” . The p a in tin g has the im pact o f a nightm are
and e x trem e psychological s u b tle ty . B y h is s tric t deco rativ e
form an d stro n g fig u ra tiv e c o n v en tio n s Picasso has managed to
in ten sify the em otions he wished to convey.
Of social conscience, Picasso h o tly declared in 1945: “ W h a t
do you th in k an a rtis t is? An im b ecile w ho h a s o n ly h is eyes if
h e ’s a p a in te r, or ears if h e ’s a m u sic ia n ...? O n th e co n tra ry ,
h e’s a t th e sam e tim e a p o litic a l b ein g , c o n sta n tly aliv e to h e a rt­
re n d in g , fiery or h a p p y ev en ts to w hich he responds in every
w a y ...”
A fter th e lib e ra tio n of P a ris , Picasso becam e a C o m m unist,
and in 1949 th e P a ris W o rld P eace C onference ad o p ted a dove
created by Picasso as th e sym bol of th e v ario u s peace m ovem ents.

147'
 GEOGRAPHICAL A N D PROPER NAMES

Henri Matisse [a:j)'ri: m a'ti:s] Ан­ Pablo Picasso |'p a :b lo u pi'kaesou]

ри Матисс
Andre Derain [a: g 'd re i da'raeg]
Андрэ Дерен (1880— 1954)
Maurice Vlaminck [m o'ri:s
vlae'm igk] Морис Вламинк
(1876-1958)
Georges Rouault [ ' 50:3 ru :'o u ]
Ж орж Руо (1871— 1958)
Raoul Dufy [ra 'u :l d ju :'fi:] Рауль
Дюфи (1 8 7 7 -1 9 5 3 )
П абло П икассо
Malaga ['maelaga] г. М алага
“ Les Demoiselles d’Avignon” [,le
d a m w a :'zel da:vi'njD jj] «Авинь­
онские девушки»
Guernica l'g a:n ik a] г. Герника
Basque [baesk] баск, баскский
Iberian [ai'b iarian ] иберийский

VOCABULARY NOTES

§ 13. Fauvism ['foivizm ] фовизм beginning In 1907, through

(a m ovem ent in French art about
1906)
Fauvist ['fDrvist] n, a of Fauve
фовист, «дикий», фовнстский
(The F au v ists broke aw ay from
the scientific severity of the Neo-
im pressionists. They used ju x ­
tap ositions of com plem entaries,
b u t in w ider slashes. Above all
they sought vividness and w h at­
ever new com binations of pure
pigm ent w ould give the g reat­
est possible lum inosity.)
Cubism ['kjurbizm j n кубизм (a
m ovem ent in p ain tin g and sculp­
tu re w hich developed in France,
C ezanne’s in sp iratio n . The move­
m ent was given im petus by P i­
casso and B raque. This, to g eth ­
er w ith an influence of A fri­
can Negro scu lp tu re, prom pted
the e xp erim en tatio n in th e re­
duction of n atu ra l form s to their
basic geom etric shapes. At
first these were sh arp ly angular.
L ater th e shapes becam e tra n s­
p a ren t and intersecting); cub­
ist n, а кубист; кубический
§ 14. askew [a 'sk ju :] а искрив­
ленны й, искаж енный, смещен­
ный, e.g. Two nose-askew por­
tra its were hanging o n th e wall

WORK ON THE TEXTS

I. Translate into Russian the italicised words and phrases from the text.
Without looking at the text, say the same thing in English.
II. Translate in written form the passages beginning with: a) “Matis­
se’s woman is . . . ’’and ending with ...m anuscripts and textiles.” (§ 13);
b) “ In the “ Seated Nude” painted in 1909— 1 9 1 0 ...” and ending
with “...dark suggested shading and space.” (§ 14).

III. Complete the following sentences using the vocabulary as a guide.

§ 1 3 — 1. M atisse w as in te re ste d in colour a s... 2. M atisse

and o th e r p a in te rs confined th e fig u re to ... 3. R e a lity is su b o rd i­
n a te d to ... 4. In th e “ D essert” th e squareness of th e w indow is
relieved b y ...
§ 14 — I. In " T h e O ld G u ita r is t” , th e stra ig h t lines of the
w indow and th e p ic tu re fram e em p h asise... 2. Picasso w as influ*
148
enced by an cien t Ib e ria n sc u lp tu re w hich h a d ... 3. P icasso h a s
in troduced no colour in “ G u e rn ic a ” . T h e s ta rk b la c k , w h ite and
grey co m positio n em p h asise...
IV. Find the English equivalents for
§ 13 — вы разительны е контуры и круп ны е цветовы е п ят­
на; и зогн утая ф орм а, уравновеш енная прям оугольной формой
стула; сохранить нарочитую плоскостность; в ущ ерб сю ж ету
сосредоточивается на ж ивописны х поисках
V. Answer the following questions:
a) 1. How can you c h a ra c terise th e dev elo p m en t of a rt in th e
early p a rt of th e tw e n tie th c en tu ry ? 2. W h at does M atisse em ­
phasise in th e “ D essert” ? 3. H ow does th e p ic tu re a c q u ire its
all-over fla t m ovem ent? 4. W h a t influences can be tra c e d in M a­
tisse ’s p ain tin g ? 5. W h a t is th e g en eral im pression of h is picture?
b) 1. P icasso ’s c re a tiv e g en iu s h as found ex pression in a v a ri­
e ty of m edium s. W h a t are they? 2. W h a t ch anges in m an n er and
s ty le can be tra c e d in P icasso ’s w o rk and how are th ey re la te d
to th e subject? 3. W h a t is th e ro le of colour in “ T he O ld G u i­
t a r is t” ? 4. W h at changes cam e a b o u t in P icasso ’s p a le tte afte r
his “ b lu e p e rio d ” ? 5. W h at do th e im ages in “ G u e rn ic a ” suggest?
How do th e form s re la te to th e c o n te n t of th e m u ra l?

EXERCISES TO PART V

I. a) Pick out and translate into Russian all the words and phrases from the
texts that refer to 1) the technique of painting, 2) the treatment of
light, 3) brush-work, 4) design and compositional arrangement,
b) Pick out and translate into Russian all the words and phrases that
can be used to describe a landscape painting.
II. Give as many word combinations as possible with the following and trans­
late them into Russian.
a) Supply the object

to set dow n, to g ro u p , to co p y , to ju x ta p o se , to m odify, to

ta k e o n , to c a p tu re , to ra d ia te , to ex em p lify , to in te g ra te
b) Supply the attribute:

colour, h u e, v isio n , scene, view , tin g e , ran g e, to u ches, te c h ­

n iq u e, m ovem ent
c) Supply the noun:
greenish-y ello w , g rey ish -b ro w n , p in k , azu re-b lu e, m auve,
u ltra m a rin e b lu e , b r illia n t, ra d ia n t, tra n s ie n t, vigorous, t r a n s ­
p a re n t, p le in -a ir, d y n a m ic , high-(low -)keyed
149
III. Read the following descriptions of pictures by Monet and guess the
names of the paintings. Memorise the description of the picture you like
best.

a) T his m y ste rio u s v iew of th e T ham es in w in te r w as begun

th o u g h n o t c o m p leted from a w in d o w or b alco n y of S t T h o m as’
h o sp ita l ov erlo o k in g th e riv e r. L ik e th e “ Im p re ssio n ” it ca p tu re s
an a c tu a l atm o sp h e ric effect, b u t o n e w hich ap p ears u n real and
v isio n a ry . Its th e m e is n o t th e sto n e a rc h ite c tu re , b u t th e sil­
h o u e tte an d re fle c tio n s, an d colo u red lig h ts su sp en d ed in m ois­
tu re -la d e n air. In w isp s, th e to u ch es th a t c o n s titu te th e a ir seem
to follow th e fog’s d rift. V olum e an d d ep th are c re a te d o n ly by
th e m an y to n ed to u ch es of p ig m e n t, w hich g iv e th e atm osphere
as ta n g ib le an e x isten ce as th a t of th e so lid o b jects.
b) A t th e r ig h t edge of th e p a in tin g w e can b a rely discern
s ilk -h a tte d figures w ho s ta n d on a b alco n y o b serv in g a v ista of
s tro llin g figures an d fiacres com ing a n d going in th e stree t below .
To M on et’s co n tem p o raries, th is p ic tu re w as every b it as
lu d icro u s as th e “ Im p ressio n ” . A ccustom ed to re p re se n ta tio n s
in w hich d is ta n t an d even m o v in g o b jects w ere d efined w ith con­
c e p tu a l ex actn ess of d e ta il, th e y co u ld n o t u n d e rsta n d th a t such
ex actness is su p p lie d b y m em ory or im a g in a tio n r a th e r th a n by
m o m en tary p ercep tio n . T hey d id n o t realise th a t th e o d d te c h ­
n iq u e th a t p uzzled th em w as a m ean s of c a p tu rin g in a s ta tic m e ­
dium th e effect of m o v em en t, or th a t th e to n a l accuracy of Mo­
n e t’s tra n sc rip tio n of th e b lu e-v io let atm o sp h ere (so ty p ic a l of
P a ris d u rin g cool m on th s) w o u ld la te r be v erified b y colour ph o ­
to g rap h y .

c) B e lle -Ile ’s fa n ta s tic ro ck fo rm atio n s are m o st aw e-in­

sp irin g . T he open sea b o ilin g an d foam ing aro u n d th em even in
fine w ea th er, h as g ro u n d deep in to th e so ft-fillin g of th e surfaces
and left them b a rb e d w ith frig h te n in g spikes. In tran sferrin g
th e scene to c an v as, M onet conform ed closely to th e re la tiv e
p o sitio n s of th e d a rk p a tte rn s a g a in st th e ch u rn in g sea, and
th e ir o p p o sitio n to th e s ta rk h o rizo n , b u t increased th e ch ro m a­
tic v a rie ty of th e b lu e , green , an d v io le t w a te r an d its reflectio n
o n th e v io le t rocks. H e also a tte n u a te d th e eroded form s of th e
needles and d ra m a tise d th e ir fla m e lik e m o v em en t in harm o n y
w ith th e rh y th m of th e w aves.
IV. Bring in a reproduction of a painting by Renoir, Monet, Picasso, De­
gas or Sisley and describe it.
V. a) Learn the following text by heart, b) Describe Monet’s “ Rouen Ca­
thedral” . Use the texts in this section as a guide.

150
 Rouen Cathedral, West Facade Sunlight
T he h o t sun of e a rly aftern o o n blazes down upon th e lacy
sto n e facade of R o u en C a th e d ra l. T h is p ic tu re rev eals M onet’s
u ltim a te ach iev em en t in c a p tu rin g su n lig h t w ith b ro k en colour
T he glow ing spo ts o f co lo u r alm ost dissolve th e C a th e d ra l’s
form . S m a ll, se p a ra te tou ch es of p a in t, p rism a tic in th e ir b r il­
lian ce, co m p lem en t each o th e r to d azzle th e eye a n d suggest th e
shim m er of a c tu a l lig h t. M onet p a in te d an e x te n siv e series of
p ictu res show ing d ifferen t effects of lig h t p la y in g across th e e la b ­
o ra te G o th ic tra c e ry of R o u en C a th e d ra l. H e sa id th a t o fte n he
could w o rk on each p ic tu r e for o n ly tw o or th re e m in u te s a t a
tim e, a fte r th a t, th e lig h t w o u ld h a v e ch an g ed a n d , for h im , th e
subject w ou ld becom e q u ite differen t.
VI. Render in English.

Клод Моне. «Зимний пейзаж»

М оне пр о сл ави л ся, главны м образом , в области п ей заж а:
свет, особенно его изменчивость, непостоянство интересовали
х у д ож н и ка.
М оне лю бил север с его н еяр ки м освещ ением, с х а р а к т е р ­
ной м ягкой красочной гаммой, окутанны м и м глой предметами.
П осетив в 1895 году Н орвегию , х у д о ж н и к посвятил ей нес­
колько карти н , в том числе и д в а «Зимних пейзаж а». Один из
н и хг находится в Р иж ском музее. М оне создал серии карти н ,
неоднократно по вто р яя один и тот ж е мотив при различном
освещ ении. Именно к таком у ти п у произведений при надлеж ат
оба зимних пей заж а. В них М оне изоб р ази л у го л о к из о к ­
рестностей С анви кена, города в восточной части Н орвегии.
Н есколько домов располож и лось у поднож ия вы сокой горы.
Н еслучайно Моне и зб р ал мотивом д л я своей кар ти н ы пей заж
с горой. О на зам ы кает всю ком позицию , на ее темном фоне
особенно хорош о звучит зим ний вид о кр аи н ы города, выде­
ляю тся светлы е, сходны е по ар х и текту р е кам енны е дома.
К артина п рон изана лирическим настроением спокойного зи м ­
него пасмурного д н я , подернутого ды мкой, в которой раство­
р яю тся контуры строений, у тр ач и в ая ясность очертаний.
Снег придает необычный х а р а к т е р освещ ению , типичному
д ля многих северны х картин Моне: ка ж е тс я , что свет исходит
откуда-то от зем ли.

свет, особенно его изменчивость, непостоянство lig h t, es­

pecially ch a n g in g lig h t; н е я р к о е освещ ение pale lig h t;
м я г к а я кр асо ч н ая гамма m u te d p a le tte (in p ic tu re s only);
15J
 soft colours (in p ic tu re s or in n a tu re ); мотив (here) scene;
избрал мотивом д л я своей картин ы пей заж chose a la n d ­
scape; р азличное освещ ение d ifferen t k in d s of lig h t, illu ­
m in a tio n ; го р а зам ы кает всю ком позицию th e m o u n ta in
u n ite s th e w hole co m p o sitio n ; н а ее темном фоне хорош о
звучит зим ний вид th e d ark b ack g ro u n d serves as an excel­
le n t foil for th e w in te r scene (or) th e w in te r scene is p a rtic ­
u la rly effective a g ain st th e d ark b ack g ro u n d ; контуры
o u tlin e s; очертани я co n to u rs, edges; освещ ение lig h t,
lig h tin g , illu m in a tio n

VII. a) Retell the following text in English, b) Describe “The Portrait

of Jeanne Samary” by Renoir Use this text and the text on Renoir
as a guide.

С колько непосредственности в ж ивой по зеМ -л ь С амари: чуть

наклон ивш ись вперед, она вним ательно слуш ает собеседника,
чтобы немедленно ответить на услы ш анное быстрой ф разой
или радостной л у кав о й улы бкой. Р ен у ар несколько раз писал
эту молодую актр и су , но, п о ж ал у й , самым удачны м явл яется
полотно из М узея изобразительны х искусств имени
А. С. П уш кин а. С каким колористическим тактом соп оставле­
ны розовый фон, изум рудны й ш елк декольтированного п л атья
и темно-золотисты е волосы. К а к легко и ж иво переданы и гр и ­
вые искорки синих гл аз, л егкое трепетан ье кры льев носа,
влаж ны е алею щ ие губы , к ак сочно написаны т к а н ь п л ат ь я ,
обнаж енны е руки и плечи!

VIII. Read and retell the following:

F or m ost m useum -goers, R en o ir is th e q u in te ss e n tia l F rench

Im pressio n ist. M onet m a y be th e fa v o u rite of th e tex t-b o o k
w riters because th e y love th e o ry , an d th e re is no m o re tra n sp a re n t
re v e la tio n of Im p ressio n ist ideas a b o u t lig h t, atm o sp h ere, col­
o u r, space an d to n a lity th a n th e a rt of M onet.
B u t Im pressionism w as as m uch a m ood an d a v ie w of life as
it w as a p o sitio n on p a in tin g . I t w as p ic n ic k e rs in th e p a rk ,
sm all ta lk in a cafe, su n lig h t on a beach, a g lim p se th ro u g h trees
an d down a b o u le v a rd , p ast stro llin g couples. T y p ic a lly , it
w as S u n d ay life in P a ris — th e h a p p ie st, m o st c o n fid e n t, m ost
a llu rin g m om en t th e m id d le class ever en jo y ed . A n d no a rtis t
b elieved in th a t life or conveyed it w ith m o re c o n v ic tio n th a n
P ie rre A ugu ste R en o ir.
152
 IX. Describe Rodin’s “The Thinker” using the text on Rodin as a guide. In
your description use the following vocabulary:
com m ission; decorate; sta tu e s an d reliefs; design; concept;
cast; bronze; personages; th e b alan ce of m ovem ent; th e plan s of
a figure; to suggest th e tro u b le d s ta te of m in d ; pow erful; force­
ful; spontaneo u s; d ynam ic; tre a tm e n t; th e p la y of lig h t and shade;
nude; co n tem p o ra ry scu lp tu re; Im p ressio n ist m e th o d of m o d el­
ling
X. Without translating the extracts, give the English equivalents for the
italicised words, groups of words or phrases, and then render the pa­
ragraphs.
1. Высокое ж ивописное мастерство Моне проявилось уж е
в ранних кар ти н ах , написанны х с необычайной д л я того време­
ни свободой и ш иротой, но зачастую в т емны х т онах. В п рои з­
ведениях зрелой поры худ ож ни к вы работал светлую ж изне­
радост ную гам м у, богатую т онким и от т енкам и, и полные
ж и вой непосредственности композиционны е приемы; особенно
значительны его заво еван и я в област и пленэра, передачи слож­
ной изменчивости воздуш ной среды, игры солнечного света.
М оне, ка к известно, делал бесчисленное множество карт ин
с одного объект а, наприм ер со стога сена — утром , в полдень,
вечером, при луне, в дож дь и т. д. М ожно подум ать, что эти
у п раж н ен и я д олж ны были д ать что-то вроде научны х к расоч ­
ных протоколов прославленного стога. М ежду тем, получи­
лись м аленьки е поэмы.
2. Работы Р е н у а р а отличаю тся ж изненностью образов,
теплотой и интимностью воспри ятия окруж аю щ его мира. Р е ­
н уар не касал ся в своем творчестве сущ ественных социальны х
проблем, о гр ан и ч и ваясь изображением ж изнерадостных ж ан­
ровых сцен.
Стремление к передаче беглых непосредственных впечат­
лен и й сбли ж ает Р е н у а р а в 70-х годах с импрессионистами. П р о ­
зрачность тонов и рефлексов, передаю щ их свето-воздушную
среду, выявляет пласт ичност ь, м ат ериальност ь изображен­
ных ф игур в к а р т и н а х Р енуара.
XI. Translate the following:
1. М оне работал в области пей заж а, стрем ясь овладеть
передачей солнечного света и возд уха. И м создан р я д богатых
по кол ори ту , ж изнерадостны х пейзаж ей.
2. С трем ясь запечатлеть мгновенные, к а к бы случайно
выхваченные из ж и зни яв л ен и я , Д е г а прим енял необычные
ракурсы и резкие асимметричные сдвиги в располож ении фигур
и предметов.
7 -6 1 4 153
 3. Ван Гог работает то кистью , то м астихином , то ж идко
прописы вая, то густо лепя кр аск ам и , бросая м азки то вдоль,
то поперек. В портретах В ан Гог не добивается сходства мед­
ленным завоеванием модели, он воплощ ает его быстрыми у д а­
рами кисти, ф икси руя лиш ь самое х арактерное. Он вы я в л яе т
х ар актер н о е в человеке не то лько утрировкой р и су н ка, но и
сим воликой красок.
4. В своем декоративном творчестве М атисс и сп ользовал
элементы восточного искусства. П реобладание цвета над ф ор­
мой, плоскостность, пестрота и узорчатость, обобщ енность,
сти л и зац и я предметов, сводимых к декоративны м пятнам , —
все эти характер н ы е черты восточных росписей ф аян сов, т к а ­
ней и ковров повторяю тся в вещ ах М атисса. Н адо отметить,
что М атисс заим ствует восточные принципы у кр аш ен и я плос­
кости, но не стилизует свои ф игуры под персидскую миниатю ру
и сочетает восточную декоративность с чисто западной д и н а­
микой. М атисс обогатил ж ивопись новыми приемами. И зуч ая
в течение долгих лет зако н ы цвета, овладев в соверш енстве
красочными сочетаниям и, он вы работал новый элемент. Этот
элемент — динам изм цветового пятна и п ред ельн ая интен­
сивность ц в ета, н еви дан н ая в Е вроп е со врем ен готиче­
ских витраж ей. Ц ветовое воздействие картин М атисса край не
сильно.
5. К аж д ая из ф игур («Граж дане го рода Кале») — ш е­
девр пластического м астерства и психологического прозре­
н и я. О днако ком позиция этого великого произведения, един­
ственного в своем роде, вы зы вала с момента своего появления
разноречивы е оценки. Роден создал нечто новое и небывалое,
он пренебрег общ епринятыми правилам и. П реж де всего он не
изолировал скульп турн ы й пам ятник от окруж аю щ ей среды.
Группа поставлена не н а традиционном пьедестале, а на н и з­
кой плите, вровень с землей. Эта гр у п п а более походит н а
то л п у , чем н а стройное ш ествие. Роден отверг геом етрические
схемы, искусственную расстан овку ф и гу р , нарочитую ритм ику.

X II. Act as interpreter:

А. О ткровенно го во р я, я не совсем понимаю ж ивопись Се­
зан н а. С одной стороны , у него есть картины , нап ом инаю ­
щ ие работы импрессионистов. О ни написаны мелким
м азком , и в них он использует светлую красочную гам ­
му. С другой стороны , в противополож ность импрессио­
н и стам , он, по-моему, не стремится передать мимолетные
впечатления, зависящ ие от д виж ени я, от атмосферных
явлений, света, а, скорее, он хочет подчеркнуть м атери­

154
 альную стр у кту р у предметов, их объемы, постоянный
цвет.
В. Y ou are ab so lu tely rig h t. T his seem ing c o n tra d ic tio n can
o n ly be ex p lain ed b y th e fact th a t th ere w as a c e rta in pe­
rio d in h is career w hen, re v o ltin g a g ain st academ ic a rt and
searchin g for a new p ic to ria l v o c a b u la ry , h e w as in flu e n c ­
ed by th e Im p ressio n ists. H e p a in te d o u t of doors, a n d h is
landscapes w ere p a in te d in a lig h te r key an d w ith sm all
bro k en touches.
A. А в дальнейш ем р азв е он разо ч ар о вал ся в импрессионистах?
Н ап ри м ер, многие его натю рморты написаны в довольно
темной, я бы д аж е с к а за л , м рачной цветовой гамме. Его
ф рукты с таки м ж е успехом могли бы быть написаны с
м уляж ей*: он не передает ни их свеж есть, ни сочность.
B. It w a sn ’t q u ite th a t.T h e m a in th in g w as th a t h e w a s g rea tly
concerned w ith ren d erin g th e w e ig h t, v o lu m e an d m ass of
an o b ject. H e w as forever s triv in g for new w ay s of re p re ­
sen tin g n a tu re th e w ay he u n d ersto o d it.
A. А не каж ется ли вам , что в своем стремлении овладеть
новым методом передачи натуры С езанн был несколько
односторонен? Ведь импрессионисты т а к ж е стремились
постигнуть «тайны» правдивого отображ ен ия мира.
B. То a ce rta in e x te n t you are rig h t. B u t th e n every g re a t p a in t­
er or every im p o rta n t m o vem ent trie s to so lv e one p ic to ­
rial problem at a tim e. R ealisin g th a t th e Im p ressio n ists
sacrificed th e p ic to ria l s tru c tu re C ezanne ad m ired in th e
O ld M asters’ w o rk s, he to o k th e form less touch es of th e
Im p ressio n ists’ b ro k en colour a n d m ad e each b ru sh stro k e
a d istin c t “ lit tl e p la n e ” . In an ap p le, for e x am p le, h e re a l­
ized its form an d colour b y in te g ra tin g sm all m o d u la tin g
planes of colour so th a t th e a p p le ap p ears so lid , ro u n d and
glow ing w ith lig h t.
A. H e поясните ли вы мне, как у ю зад ач у он реш ал в этом се­
розеленом натю рморте?
B. W ell, you see th a t a g ain st rig id h o rizo n tal an d v ertical
lines in th e b ack g ro u n d , C ezanne h a s ju x ta p o se d th e c u rv ­
es of ap p les, b o ttle s , an d folds of d rap ery in tu rb u le n t,
sw eeping lines. C ezan n e w as aim in g b eyond sim p ly re p ro ­
ducing th e ap p earan ce of an ap p le or of a b o ttle . H e stro v e
for a to ta l form in w h ich every b ru sh stro k e in h is com po­
sitio n is in te g ra te d . E v ery to u ch of p a in t, lik e a lin k in

* м уляж artificial fruit

7* J55
 a c h a in , m u st c o n trib u te to th e c o n siste n t u n ity of th e p ic­
ture.
А. Б о л ь ш о е спасибо. Я , к а ж е тс я , начинаю немного понимать
его.
X I II. Use one of the following topics for oral or written composition;

1. T he fo reru n n ers of Im pressionism .

2. T he Im p ressio n ist m an n er of p a in tin g .
3. M anet — th e first p a in te r of m od ern life.
4. M onet — th e p a in te r of lig h t.
5. A d e sc rip tio n of tw o p ic tu re s illu s tra tin g R e n o ir’s m ost
c h a ra c te ristic s ty le an d tech n iq u e.
6. D egas’ choice of su b ject m a tte r an d m ed iu m and how
th ey are re la te d to h is o b jectiv es in p a in tin g .
7. R o d in ’s place in w orld art.
8. C ezan n e’s c o n trib u tio n to 2 0 th c e n tu ry p a in tin g .
9. T he w orks of V an G ogh and th e ir im p act on th e view er.
10. G a u g u in ’s e v o c a tiv e personal sty le.
11. T he g re a t d e c o ra tiv e a r tis t — M atisse.
12. P icasso ’s “ b lu e p e rio d ” .
XIV. Find passages in “ Lust for Life” by Irving Stone, “The Moon and
Sixpense” by W. Somerset Maugham, or “The Crusader’s Tomb”
by Archibald Cronin, that reflect the painter’s approach to art. Dis­
cuss them in class.
XV. Describe the drawing by A. Matisse “ Woman with Long Hair” given
on the cover, using as many words and expressions of the new vocabu­
lary as possible.
 Part VI.

RUSSIAN PAINTING ( X I X - X X CENTURIES)

§ 1. Karl Brullov (1799— 1852) w as R u ssia ’s first a ll-ro u n d

a r tis t, and because of th is h e w ill alw ays rem ain im p o rta n t;
even to d a y , w hen ta ste s are d o m in a te d b y th e ap p eal of a v ery
different sty le , th e p ic to ria l q u a litie s in m a n y of h is p ictu re s,
and esp ecially in h is p o rtra its , are c le a rly e v id e n t.
T he a rtis tic life of th e c o u n try w as th e n e n tire ly co n tro lle d
b y th e A cadem y of F in e A rts (e stab lish ed in 1754). T he A cadem y
h a d p roclaim ed th a t “ a rt m u st aim a t rev ealin g v irtu e , at im ­
m o rta liz in g th e deeds of th e g re a t m en who deserve th e n a tio n ’s
g ra titu d e , an d a t en couraging th e h e a rt an d m in d to e m u late
th e m ” , and h isto ric a l p a in tin g becam e p a rt of th e A cadem y’s
c u rricu lu m . U n fo rtu n a te ly th e th em es w ere in v a ria b ly draw n
from m y th o lo g ical or classical sources, and w ere th erefore de­
v oid of any sense of a c tu a lity .
The academic outlook was deeply rooted in B rullov, y e t, lik e
so m an y of his co n tem p o raries, h e too often responded to th e
canons of ta s te cre a te d by th e R o m a n tic m o v e m e n t, though his
tra in in g saved h im from succum bing to excessive sentim entality,
as d id m an y of h is co n tem p o raries. “ T he R id e r” , b y B ru llo v ,
1833, shows th e a rtis t at h is b e st, rev ealin g h is te c h n ic a l m a ste ry ,
his fin e sense of co m p o sitio n , an d his feeling for elegance and grace.
T he R o m a n tic s p irit w hich pervades th e p a in tin g enhances
its ap p eal, for it is devoid of th e se n tim e n ta lity w h ich m arks so
m an y p a in tin g s of th is period.

§ 2. Indeed , o n ly tw o p a in te rs, b o th of th em th e sons of

serfs, w ere tru e R o m an tics w ho succeeded in im b u in g their works
w ith the Byronic sp irit w ith o u t ever tu rn in g it in to a form ula.
O ne w as Orest K jprenski (1782— 1836). H is g en iu s c arried him
to th e A cadem y and h is w ork is. as a re su lt v ery a c c o m p lish e d ,
b u t it is ow ing to h is in n a te a rtis tic a b ilitie s th a t it is also a l­
m ost alw ays interesting-. P a ssio n a te in h is ap p ro ach and endow ­
157
ed w ith a b e tte r sense of colour th a n m ost of h is co n tem p o raries,
h is p o rtra its are n o t o n ly v a lu a b le records of th e p erio d , b u t of­
te n also tru e w orks of a rt. Vassili Tropinin (1776— 1857) was
an o th er R o m a n tic to receive h is tra in in g a t th e A cadem y, b u t
h e rem ained th ro u g h o u t h is life a less w e ll-e d u c a ted m an th a n
K ip re n sk i. T h is lim ita tio n is reflected in h is p a in tin g s w hich,
th o u g h profo u n d ly sincere, and as such im p o rta n t to th e h isto ­
ria n , h a v e n o t th e sam e a e sth e tic v a lu e as K ip re n s k i’s w orks.

WORK ON THE TEXTS

I. Translate the italicised words and phrases. Give a back translation

without consulting the text.
II. Complete the following sentences using the text as a guide.

1. B ru llo v ’s tra in in g saved him fro m ... 2. “ T he R id e r”

b y B rullov re v e a ls... 3. T he R o m a n tic s p irit w hich p erv ad ed th e
p a in tin g .'.. 4. T h e w orks of O rest K ip ren sk i an d V assili T ro p i­
n in are im bued w ith ... 5. K ip re n s k i’s w orks are alm ost alw ays
in te restin g o w in g to ... 6. T h e A cadem y of F in e A rts p ro cla im e d
th a t “ a rt m u st aim a t . . . ” 7. T h e a rtis ts w ere o b lig ed to p a in t
on them es draw n fro m ...
III. Find the English equivalents for

техническое мастерство; тонкое чувство композиции; рабо­

ты, проникнуты е духом романтизма; его работы более совер­
шенны; он поступил в Академию благодаря своему талан ту;
быть наделенным чувством цвета
IV. Answer the following questions:

1. W h at p lace does K arl B ru llo v occupy in R u ssian art? To

w h a t tre n d does h is a rt belong? 2. W h a t q u a litie s of B ru llo v ’s
a rt d o e s“ T he R id e r” reveal? 3. W ho w as O rest K ip ren ski? W h at
is th e general im pression of h is w orks? 4. H ow does th e w ork
of T ro p in in differ in q u a lity from th a t of K ip ren sk i? 5. W h a t
w as th e aim of a rt according to th e A cadem y of F in e A rts? 6. W hy
d id so m an y w ell-know n p a in te rs rebel ag ain st th e them es set
in th e classes a t th e A cadem y of F in e A rts?
V. Retell the text in great detail.
VI. Give a summary of the text.

§ 3. The Wanderers, a group of a rtis ts draw n to g e th er b y th e

com m on d e te rm in a tio n to c re a te a new R u ssian c u ltu re , c o n sti­
tu te d th e first ch allen g e to th e all pow erful P e te rsb u rg Acad-

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erny of A rt. T h e fo u rteen a rtis ts w ho h ad declared th e ir seces­
sion from th e A cadem y in 1863 w ere in sp ired b y id e a ls o f “ b rin g ­
ing a rt to th e p eo p le” . T h ey c a lle d th em selv es the Wanderers,
because th e y th o u g h t to p u t th e ir id eals in to p ra c tic e by ta k in g
tra v e llin g e x h ib itio n s th ro u g h o u t th e c o u n try sid e. T hese a rtis ts
sought to ju stify th e ir a c tiv ity by m ak in g th e ir a rt useful to
society. T hey re p u d ia te d th e p h ilo so p h y of “ a rt for a r t ’s
sak e” w hich th e y id e n tifie d w ith th e c u rre n t academ ic tra d itio n
centered in th e P e te rsb u rg A cadem y, th is tra d itio n derived its
standards m a in ly from international Neo-classicism. T he W a n d e r­
ers defied th is tra d itio n , saying th a t art should be p rim a rily con­
cerned w ith and subordinated to reality.
“ T he tru e fu n ctio n of a r t ,” w ro te C hern ish ev sk y , “ is to e x ­
p lain life and com m ent on it. R e a lity is more b ea u tifu l than its
representation in a r t.”
T he m ission of th e W an d erers to arouse compassion and sy m ­
pathy for the common m an w as a b ra v e subject for a rt in R u ssia,
n ot o n ly by v irtu e of its social message, b u t by its em phasis on
th e tra d itio n a l R u ssian w ay of life. T he re p u d ia tin g of in te rn a ­
tio n al N eo-classicism an d the ensuing rediscovery o f the national
artistic heritage, w as th e s ta rtin g -p o in t of a m odern school of
p ain tin g in R ussia.
I. Kramskoi (1837— 1887) w as th e m ost m a tu re , as w ell as
th e m ost ta le n te d an d vigorous of th e W an d erers, indeed, h e
w as soon as w ell know n for h is p a ssio n a te a rtic le s as for h is pre­
cise, carefully observed p a in tin g s. H is p o rtra its, for in sta n ce th e
p o rtra it of Leo T o lsto y , th e p o rtra it of N ekrasov or th e p o r tra it
of “A n U nknow n W o m a n ” , are v ery c o m p eten t w orks, b u t m a n y
of h is subject p ic tu re s lack atm osphere; n o t so th e o n e e n title d
“ In sp ectin g th e O ld H o u se” . W ith its d eso late, n o stalg ic a ir,
its fu rn itu re sw ath ed in d u st-sh eets, its c h an d elier h id d en in
w rappings, th e h e s ita n t v isito rs sta n d in g h u sh ed , liste n in g to
th e cru m b lin g p a st — it is as if, o u tsid e th e ch erry o rch a rd w as
being felled.
Vassili Polenov (1844— 1927), a n o th e r m em ber of th e gro u p ,
who h a d stu d ie d at th e Moscow College of P a in tin g an d S cu lp tu re ,
w as one of th e first p a in te rs of th e R u ssian countryside. T he
R ussian school of lan d scap e p a in tin g w as a develo p m ent p ecul­
iarly connected w ith Moscow. S in ce its fo u n d a tio n in th e
1840’s th e Moscow College of P a in tin g and S c u lp tu re (in 1865
an a rc h ite c tu ra l fa c u lty w as added) h a d la id stress on “ plein a ir ”
stu d ies of n a tu re . N ot o n ly did th e M oscow C ollege encourage
stu d y from n a tu re w h ich w as alm ost u n h e a rd of at th e P etersb u rg
A cadem y, b u t it w as also a m ore lib e ra l in s titu tio n . In th e 60’s

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th e first stu d e n ts to h av e g ra d u a te d from th e Moscow College
re tu rn e d to it as teachers. A m ong these w as A. Savrassov
(1830— 1897) w ho is know n as “ th e F a th e r of th e R u ssian school
of landscape p a in tin g ” . S a v ra sso v ’s lan d scap e p a in tin g s w ere,
how ever, few an d it w as left to his follow ers, Polenov an d Shish­
kin, to develop th is p a rt of h is w ork. T hese p a in te rs w ere still
h am pered by a sty liz e d , lite ra ry approach in th e ir w ork, and it
is n o t u n til Isaac Levitan (1860— 1900) th a t th e R u ssian school
of landscape p a in tin g produced a re a lly c re a tiv e and expressive
m a ste r.

§ 4 . Vassili Surikov (1848— 1916) w as th e first of th e W a n d e r­

ers to com bine n a tio n a l id eals w ith an urge to fin d a new la n ­
g u ag e in w hich to express th o se ideals. B orn in K rasn o y arsk in
S ib e ria , S u rik o v set o u t for P e te rsb u rg o n h o rse-back in 1868
to join th e A cadem y. H e w as a y ear on h is jo u rn e y , for on his
w ay he m ad e fre q u e n t sto p s in th e an cien t tow ns th ro u g h w hich
h e passed. In p a rtic u la r K azan an d N 'izhni-N ovgorod im pressed
h im , b u t it w as Moscow th a t bow led h im over. “ C om ing to M os­
cow , to th a tc e n tr e o f n a tio n a l life, I im m e d ia te ly saw m y w a y ,”
he w ro te la te r. S u rik o v ’s m asterp iece, as it is g e n e ra lly co n sid er­
ed, “ T he B o y a rin a M orozova” (1887), d ep ictin g th e persecution
of th e “o ld b e lie v e rs” by th e p a tria rc h N ik o n , is set in the streets
o f medieval Moscow. I t is an enorm ous p a in tin g — b o th in size
an d scale it is in th e n a tu re of a w a ll-p a in tin g . T he p ic to ria l con­
stru c tio n of th is w o rk rem in d s one of th e g re a t Ita lia n m o n u m e n t­
al p a in te rs w hose w ork S u rik o v so m uch ad m ire d — M ich elan ­
gelo, T in to re tto , T itia n an d V eronese. It is fu ll of m ov em en t—
th e fresh, so lid colour g lances from form to form , g estu re carries
on to g esture, u n til fin a lly o n e ’s eye is a rre ste d by th e ce n tra l
figure of th e B o y a rin a w ith her d ra m a tic u p lifte d h a n d and p o in t­
ing fingers. T h is d y n am ic q u a lity h a d alw ays been a fu n d a ­
m en tal c h a ra c te ristic of R u ssian p a in tin g , an d in S u rik o v ’s
w ork it re-em erges from th e m edieval tra d itio n s for th e first
tim e. W ith S u rik o v the peculiar colour range o f B yza n tin e art is
likew ise re v iv e d — th e rich brow ns, som bre red an d clear y e l­
low. A deco rativ e surface rh y th m and stro n g h o riz o n tals are
o th e r ch a ra c te ristic s com m on to R u ssian a rt, b o th an cien t and
m odern, an d likew ise first recovered in th e w o rk of S u rik o v .
H isto ric a l p a in tin g , th a t is, p a in tin g w hich re c re ate s th e
m ood and ten sio n s of a specific perio d , d id n o t com e into being
till S u rik o v tu rn e d to R u s s ia ’s p ast for th e su b jects of h is p ic­
tures. A ltho u g h a re a list p a in te r, he n ever becam e a n a r ra tiv e
one; he w as far too fascin ated by people to do so, say ing th a t h e

160
co u ld n o t express th e p ast in a sin g le personage, how ever im p o r­
t a n t, b u t h a d to p resen t ev e n ts a g a in st a b a ck g ro u n d of o rd i­
n a ry people. L ik e T o lsto y ’s h is c a n v a s w as a v a st one; he w as
also ab le to m ak e it a v iv id one, for he w as o n e of th e very few
a rtis ts of th e p erio d to use a colourful p a le tte . In a d d itio n , Su-
rik o v possessed an in s tin c tiv e u n d e rsta n d in g of n a tu re , and the
glim pses of landscape in the backgrounds o f h is pictures acted
as a stim u lu s , in sp irin g a rtis ts such as A. K uindzhi (1842—
1910), I. Ayvazovski (1817— 1900), and I. L e v ita n to c re ate a
school of real lan d scap e p ain tin g .
T he sc u lp to r M. Antokolsky (1843— 1902) w as an ad h eren t
of th e W and erers’ ideals and one of th e earliest m em bers of th e
W an d erers and enjoyed an enorm ous p o p u lar success in h is tim e.

§ 5. Ilya Repin (1844— 1930), a colleague an d close friend

of P o le n o v ’s w as also one of th e gro u p . T hough never an a ctiv e
m em ber of th e S o ciety of W an d erin g A rt E x h ib itio n s , h e w as
n evertheless deeply influenced by K ram sk o i an d h is follow ers. H e
w as a far m ore a rtic u la te and d istin g u ish e d m a ste r of his m edium
th a n any of th e o rig in a l “ fo u rte e n ” .
R e p in ’s o v e rrid in g in te re st in people led h im to d evote m ost
of h is tim e to p a in tin g h is co n tem p o raries. P ra ctica lly everybody
o f im portance sat for R e p in , w ho recorded th e ir a p p earan ce in
restrained and severe colours, w h ich differ co m p le te ly in c h a ra c ­
te r from the sombre colours used by m a n y of the Wanderers. In
R ep in th e colours are a reflectio n of h is m ood, for, lik e so m an y
of h is co n tem p o raries, he too w as often g riev ed b y th e dark en in g
o u tlo o k . H e expressed h is d islik e of o ppression in som e su bject
p a in tin g s. T h e fin est of these is a p ic tu re h e p a in te d in 1884,
e n title d “ T hey did not E x p ect H im ” ; it illu s tra te d th e re tu rn
of a p o litic a l ex ile from S ib eria. I t is a p o ig n a n t, pro found, and
e x tre m e ly co n v in cin g psychological stu d y , as w ell as a p a in tin g
o f real aesthetic m erit. T h is p a in tin g is one of h is few full-sized
p a in tin g s, for R e p in sp e n t m uch tim e w orking on studies before
executing a p a in tin g in full-scale. In m an y of th o se stu d ies one
can discern an extrem ely talented draughtsm an w ith a real percep­
tio n of n a tu re . T he no less sincere and a e sth e tic a lly e q u ally im ­
p o rta n t p a in tin g w h ich is g en erally know n by th e n am e of “ The
V olga B o a tm e n ” is likew ise concerned in d raw ing attention
to a social evil.
Som e of R e p in ’s p a in tin g s w ere ex ecu ted a t A b ra m tse v o , an
e sta te near M oscow. I t belonged to S a v v a M am o n to v , th e R u s­
sian ra ilw a y tyco o n of th e 1870’s, w ho su rro u n d ed him self w ith
th e m o st progressive p erso n alites of h is d ay , n o t o n ly p a in te rs
161
b u t com posers, singers, arc h ite c ts, a rt h is to ria n s, w rite rs and
actors. T h is colony of a rtis ts b rought tog eth er by M am ontov
w as know n as “ M am o n to v ’s c irc le ” . T hey w ere inspired by ide­
als of b e tte rin g th e life of th e people. “ M a m o n to v ’s c irc le” d ra w n
to g eth er by th e com m on d e te rm in a tio n to c re a te a new R ussian
c u ltu re , can be reg ard ed as th e c ra d le of th e m odern m ovem ent
in R u ssian a rt.

§ 6. Valentin Serov (1865— 1911), th e son of th e op era com ­

poser, h a d com e as a sm all boy to liv e at A b ram tsev o w ith his
w idow ed m o th e r in 1874. H e g rew up in th e atm o sp h ere of con­
sta n t creative a ctivity w h ich c h a ra c terise d th e M am ontov house­
hold. From a v ery e a rly age Serov w as g iv en draw in g lessons by
R e p in , w ho w as v ery fond of th e l i t t l e b o y , an d he soon show ed
him self to be a re m a rk a b ly precocious d ra u g h tsm a n . H e would
catch the likeness of a model often more quickly and surely than the
older artists in th e m erry “ draw in g c o m p e titio n s” w hich w ere
so m uch p a rt of th is g ay , id y llic life of A b ram tsev o. T h is ta l­
en t for ca tc h in g a likeness S erov la te r developed an d h e becam e
th e m ost successful an d b r illia n t p o r tr a itis t of th e 1890’s and
first decade of th is c e n tu ry . B u t before th is h e w as a b e au tifu l
lan dscape p a in te r in a m ore sensuous and less n o stalgic vein
th a n h is m a ste r L e v ita n . S erov, lik e K o ro v in , w as a m ost b e n e­
ficial influence in th e Moscow C ollege w here he ta u g h t from
1900 up till 1909. He was a superb technical m aster o f the m a n y
m edia in which he practised an d th a t too d id n o t fail to im press
h is stu d e n ts. S u rik o v h a d shown h im th e v alu e of fine colours,
a lesson w hich th e rev iv ed in te re st in icons h a d h elp ed to stress.
I t w as from these an cien t p an els th a t Serov also becam e aw are
of th e significance of th e essential in a co m p o sitio n an d th e u n im ­
p o rtan ce of th e unnecessary, b u t it w as u n d o u b te d ly V rubel
w ho show ed Serov th e v a lu e o f respo n d in g to a personal em o tio n ­
al experience. Serov w as th u s ab le to m ak e h is m a rk a t th e age
of tw en ty -tw o on e x h ib itin g tw o p a in tin g s, “ G irl w ith P each es”
and “ G irl in S u n lig h t” . A t th e tim e of p a in tin g th em h e w as u n ­
fa m iliar w ith th e w orks of th e F rench Im p ressio n ists, y et he
cam e very close to R enoir in these lu m in o u s, su n n y , sp len d id ly
com posed p o rtra its.

§ 7 . In 1890 V . Serov intro d u ced his close frien d Mikhail

Vrubel (1856— 1910) to M am o n to v . It w as to p ro v e the turning-
p o in t of V ru b e l’s a rtis tic life. H e h ad h a d a b rillia n t early career
at th e P etersb u rg A cadem y, w hich he entered in 1880. E ven b e­
fore he g ra d u a te d , V ru b e l’s teachers recom m ended him to P ro ­
162
fessor P ra k h o v w ho cam e to th e school in 1883 to find stu d e n ts
who w ould help h im w ith th e re sto ra tio n of th e tw e lfth -c en tu ry
church of S a in t C y ril in K iev. T h e o p p o rtu n ity to become fa m il­
iar w ith B yza n tin e art at first hand proved decisive in V ru b e l’s
developm ent. A t th is p o in t beg an th a t relen tless search for a
new p ic to ria l v o c a b u la ry w hich w as th e d riv in g force th ro u g h o u t
h is w ork. It w as d u rin g V ru b e l’s w ork in S a in t C yril th a t he d is­
covered the eloquence of line. “ B y z a n tin e p a in tin g ” , w ro te V ru ­
bel la te r, “ differs fu n d am en tally from three-d im en sio nal a rt. Its
w hole essence lies in th e orna m en ta l a rra n g em en t o f form w hich
em phasises th e flatness of th e w a ll.” ' T h is use o f o rnam ental
r h y th m s to p o in t u p th e fla t su rfa ce o f the canvas w as c o n sta n tly
e x p lo ite d by V ru b el. A n ex am p le of th is is “ T he D ance of T am a­
r a ” , a w ater-co lo u r of 1890. T h is is one of th e series by V rubel
illu s tr a tin g L e rm o n to v ’s poem “ T h e D em o n ” , commissioned
fo r a ju b ilee e d itio n published in 1890. It w as V ru b el’s first
M oscow com m ission.
T he passio n ate stu d y of B y zan tin e a r t w hich K iev inspired
in V ru b el to o k h im n e x t to V enice. In K iev he h a d discovered
lin e , in V enice h e discovered colour. W hen V ru b el re tu rn e d to
R u ssia in 1885 h e began th e series of “ D em on” p ic tu re s in sp ired
by L erm onto v . T h is im age cam e to h a u n t him m ore and m ore
p e rsiste n tly . F rom a confiding presence, a soaring sorrow ful
s p irit, it becom es a h o stile se n try and a glo w erin g , angry head .
F in a lly , in th e la st y ears of h is c re a tiv e life it is a crushed or
sw ooning b o d y , sucked in to a g id d y w h irlp o o l. In some of h is
la st w orks V ru b el resu rrects th e fig u re as a m assiv e h ead w ith
tra g ic sta rin g eyes: a p u re s p irit w hich loom s o u t of th e m is t,
d o m in a n t a t la s t, b u t w ith its em pire gone.
A p art from h is w ork on m o n u m en tal p a in tin g , V rubel h a d
c o n c e n tra ted largely on w ater-co lo u r d u rin g th e la st ten years
of h is life; he co n sid ered th is m edium to be th e m ost ex ac tin g
d iscipline.
M ore th a n an y o th e r a r tis t V ru b el w as th e in sp ira tio n to th e
“ a v a n t-g a rd e ” in R u ssia d u rin g th e n e x t tw e n ty years. H e m ig h t
b e term ed th e R u ssia n C ezanne, for th e y sh are a n u m b er of c h a ­
ra c te ristic s: b o th a rtis ts bridge the centuries in their work, an d
n o t o n ly th e c e n tu rie s, b u t th e tw o v isio n s w hich so ra d ic a lly
d iv id e th e n in e te e n th c e n tu ry from th e tw e n tie th ; “ m odern
a r t ” from th e a rt of E u ro p e since th e R en aissan ce an d th e b irth
of “ easel p a in tin g ” .
M ost of V ru b e l’s draw ings are studies o f flowers, b u t not of
flow ers grow ing in th e field in th e ir n a tu ra l en v iro n m en t; th e y
are p e n e tra tin g close-ups of the tangled in terp la y of form s, g iv ­

163
ing them in th e ir a rtific ia l iso latio n a p e c u lia r d ra m a tic rh y th m .
V rubel is a t his greatest in these exquisite water-colour and
pencil sketches. H is search in g pencil a tta c k s th e m odel from ev ­
e ry v iew p o in t: in transparent interw eaving patterns, in balan cin g
m ass ag ain st m ass, in m o saic-lik e p a tte rn in g . I t is for th is tir e ­
less, ex h a u stiv e e x a m in a tio n of the possibilities o f pictorial
representation th a t th e n e x t g e n e ra tio n s so rev ered V ru b e l, as
w ell as for his extraordinary im a g in a tive vision.

§ 8. Vladimir Favorsky (1886— 1964) left h is m a rk in m any

spheres of a rt. As a young m an , he w orked e n th u s ia stic a lly at
easel p a in tin g an d la te r re ta in e d a fondness for p a in tin g still-
lifes and landscapes. U n til th e end of his days he c o n tin u ed to
enjoy pencil d raw in g , p a rtic u la rly p o rtra its . H is ex p erim en ts
in th e sphere of m o n u m en tal p a in tin g are also w o rth m en tio n in g ;
they show a p rofound u n d e rsta n d in g of th e in d isso lu b le lin k be­
tw een w all p a in tin g an d a rc h ite c tu re .
In sp ite of all th is , F av o rsk y w as u n d o u b te d ly first and
forem ost an en g rav er, and his m edium was wood. It w as to th e
wood eng rav in g th a t he dev o ted th e g re a te st effort and owed
those g re at successes w hich secured for h im one of th e first places
in m odern a rt. F av o rsk y realised th e fa sc in a tio n of th e a c tu ­
al tech n iq u e of th e w oodcut an d w ood en g rav in g , th e b ea u ty
of th e m a te ria l w hich th e a rtis t is c alled upon to reveal in th e
very process of im posing h is ow n w ill upon it.
T he chief p lace in F a v o rs k y ’s w ork belongs to book illu s tr a ­
tio n . T his, how ever, d id not p rev en t him from p ro d u cing a n u m ­
ber of w all p rin ts (often in lin o leu m ), in w h ich he in c o rp o ra t­
ed th e experience g a in e d from h is w o rk o n books.
To a p p re c ia te th e o rig in a lity of F a v o rsk y ’s en g ravings, it
is essential to b ear in m in d th a t he w as n ev er sa tisfie d w ith th e
c reatio n of illu s tra tio n s as se p a ra te , g ra p h ic p ic tu re s n o t seen
as integral parts of the p rin ted page.
W hen b eg in n in g a series of illu s tra tio n s , F a v o rsk y u su ally
w orked from a p re lim in a ry design of th e book h e w as p lan n in g .
T h is design ta k e s in to account th e size of th e book, th e w id th
of th e m arg in s, cover and ti tl e page, in itia l le tte rs and h e a d ­
pieces, th e o rd er in w hich th e illu s tra tio n s w ill be placed and
any o rn a m e n ta tio n w ith in th e te x t.
F av o rsk y uses h is sk ill in com p o sitio n n o t o n ly in th e design­
ing of w hole books an d w hole pages, b u t in th e stru c tu re of each
se p a ra te imgge. W ith g re a t s e n s itiv ity he succeeds in expressing
the essence o f his subject by th e v ery w ay in w hich the component
parts fa ll into position. In th e illu s tra tio n to “ T h e L ay of th e
164
H ost of Ig o r” , w h ich shows Igor at th e b eg in n in g of th e b a ttle ,
th e figures of th e p rin ce and h is w arrio rs are moved out into the
im m ediate foreground, it is as th o u g h th e y w ere a lre a d y ad v a n c ­
ing on th e enem y, th e b lack b a n n e r above th e ir h ead s expresses
th e m ig h t of th e R u ssia n ho st. In th e figure of th e p rin ce verti­
cal lines dom inate. T he figures of h is enem ies are ro u n d th e
edges so th a t th e y a re m e re ly o n th e p erip h ery of th e m ain group.
In th e n ex t p rin t, show ing th e b a ttle b etw een th e R u ssian s and
th e P o lo v tsy , th e d is trib u tio n of figures is of q u ite a different
ch a ra c ter. H ere, th e g a llo p in g figure of Ig o r’s a lly p rince V se­
volod is o n ly g lim p sed in th e d ep th s of th e com p o sition and the
foreground is densely occupied by sq u a t figures of th e P o lo v tsy ,
w ho app ear to h a v e c u t us off from th e R u ssian ho st. T h e solem n,
statu esq u e a ttitu d e s are rep laced b y th e tem po of th e gallo p .
W ith a few excep tio n s when he has recourse to colour F av o rsk y
confines him self to th e use of b lack , w h ite and in term ed ia ry
tones. So acu te is h is s e n s itiv ity to th e m u tu a l effects of dark and
lig h t th a t even in m onochrom e engrav in g s he m an ag es to cre­
ate an illusion of colour harm ony. In th e S a m a rk a n d lin ocuts w e
feel th e b rillia n c e of th e eastern w eaves, in -th e D a n te p rin t th e
nu m b er “ 9 ” sta n d s o u t lik e a scarlet in itia l, th e b lack flag in
“ T he L ay of th e H o st of Ig o r” creates the impression of a patch
of colour.

GEOGRAPHICAL A N D PROPER NAMES

The Wanderers or the Society of
Wandering Art Exhibitions «Пе­
редвижники» («Товарищество
передвижных художественных
выставок»)
the old believers староверы, ста­
рообрядцы, раскольники
the Church of Saint Cyril ['si ril]
К ирилловская церковь
the “avant-garde” [a:,va:j] 'g a :d j
«авангардисты», левые
“The Lay of the Host of Igor”
«Слово о полку Игореве»

WORK ON THE TEXTS

I. Translate the italicised words and phrases from the texts. Give a back
translation without consulting the text.
II. Explain or paraphrase the following phrases from the text:

th e y re p u d ia te d th e p h ilo so p h y of “ a rt for a r t ’s sak e” ; had

la id stress o n “ p lein a ir ” stu d ies of n a tu re ; h am p ered by a s ty l­
ised, lite ra ry app ro ach ; it is in th e n a tu re of a w a ll-p a in tin g ; th e
p ic to ria l co n stru c tio n of th is w ork; a d e co rativ e surface rh y th m
and stro n g h o riz o n ta ls; a lth o u g h a re a lis t p a in te r, h e never
becam e a n a rra tiv e one; lik e T o lsto y ’s, h is c a n v a s w as a vast

165
one; he w as a far m ore a rtic u la te and d istin g u ish ed m a ste r of
his m edium ; a rem ark ab ly precocious d ra u g h tsm a n ; in a m ore
sensuous and less n o stalg ic v ein ; a new p ic to ria l v o cab u lary ; he
considered th is m ed iu m to be th e m ost e x a c tin g d iscip lin e; his
searching p encil a tta c k s th e m odel from ev ery v iew -p o in t;
b ala n cin g m ass ag ain st m ass; m osaic-like p a tte rn in g ; left his
m ark in m an y spheres of a rt; in w hich he in co rp o rated th e e x p e ­
rience gained from his w ork on books; th e solem n, sta tu e sq u e
a ttitu d e s
III. Answer the following questions:

1. W h at goals b ro u g h t th e W and erers to g eth er? 2. W hy w a

th a t group c a lle d th e W anderers? 3. W ho w as th e first R ussian
lan dscape p a in te r? W h a t w as his fav o u rite colour-schem e? N am e
his best-know n lan d scap e. 4. By w hose p a in tin g w as P olenov
m ain ly influenced? W hich of his p a in tin g s do you like m ost?
5. W hy is L e v ita n c alled a re a lly c re a tiv e a n d expressive m aster?
N am e his best landscapes. 6. W hy w as S u rik o v th e first R ussian
p a in te r to co m b in e n a tio n a l id eals w ith an urge to find a new
language? N am e h i»-best-know n canvases. 7. W h a t can you say
a b o u t th e su b je c t, co m p o sitio n , colour an d rh y th m ic a l design of
“ T he B oyarin a M orozova” ? 8. W hy did R ep in d evote m ost of
h is tim e to p a in tin g his co n tem p o raries? 9. W h a t can you say
a b o u t R e p in ’s colours? 10. W h a t does th e social sig n ificance of
R e p in ’s w ork lie in? N am e R e p in ’s b est-know n p o rtra its an d su b ­
ject p ictu res. 11. W h a t do you know a b o u t Serov as a p o r tr a it­
ist and as a lan d scap e p a in te r? W hich of h is p o rtra its do you like
best of all? W h y can w e say th a t Serov cam e close to th e Im pres­
sio n ists in h is “ G irl in S u n lig h t” a n d “ G irl w ith P each es” ?
12. W h at ev e n t in V ru b e l’s life d eterm in ed his a rtis tic career?
W h a t w as th e d riv in g force in h is w ork? W h a t featu res c h a ra c ­
terise V ru b e l’s p a in tin g s, d raw in g s an d m osaics? 13. In w hich
spheres of a rt d id F av o rsk y leave his m ark ? W h a t w as he first
an d forem ost? N am e his b est-k n o w n w orks.
IV. Retell the texts in detail.
V. Give the characteristic features of the work of the most prominent Rus­
sian artists in outline.

E X E R C IS E S TO PART VI

I. a) Retell the following text, b) Describe the reproduction of V. Suri­

kov’s “The Boyarina Morozova” using this text as a guide.

“ The B o y arin a M orozova” is one of th e g re a te st p a in tin g s in

th e w orld of p ic to ria l a rt — a w ork of epic g ra n d e u r.

166
 T he subject of th e p a in tin g is based on a h isto ric a l fact
w h ich a c tu a lly o ccurred d u rin g th e reign of T zar Aleksei Mi-
k h a ilo v itc h , th e fa th e r of P e te r I.
T he a c tio n tak es place in a q u ie t, narrow M oscow stre e t in
th e 17th c e n tu ry . T he sh o rt w in te r d ay is d eclin in g ; it is n early
tw ilig h t. T he q u ie t snow -covered s tre e t presen ts an un u su al
aspect: it is filled w ith throngs of people w ho are su rging in to
th e stre e t.
T he M uscovites are th ere to accom pany an d p ay hom age to
th e first B o y arin a of Moscow, w ho is being ta k e n to in te rro g a ­
tio n and to rtu re for her u n b en d in g adherence to th e old believ­
ers, th e so-called d issenters (R ask o ln ik i).
T he B oy arin a form s th e cen ter of th e com p o sitio n , and im m e­
d ia te ly a ttra c ts a tte n tio n by her pale inspired face, set off by
her d ark garm en t and m ark ed by an inner sto rm of em otions. H er
h a n d is raised in an e lo q u en t g estu re w ith tw o fingers m aking
the sign of th e cross, th e sym bol of th e dissenters, forbidden by
th e ch u rch . She is su p erb in her in d o m ita b le in fle x ib ility and
readiness to die for w h a t she considers a rig h teo u s cause.
Each ch a ra c ter in th e p ictu re is strik in g ly in d iv id u a lise d ,
rev e alin g stren g th and m ig h t of th e p o p u lar m asses. Each of
th e c h arac ters accom panying th e B o y arin a is p o rtra y ed w ith
u n fo rg etta b le expressiveness. E ach figure in th e p ic tu re is an
a ctu al p o rtra it. T h e e x a lte d expression on th e face of th e beg­
g a rly , feeble-m inded devotee, w ith his tw o fingers ra ise d , re p e a t­
ing th e sign m ad e by th e B o y a rin a , as a to k en of h is devotion
and adherence. T he p ilg rim w ho is absorbed in deep th o u g h t.
T he B o y a rin a ’s siste r, princess U ru so v a, who is w alk in g by th e
sledge, read y to sh are th e fa te of th e B o y arin a. T he k neeling old
beggar-w om an who w orships th e heroic m a rty r. T he young w om ­
an w ith th e in sp ired sorrow ful face w hose b e a u ty is enhanced
by th e deep b lu e of her coat and th e yellow of her shaw l and p a r­
tic u la rly by th e p o sitio n of h er b en t figure, w hich expresses
th e reverence she feels for th e B o y arin a. T he young g irl w ith
th e frig h ten ed expression in h er eyes. A nd th e young n u n , w hose
pale, sorrow ful face sta n d s o u t as a sharp c o n tra st to her black
garb. All th e p a rts are b ro u g h t to g eth er w ith g re a t m astery re ­
v ealin g S u rik o v ’s fin e sense of com p o sitio n . F rom th e p o in t of
view of its com p o sitio n th e p ic tu re is easily d iv id ed into two
p a rts, w ith th e sledge b earin g th e B o y arin a in th e centre.
E x tra o rd in a rily co n v in cin g is th e ren d erin g of th e rh y th m
w ith w hich th e m o v em en t of th e sledge is a n im ate d , as it
m oves slow ly am id st th e d ispersing crow d. T he im pression p ro ­
duced by th e diagonal lines of th e co m p o sitio n is h eightened
167
b y th e m ovem ent of th e boy ru n n in g after th e sledge, a n d p a rtic ­
u la rly by th e tra c k s ju st m ad e b y th e sledge ru n n e rs in th e snow.
S u rik o v u n d e rsta n d s th e law of c o n tra st an d asso ciatio n of
colours. R e m a rk a b ly p ic tu re sq u e is th e h a rm o n io u s colo u rin g
of th e w hole c an v as w ith th e d o m in a tin g b lu ish tin ts in it and
th e expressiveness achieved b y th e asso ciatio n of b lack and w h ite ,
th e re p e titio n of th e red an d yellow spots. T he blues and th e
reds and th e yellow s m erge in to one an o th er an d c re a te a h a rm o ­
nious w hole.
T he lan d scap e re p e a ts th e b lu e , red and yellow colour schem e
of th e shaw l w o rn b y princess U rusova w ith its w h ite background.
T he design on th e shaw l is ag ain rep e a te d in th e a rc h ite c tu re of
th e an c ien t b u ild in g s an d even in th e shaft-bow of th e harness.
T he a rtis tic sk ill and love w ith w hich th e p a in te r renders th is
n a tio n a l o rig in a lity and b e a u ty show h is keen ap p re ciatio n of
h is people.
II. Describe V. Serov’s “Girl in Sunlight” using the following vocabulary:

patches of lig h t; local colour; flecks of lig h t; h ig h lig h ts;

to be enveloped in atm osphere; to be b a th e d in lig h t; colour-
schem e; off-centre; a g a in st th e b ack g ro u n d ; sk etch y technique;
b ru sh strokes; to be concerned; to ren d er; to convey; to be im ­
b ued w ith ; to be su rro u n d ed w ith an a u ra of p o etic se n tim e n t
III. Describe the reproduction of I. Levitan’s “Those Evening Bells” ,
speak about its composition, colour-scheme and mood.
IV. Describe the reproduction of V. Favorsky’s “The Lay of the Host of
Igor” (See Illustration No 17.) using the text on Favorsky as a guide.
V. Without translating the extracts give the English equivalents for the ital­
icised words, groups of words or phrases, and then render the para­
graphs.

1. «Сватовство майора» Ф едотова имеет глубоко социаль­

ную направленност ь, в ней бичую тся браки без лю бви, без
ром антики, представляю щ ие собой прозаичны е практи чес­
ки е сделки. В цент ре карт ины — невеста, р а зр я ж е н н а я ,
сты д ящ аяся, стрем ящ аяся упор х н у ть, уйти от' опасности.
О чень вы разительна ее ф игура, р азвер н у тая в обе стороны и
к а к бы объединяю щ ая всю композицию . А в д в ер я х , н а фоне
зеленой стены, вырисовывается силуэт ж ениха — м айора,
привлеченного кап италом , в придачу к которому он получает
ещ е и при влекательн ую невесту.
2. Одной из наиболее сильны х картин П ерова я в л я е т с я
его «Сельский крестны й ход на пасхе». П еч ал ьн а картин а
невеж ества и убогости деревенской ж изни. Серое, мрачное
168
небо, г р я зь на дороге и голые деревья — весь этот унылый
пейзаж усиливает чувство беспросветной тоски. Гротескно
изобразив пьяного попа, П еров не идеализирует и крестьян,
а правдиво показывает и х т а ки м и , какие они есть.
3. По инициативе М ясоедова, П ерова, Ге, К рамского и
д руги х в 1870 году возникло «Товарищество передвиж ных
художественных выставок». Товарищ ество просущ ествовало
д э 1923 года, устроив за это врем я 48 больш их выставок в
П етербурге, М оскве, К иеве, Н иж нем -Н овгороде и д руги х
городах. Н а этих вы ставках публика зачастую впервы е во ­
общ е видела к а р т и нн ую живопись. К артины передвиж ников
были изображ ением не религиозны х или м алопонятны х м и ­
фологических и ист орических сюжетов, а воспроизведением
бли зкой и интересной всем ж и зни современного города и
деревни.
4. Н овое понимание русской природы проявилось в зам е­
чательной картин е С аврасова «Грачи прилетели». О на произ­
вела огромное впечатление н а современников и словно рас­
кры л а им гл а за н а родную природу задуш евностью и просто­
той передачи ранней весны. В обыденно-знакомом невзрачном
об ли ке села С аврасов сумел подглядеть и передать поэтич­
ность и красоту. К ом позиция естественна и проста. Сдержан­
н ая гамма голубых, белых и коричневых цветов в их переходах
передает движ ение светотени.
5. Творчеству К уиндж и присущ а поэтическая приподня­
тость, его привлекаю т черты ром антики в природе. Поэзией
прост ранст ва можно н азв ать карти н у «Ночное» с ее «музы­
кой» ночной тиш ины. Основным средством выражения эмо­
циональност и явл яю тся контрасты темной массы зелени и
силуэт а лошадей на фоне светлого неба и реки.
К уиндж и увлекаю т эффекты освещ ения, придаю щ ие поэ­
тическую возвы ш енность и вы разительность обычным видам
природы. Особенно яр ко это вы разилось в его ночных у кр аи н ­
ских п ей заж ах. Его «Ночь на Д непре» пораж ает естественно­
стью передачи лунного света, к а к бы излучением самого л у н ­
ного диска. « Б ерезовая роща» К уиндж и т а к ж е пораж ает зр и ­
теля иллю зией реальной глубины прост ранст ва и округлости
стволов берез. И в этой картине эффекты освещ ения, я р к а я
звучность цвета играю т сущ ественную роль.
6. Ж ивописец, ист орик искусства, много способствовавш ий
исследованию и п оп уляри зации русской худож ественной к у л ь ­
туры , И горь Г рабарь вы ступает преж де всего к а к мастер
лирического пейзажа. «Луч солнца», «Ф евральская лазурь»,
«Сентябрьский снег» — таковы мотивы его популярны х п ро­
169
изведений. Г р аб ар ь повторяет полюбивш иеся ему мотивы,
пишет серию этюдов инея при разном освещ ении, возвращ ается
к изображ ению последних лучей заходящ его солнца. О днако
его интересовали не только «элементы зрительного опыта».
Е го влечет в первую очередь поэтический образ русской п ри­
роды.
7. Творчество Б о р и са К устодиева своеобразно к ак п
своим источникам, так и по х а р ак тер у колорита. К устодиев
творчески использует народны й лу бо к, элементы русского
народного творчества. Он изображ ает м ещ анский и купечес­
кий быт русской п ровинции, в т ракт овке которого причудли­
во сочетает идеализацию с иронией. Типичны д ля К устодиева
«Я рм арка», «К расавица», «Балаганы » — жанровые карт ины ,
где ф игурирую т «кустодиевские» дебелые красавиц ы у сам о­
в а р а , за обильно заставленны м столом. Н ар о чи тая наивность
образов у К устодиева я вл яется своего рода стилизацией.

VI. Translate the following:

1. В «И тальянском полдне» Б рю ллов изобразил сним ав­

ш ую вин оград и т а л ь я н к у , пыш ущ ую здоровьем и радостью
ж изни. Он писал ее с н атуры , на вин оградни ке, и вся карти н а
пронизана ощ ущ ением ю ж ного зноя и солнца.
2. П еров работал в серо-коричневой, почти одноцветной
гамме, к ак и больш инство передвиж ников 1870-х годов, н ар о ­
чито противопоставляя ее пышной цветистости салонной
ж ивописи.
3. К рам ской развивает дальш е достиж ения П ерова в об­
ласти психологического портрета. П роникновенную психо­
логическую х ар актер и сти ку находим мы в портрете Л ьв а
Толстого. Все вним ание сосредоточено на передаче внутреннего
об ли ка великого п и сателя, его духовной ж изни. К рам ской
избегает всяко й позировки; сдерж анность вы является и в ж и ­
вописи. Тонко р азр або тан н ая светотень создает впечатление
к а к бы легко й , едва уловимой смены вы раж ения лица портре­
тируем ого, отраж аю щ ей смену его мыслей.
4. П о ж ал у й , лучш е всего кр естьян ская тем атика отраж ена
у С авицкого, который сочувственно тр акто в ал эту тем у, и
картины которого имели глубоко социальную н а п р ав л ен ­
ность.
5. К артина В асильева «Мокрый луг» — один из вы даю ­
щ ихся пейзаж ей русской реалистической ж ивописи. В этой
картин е худ ож ни к тр акту ет изображ ение больш ими массами,
однако с тонкой проработкой деталей, особенно на первом

170
плане. В цветовой гамме картины зам ечательно передана в л а ж ­
ность атмосферы и тр авы л у га.
6. В творчестве Репина и С урикова передвиж ническая ж и во­
пись д остигла высшего расцвета и наибольш его соверш енства.
И х творчество носит я р к о вы раж енны й национальны й х а р а к ­
тер к а к по своим сю ж етам и идеям , т а к и по истокам и тради ­
циям.
7. О бращ аясь к наследию Р еп и н а, пораж аеш ься преж де
всего многосторонности ху д о ж н и ка. В еличайш ий ж ан рист,
он был вместе с тем одним из самых вы даю щ ихся портретис­
тов. С оздатель р яда монум ентальны х исторических полотен,
Репин яв л яется и отобразителем современного ему револю ­
ционного движ ения.
8. В конце 1870-х годов В асилий П оленов оставл яет исто­
рическую и батальную тем атику, считая себя наиболее с к л о н ­
ным к «пейзаж ном у, бытовому ж анру». П равдиво и сердечно
и зоб раж ая окруж аю щ ую его действительность, П оленов с о з­
дает свои лучш ие произведения. Это преж де всего пейзаж
«М осковский дворик» — п р о н и кн у тая, к а к ни одна из картин
в русской ж ивописи, написанны х до него, свеж естью , за д у ­
ш евным лиризм ом , за л и т а я солнцем, новато р ская по под­
ходу к природе. П оленов изобразил х арактерны й д л я того
времени дворик с домом, сараям и и колодцем. З а ним в г л у ­
бине видны деревянны е домики, церковь с пятью куполам и и
стоящ ей рядом ш атровой колокольней и далее, правее, силуэт
еще одной церкви.
9. Во многих кар ти н ах Н естерова, наприм ер в портрете
его дочери, м я гк ая серовато-зеленая тональность гарм оничес­
ки объединяет все цвета. Т онкий м азок дает Н естерову в о з­
м ож ность убедительно сочетать детальную передачу предме­
тов с единством целого.
10. К рупнейш им мастером лирического п ей заж а был И саак
Л евитан. Его образы природы чрезвычайно разнообразны :
они вы раж аю т всю гамму человеческих переж иваний — от
светлой тихой радости до глубокой скорби. В тонкости вос­
при ятия природы , в передаче «настроения» у Л еви тан а много
сходства с Ч еховым.
V II. Act as interpreter in the follow ing dialogues:

D ialogue I

A. T he W and erers w ere p ro te st p a in te rs in a w ay , w eren ’t

th ey ? P ero v , K ram sk o i, Y aroshenko an d o th e rs seem to

171
 h av e a social m essage to convey. In P e ro v ’s “ P e asa n t B u r­
ia l” or “ T h e G overness A rriv e s” , I ’d say , he w as defi­
n itely ex pressing social ills.
В. Д а , эти худож ни ки использовали свой талан т как оруж ие.
И они действительно сочувствую т народу.
A. Of all th e W an d erers, I th in k R ep in w as th e deepest th in k e r
and m ost v e rs a tile p a in te r. I know th e fam ous “ T he V olga
B o a tm e n ” an d th e “ Cossacks W ritin g a L e tte r to th e S u l­
t a n ” . B o th show a larg e g a th e rin g of m en , th a t h av e a c h a r­
acter as a group an d in d iv id u a l p e rso n a litie s as w ell.
P sychological stu d ie s, re a lly . B u t so are p ic tu re s lik e “ T hey
did n o t E x p e c t H im ” . W h a t m oves m e th e m ost th o u g h ,
is th e p o rtra its . “ M ussorgsky” , for instan ce. A n excellent
likeness on one h a n d , an d a very p e n e tra tin g and sy m p a­
th e tic stu d y of a m a n ’s inn er w o rld , on th e o th er.
B. А вот в зя т ь двух наш их худож ни ков — В аснецова и С у­
р и к о в а ,— о ни х, о к азы вается, много спорили в свое
врем я, а м ож ет бы ть, и по сей день не остыли страсти.
A. Y ou m ean th e re are people w ho d o n ’t lik e w h a t th e y stood for?
B. Н ет, не столько то, что они писали, сколько трактовка
этих сю ж етов, и д аж е м анера письма. Т а к , о Васнецове
говорилось, что он холоден и театрален.
A. P e rh a p s in som e p a in tin g s I h av e n o t seen. B u t “ A lionu-
sh k a ” ...!
B. А у С урикова рисунок каза л с я «суровым и тяжелым».
A. T h a t m ay h a v e been w h a t h e needed to h e ig h te n th e em o tio n ­
al effect! B esides, th e w ay he could use colour! A nd sp e ak ­
ing of co lo u r, I w as v ery m uch im pressed by th e L e v ita n
p a in tin g s I saw in Moscow an d L en in g rad . B u t stran g e as
it m a y seem , he is alm o st unknow n o u tsid e y our co u n try .
B. Е го творчество еще мало изучено на Западе?
A. T h a t’s rig h t. A nd you can n o t h av e an ap p re c ia tio n of art
you do n o t know . I p erso n ally th in k th e re is a lo t to his
w ork. H e is a very in d iv id u a l sort of p a in te r. I th in k a n y ­
one w ho responds to R u ssian a rt an d m usic w ill a p p re c ia te
L e v ita n . H e is a real poet of th e R u ssian co u n try sid e.
B. А как и е из произведений Л еви тан а вам больш е всего
понравились?
A. I t ’s h a rd to say. I th in k I lik ed th em a ll. T h e re ’s so m eth in g
in h is lan d scap es th a t reflects o u r ow n m oods. T ak e th e
“A u tu m n D ay in S o k o ln ik i” — th e trees losing th e ir
leaves, th e rem o te, in d ifferen t sk y , th a t p a th going off into
th e d ista n c e ... I t all seem s to b rin g o u t th e loneliness of
th e figure in th e cen tre.

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В. И нтересно, а видели ли вы еще кого-нибудь из русских
пейзаж истов?
A. Yes. P olen o v , lik e L e v ita n , h a d th o se m arv ello u s golden
au tu m n scenes. K u in d z h i m u st h a v e stu d ie d lig h t effects,
especially su n lig h t. T he w ay it falls on th a t b irch grove
of h is is am azing!
B. А вы зн ал и , что у него есть и «лунные» п ей заж и , т. е. пей­
за ж и , освещ енные лунны м светом?
A. Y es, I did an d I lik ed th em im m ensely. T h e re ’s an o th er la n d ­
scape p a in te r I know , S hishkin.
B. А ведь его тож е не все лю бят. Н екоторы е го ворят, что это
просто фотографии.
A. T hen th e y are am ong th e m ost p o etic p h o to g rap h s I h av e ever
seen. I suppose w h a t is o b jected to is th e absence of “ em o­
tio n a l” brush-w ork. B u t a sm ooth surface does n o t a u to m a t­
ically m ak e a p a in tin g inexpressiv e — or vice versa, I
m ig h t add.
B. Д а , это все значительно слож нее, чем каж ется. Н у , и что
ж е вы еще видели?
A. T here are tw o o th e r p a in te rs th a t in terest m e v ery m uch.
B o th p a in te d p eople, b u t one p a in te d them from th e o u t­
sid e in , you m ig h t say, w h ile w ith th e o th e r, th e process
seem s to s ta r t from th e s itte r ’s (or im agined s itte r ’s) em o­
tio n s try in g to g et o u t.
B. Это, вероятно, Серов и В рубель? У С ерова, действительно,
внеш ний эффект солнечного света, наприм ер, или о к р у ­
ж аю щ ие предметы к а к будто придаю т особое вы раж ение
изображ аем ом у человеку.
A. Y ou got m y p o in t, yes. I feel th a t Serov w a n te d th e a p ­
pearance of th e person he w as p a in tin g , an d ev e ry th in g th a t
su rrou n d ed h im to lead th e view er to a ce rta in feeling about
h im , an im pression of th e m o m en t, tra n sfe rre d , as it w ere,
from th e a rtis t to th e view er. Y et such a p o rtra it w as a l­
w ays a good lik en ess, too.
B. A y В руб еля все наоборот?
A. Y es, I am sure th a t V rubel sta rte d w ith a feeling, some
feeling he c o u ld n ’t p u t in to w ords, so he s ta rte d a p a in t­
ing. A nd w h eth er it w as a little gyp sy g irl s ittin g cross-
legged on a ru g , or h is series of “ D em ons” or th e “Swan
P rin c e ss” , th o se sam e y earn in g eyes are alw ays looking
o u t a t you. T h a t’s w h a t I m ean b y p a in tin g from th e in­
sid e o u t. T h e em o tio n seems to ta k e form , an d w e see a face
or a figure.

173
 D ialogue II
A. I ’m no connoisseur, ju s t a laym an in te re ste d in th e a rt of
p a in tin g and th e a rt of seeing. A nd o th e r p eo p le’s o p in ­
ions on b o th . H ow do you look a t a p ictu re? A nd w h a t
is th e re in a p ic tu re to see?
B. Видите л и , воздействие искусства на человека зави си т от
очень многих причин. П осмотрите х отя бы н а этот п о р ­
трет К ончаловского. В этой картин е, к а к вы видите, нет
ни значительного сю ж ета, ни той эффектности натуры ,
которая способна одним своим видом остановить н а себе
внимание. Х уд ож ни к пишет девуш ку (свою дочь) н а ­
меренно просто, избегая картинности*. И тем не менее
что-то с р а зу привлекает нас в этой незам ы словатости**,
от картин ы трудно оторваться! Мы с удовольствием в г л я ­
ды ваем ся в веселое, пыш ущ ее зд оровьем лицо, в просто­
ватую позу девуш ки, застегиваю щ ей туф лю , и незаметно
нам передается*** хорош ее настроение, ощ ущ ение р а ­
дости ж и зни. А первое впечатление при встрече с п рои з­
ведением искусства играет важ нейш ую роль.
A. I c o u ld n ’t agree m ore.
B. У гл у б л яя с ь в ж ивописны е достоинства портрета, мы н еза­
метно д л я себя обнаруж иваем в нем новые и новые к а ­
чества, и постепенно в нашем сознании вы растает полно­
ценный худож ественны й образ — о б раз плени тельной
молодости.
A. W h a t a b o u t d rau g h tsm an sh ip ? Do you consider th a t im p o r­
ta n t in p ain tin g ?
B. К о гд а о каком -нибудь х у д о ж н и ке го во р ят, что «он отли ч­
но рисует», имеется в виду, что такой х у д о ж н и к уме­
ет свободно передавать объемные формы в любых
пространственны х полож ениях. Н о дело, конечно, не
в одной правильности изображ ени я. Этого т а к ж е мало
д л я и скусства, к а к м ало правильного правоп исания д ля
сочинения стихотворения или р ассказа. Х орош ий р и су ­
нок долж ен быть не только грамотны м, но и в ы рази тел ь­
ным. Все больш ие худож ни ки превосходно владели р и ­
сунком . Р а зр а б о тк а х ар актер о в , ж ивость персонаж ей
в первую очередь зави сят от рисунка.
A. I d id n ’t know d rau g h tsm an sh ip w as so im p o rta n t in p a in tin g .
A nd w h a t does being a good co lo u rist m ean? D oes it m ean

* effects of any kind

** sim plicity
*** we catch th e mood

174
 th a t th e m o re co lo u rs a p a in te r h as in h is p a le tte , th e b e t­
te r he is as a colo u rist?
В. H e совсем т а к . Х уд ож ни к при ж елани и пользуется всей
палитрой, а иногда ограничивается лиш ь немногими к р а с­
ками. Е сть худож ни ки повыш енной красочности. И х про­
изведения я р к и , нарядны , праздничны : К оровин , К он ­
чаловский, С арьян впечатляю т нас щ едростью света,
цвета, мощными красочными соцветиям и. Н аоборот,
величайш ий колорист Рем брандт пи сал не более, чем
тремя-четы рьм я краскам и . А к а к а я сила колорита!
A. A nd now , does th e w ord ‘p a in tin g ’ refer o n ly to p ic tu re s in
o ils and w ater-colours?
B. Н ет, не только. Ж ивопись может быть а к в а р е л ь н а я , мас­
л я н а я и д аж е м озаичная; кроме того, ж ивописная р а ­
бота может бы ть вы полнена гуаш ью , темперой и пастелью.
М аслян ая ж ивопись отличается богатством цветовых и тех­
нических возможностей. О на позволяет наносить и про­
зрачны е, просвечиваю щ ие слои красок, и наслоения
густые. М азок м асляной краски бывает и резко отчетлив,
и совсем незаметен. Он может быть крупны м и мелким,
плоским и бугристым.
A. W h a t effects are achieved by different k in d s of brush
strokes?
B. Внешний вид картин ы , техника ее написания во многом
зависят от веления, т а к сказать, времени. Н о всякий серь­
езный ж ивописец приходит к определенным техничес­
ким приемам лиш ь в результате образного воплощ ения
своего зам ы сла. Т ех н и ка у него никогда не довлеет.
П роследите, наприм ер, своеобразную манеру В р у ­
беля. Своего «Витязя»* он пишет мелкими искрящ имися
мазочкам и, сли вая могучий массив всадника и коня в
темную силуэтную глы бу. Его «Ночное» или «Сидящий
демон» написаны уж е в другой манере, но тож е, конечно,
по-врубелевски.
A. I t seem s to m e th a t th e re isn ’t any sm ooth p a in tin g in any
of th e S oviet p ic tu re s th a t I h av e seen.
B. Д а , нет, почему ж е. П росто гл ад к ая обработка красочной
поверхности больш е х ар ак тер н а для произведений ста­
рых мастеров, но тщ ательность гладкой манеры иногда
подсказы вается художественным замыслом и в наши
дни. В отличие от гладкой техники энергичное письмо,

* “ The K n ig h t”

175
 крепкий м азок сообщают ж ивописи особую динам ич­
ность.
A. E ach p a in te r seems to h av e h is own sty le of brush-w ork.
B. Д а , конечно. Ф ранц узски е импрессионисты или, н ап ри ­
мер, наш Г рабарь писали разноцветным и м азочкам и,
иногда точкам и, как С ёра, С ин ьяк и др у ги е пуан ти ли с­
ты. С ли ваясь н а расстоянии, эти красочны е пятны ш ки
создают впечатление вибрации света и воздуха. В стре­
чается, наоборот, и м анера плотного письма. Т акое .пись­
мо, как во врубелевском «Демоне» усиливает об раз т я ­
ж ести, суровой непреклонности. Словом, все это разны е
приемы и способы живописной техники. К акой из этих
приемов лучш е, сказать нельзя.
A. Y o u ’re rig h t there. I ’ve n o ticed th a t th e m ore one is exposed
to p a in tin g of different k in d s, th e b e tte r one can form a
ju d g m en t as to w h a t is good, re a lly good, and w hy.
V III. Lise one of the following topics for oral or written composition.

1. S peak ab o u t th e m ain featu res in th e w ork of th e m ost

o u tsta n d in g R u ssian p o rtra it-p a in te rs , g e n re -p a in ters and la n d ­
scape-painters.
2. M ake a re p o rt on your fa v o u rite R u ssian p a in te r and de­
scrib e one or tw o of h is pictures.
3. D escribe K. B ru llo v ’s “ T he L ast D ay of P o m p e ii” and
I. R e p in ’s “ Iv an G rozny K illin g H is Son I v a n ” , and speak
ab o u t th e a r tis ts ’ ren d erin g of colour an d m o tio n to convey th e
d ram a of th e m om ent.
4. D escribe A. K u in d z h i’s “ N ight on th e D n ie p e r” and
I. L e v ita n ’s “ E te rn a l R e s t” and discuss th e difference in th e ir
tre a tm e n t of a riv e r view .
5. D escribe an y p a in tin g b y K . K o ro v in , I. G ra b a r, V. B ori-
sov-M usatov an d speak ab o u t th e ir im pressio n ist h a n d lin g of
th e subject.
6. M ake a rep o rt on your fa v o u rite S o v iet p a in te r and de­
scrib e one or tw o of h is pictures.
7. Speak ab o u t th e developm ent of R ussian p a in tin g in:
a) th e X V III, b) th e X IX an d c) th e X X centu ries.
IX. Describe a picture (See Illustrations No 15— 17) using as many words
and expressions of the new vocabulary as possible.
 Part VII.

AMERICAN ART

§ I. The Artist in America

A rt developed in A m erica in c o n d itio n s such as ex isted in

no E u ropean n a tio n . In ste a d of a c iv ilise d society in h a b itin g th e
sam e region for c e n tu rie s, h ere w as a group of colonies draw n from
m an y co u ntries. A nd for th e first c e n tu ry and a h a lf, c o n d itio n s
w ere u n fav o u rab le to th e grow th of any a rt. H isto ric a l a rt re ­
q u ired official p atro n ag e an d a long b ackground of h isto ry .
Classical themes would have seemed even more foreign and would
have involved the forbidden m o tif of the nude. P ic tu re s of daily
life w ere of no in te re st to th e m e rc a n tile aristo c ra c y . Though
th e re w as som e lan d scap e p a in tin g of a n aiv e k in d , a people
engaged in fig h tin g th e w ild ern ess h a d little use for th e ro m a n tic
se n tim e n t for n a tu re . U p to th e e ig h te e n th c e n tu ry , th e o n ly
k in d of a rt w hich people of w e a lth an d p o sitio n considered nec­
essary w as p o rtra itu re ; an d it w as in p o rtra itu re th a t A m erican
a rtis ts m ad e th e ir first achievem ents.
M a n y native born artists began as craftsm en, house-sign and
carriage painters, ca rp e n te rs an d c a b in e t m akers.
As th e U n ite d S ta te s em erged from colonialism in to n a tio n ­
hood th e m ore in te llig e n t a rtis ts w ere draw n increasingly to
E urope. I t w as in L ondon in B en jam in W e s t’s* stu d io th a t th e
first A m ericans a tte m p te d at th e g ra n d sty le o rig in a te d in W e st’s
own in n o v atio n . F rom h is stu d io , C harles W illson P ea le cam e
h om e to p a in t h is in v a lu a b le record of th e re v o lu tio n and its
leaders. I t w as u n d er W e st’s te a c h in g th a t J o h n T ru m b u ll
p a in te d h is re v o lu tio n a ry b a ttle scenes, s till th e fin est A m er­
ican h isto ric a l p a in tin g in th e g ra n d sty le. O n h is re tu rn T ru m ­
b u ll trie d to m ak e a career of h isto ry p a in tin g b u t A m erica was
not re ad y for th is; th e federal g o v ern m en t h a d ad v anced little
b eyond th e colonies in reco g n itio n of a rt and b y th e tim e T ru m ­
b u ll fin a lly secured a com m ission for his C ap ito l m u ra ls,h is y o u th ­

* Benjamin West, an American painter (1738— 1820)

177
ful fire w as gone. T h e sam e fa te o v erto o k o th e rs w ho a tte m p te d
lik e su b jects, J o h n V an d erly n , A llsto n and oth ers.
T he first d e fin ite school of landscape p a in tin g appeared
in th e eighteen tw en ties. The H udson R iver School foun ded aro u n d
1825 by T hom as C ole (1801— 1848) expressed the im m ensity, soli­
tude and open skies o f the N ew W orld in enormous rom antic can­
vases.
T he la te n in e te e n th c e n tu ry w as a b r illia n t p erio d for A m er­
ican-born p a in te rs. C a ssa tt an d W h istler* c ast th e ir lot w ith
th e O ld W orld . A lth o u g h n o t th e m ost p ro fo u n d m em ber of th e
F ren c h Im p ressio n ist m o v em en t, M ary C a ssa tt a p p lied th e P a ­
risia n tech n iq u e to personal th em es an d m ad e a la stin g m ark.
W h istle r developed in E n g lan d a s ty le , a llie d to Im pressionism
yet very m uch h is ow n, th a t w as one of th e m ost in d iv id u a l aes­
th e tic achiev em en ts of th e tim e . T he a rtis ts w ho w orked in th e
U n ite d S ta te s w ere less g raceful and m ore pow erful. T he self-
ta u g h t H om er an d th e P a ris -tra in e d E a k in s p a in te d th e aspects
of A m erican life th a t a p p e a le d to them w ith th e realism th a t h ad
been m ad e in to a n a tio n a l c h a ra c te ris tic b y th e need to c re a te
p ro sp e rity in a w ilderness.

§ 2. W inslow Homer (1836— 1910)

W inslow H o m er w as th e son of a h ard w are m erch an t.
H e becam e a m agazine illustrator d ep ictin g rural gaieties and
th e n , d u rin g th e C iv il W ar, an a rtist-c o rre sp o n d e n t in te re s t­
ed not in b a ttle s b u t in th e loneliness of boys far from hom e.
W hen he w as tw en ty -sev en , he began p a in tin g in o ils b u t alm ost
w ith o u t in stru c tio n .
The artist never learned to p a in t su b tly, h is images strike w ith
the v ita lity o f a woodsman’s ax. No m a n ever w orked h a rd e r to
perfect tech n iq u e, b u t he w as d eterm in ed to accept no o u tsid e
influence. S in ce personal in v e n tio n is a m ore lab o rio u s m eth o d
th a n stu d y , h e m a tu re d slow ly. A lth o u g h h e did n o t begin to
use w ater-co lo u r u n til he w as th irty -e ig h t, h e becam e o n e of
th e m ost b rillia n t w ater-co lo u rists th e w orld h a s know n. H e w as
s ix ty before his o ils reached th e ir full g ra n d e u r. As his a rt deep­
ened, he lost in te re st in g a ie ty , in c h ild re n an d p re tty g irls.
T he seafarin g h e rita g e of h is n a tiv e N ew E n g la n d drew h im from
New Y ork to a w il d sp o t on th e M aine coast w h ere he p ainted sailors
and their women b a ttlin g w ith the elements, b u t g rad u ally even
th ese rugged to ile rs faded from h is v ision. N ow h e saw o n ly the
u n in h a b ite d ocean, lashed b y trem en d o u s w in d s, te a rin g a t the

* Whistler I'w isb ] Уистлер

178
lan d . The pictures are so pow erful one im agines them the work o f
a g ia n t.
S om etim es H om er so u g h t m ore glo w in g colours in th e tro p ics,
b u t th e b rig h te r a rt d id n o t soften th e a u s te rity of h is vision.
“ G ulf S tre a m ” shows a N egro, m enaced b y h ig h seas, sharks,
and a w atersp o u t, stre tc h e d o u t in h is d isab led b o a t, helpless
and resigned. L ik e th e w aves th a t toss h im , he is an in sig n ifi­
c a n t p ro d u ct of n a tu re ’s law s. H is d e a th , lik e th e b re ak in g of a
w ave, w ill be fo rg o tte n before th e sp ra y falls.

§ 3. M ary C assatt (1845— 1926)

M ary C a ssa tt becam e D eg as’ p u p il an d th ro u g h h im jo in ed

th e Im pressio n ist gro u p . She w orked in o ils an d p a ste ls and also
m ad e etch in g s and lith o g rap h s. In all of h er w ork m ay be seen
th e influence of D egas and of Jap an ese p rin ts, b u t sh e w as very
original in her use o f colour and her h a n d lin g of themes, using
strong, sure line.

GEOGRAPHICAL A N D PROPER NAMES

Charles Willson Peale [p i: 1] Ч арльз Thomas Eakins ['i:k in z] Томас

Уилсон Пил Икинс
John Trumbull ['1глтЬ(э)1] Winslow Homer ['w inzlou 'houm a]
Д ж он Трамбалл Уинслоу Гомер
John Vanderlyn ['vaendalin] Джон
Вандерлин Maine [m ein] Мэн (a sta te in the
Washington Allston ['o:lstan] В а­ USA)
шингтон Олстон Mary Cassatt [ka'saet] Мэри Кэс-
Thomas Cole [koul] Томас Коуль сетт

WORK ON THE TEXTS

I. Translate the italicised phrases from the texts. Give a back translation
into English without consulting the text.

II. Answer the following questions:

1. W h a t p a in tin g genre w as p re d o m in a n t in A m erican art
up to th e 18th c e n tu ry and w hy? 2. W h a t w as th e fa te of those
p a in te rs w ho a tte m p te d h isto ric a l them es? 3. W h a t facto rs ac­
co u n t for H o m e r’s slow d evelopm ent as an a rtis t? 4. H ow did
H o m er’s sub ject m a tte r change w ith th e years? 5. W h a t features
c h aracterise H o m e r’s p a in tin g ? 6. W ho w as M ary C assatt?
C haracterise h er sty le.
III. Retell the texts in detail.

179
 § 4. Janies M cNeill Whistler (1834— 1903)
As an a rtis t W h istle r h as u su a lly been reg ard ed as an iso la t­
ed phenom enon ru n n in g co u n ter to th e tre n d s of h is day and h a v ­
ing little re la tio n sh ip s ty lis tic a lly to any of h is contem poraries.
A t th is p eriod th e A m erican scene h ad little to offer W h is­
tle r, and his a rtistic career, properly speaking, began o n ly when he
arrived in Paris, in 1855. T he m a in a rtis tic tre n d of th e day con­
sisted of a re a c tio n ag ain st ro m a n tic ism an d classicism in favour
of realism ; co n seq u en tly m uch p a in tin g — in p a rtic u la r th a t
of C ourbet an d M anet — w as ch aracterised b y an absorption in
everyday subject-matter.
As a tru e re a list W h istle r found h is them es in th e w orld
around him . An im p o rta n t e a rly p a in tin g w a s “ W a p p in g ” of 1861
w hich he p a in te d in L ondon, showing the boats in the Tham es
and in the foreground three figures. T h is h as th e realism of C our­
b et w ith a very elaborate structure of verticals and diagonals
which form a w eb-like background for the figures.
W h istle r’s a ffin ity w ith m odern French p a in tin g w as bro u g h t
o u t in th e re m a rk a b le “ T ham es in Ice” (1862). F o r v irtu a lly
th e first tim e h e m ay be seen re a lly enjo y in g th e atm o sp h eric
q u a litie s of th e T ham es, an d th e tre a tm e n t of th e ra th e r m isty
and in d e fin ite o u tlin e s of th e factories sm oking aw ay in th e far
distan ce foreshadow s th a t conception of space, as ev o cativ e of
a m ood, w hich w as to c h a ra c terise h is “ N o c tu rn e s” .
D uring th e 1860’s W h istle r’s in terest in realism w as as keen
as ever, b u t his grow ing concern w ith a tasteful arrangem ent of
his subject m atter, ev id en t alm o st from th e s ta r t, w as confirm ed
in one of h is m ost im p o rta n t early p ictu res “ T he M usic R oom ” .
T h is is a stra ig h tfo rw a rd in te rio r, a d m ira b ly p a in te d , very
lig h t and cheerful in to n e, w ith a d ark red carpet* c h in tz y c u r­
ta in s and green-grey w all-p ap er.
T he h o riz o n ta l lines form ed by th e p ic tu re fram es are used
to b rin g o u t th e v e rtic a l form of one of th e m a in figures in th e
p a in tin g , w ith h er graceful silh o u e tte . The intense black o f her
rid in g habit is offset by the w hite dress o f another fig u re, w ho Is
placed under th e lig h t com ing from an unseen w indow .
W h istle r co u ld h a v e rem ain ed a re a list p a in te r, an d perhaps
he could h av e proceeded in to Im p ressio n ism , b u t n e ith e r ro u t*
satisfie d him . T h e subsequent years w itn essed h is ev o lu tio n into
an a r tis t who w orked o u t a sty le — one ab so lu tely h is ow n.
W h istle r’s love of Ja p a n e se a rt is c e n tra l to any u n d e rsta n d ­
ing of h is p erso n a lity an d h is a r t, an d h is b asic con cep tion of h a r­
m o n y w as an o rie n ta l one. H is co n sid erab le ex p erim en ts as an
180
etch er m ay h a v e been p a rtly influenced b y th e Ja p a n e se
ideals.
In h is can v as “ N o ctu rne in B lue and G reen: C helsea” (1871)
W h istler im p lem en ted th a t conception of p a in tin g to w hich he
h ad devoted som e th o u g h t th re e years e a rlie r and described in a
le tte r to a friend: " I t seem s to m e th a t colour o u g h t to be, as
it w ere, em broidered on th e can v as, th a t is to say, th e sam e colour
o u gh t to ap p ear in th e p ic tu re c o n tin u a lly h ere and th ere,
in th e sam e w ay th a t a th re a d app ears in an e m b ro id e ry ...;
in th is w ay th e w hole w ill form a h arm o n y . Look how w ell th e
Ja p a n e se un d ersto o d th is. T hey n ev er look for th e c o n tra st, on
th e co n tra ry , th e y ’re after r e p e titio n .” T h is arran g em en t of
th e p ic tu re so as to achieve a h arm o n y m ay be seen in h is “ Noc­
tu rn e s” (1872).
W h istle r w as not b o u n d by adherence to any one specific
m eth od: his technique varied according to the subject in hand.
W h istle r’s ex p erim en ts w ith th e “ N o ctu rn es” , h is p rin ts,
h is decorativ e en terp rises did not p re v e n t him from devoting se­
rious a tte n tio n to th e problem s of p o r tr a it p a in tin g . F rom th e
1870’s onw ards, it becam e one of his chief p reoccupations. In
a sense, he h ad m uch to overcom e, for he ha d to fin d a style w ithin
the self-imposed lim ita tio n s of his colour-range, and w ith the por­
tra it, as w ith his other pictures, he m a in ly used low-toned colours.
H e had p a in te d a nu m b er of p o rtra its in h is y o u th , b u t his
first m ajor v e n tu re , how ever, w as th e fam ous p o rtra it of h is
m other.
To m ake clear th a t he co nsidered sub ject of no im portance,
he em ployed th e ti tl e “ A rrangem ent in G rey and B lack , No. 1” .
C oncerning th is can v as he w ro te th a t th e p u b lic co u ld have no
in terest in th e id e n tity of th e p o rtra it, it w as of in terest only to
him th a t it w as “ a p ic tu re of m y m o th e r” . T h a t m illio n s have
iden tified th is canvas w ith th e ir love for th e ir ow n m o th ers sug­
gests th a t W h istle r w as m ore inspired by h u m an significance
th an h is th e o rie s allow ed h im to a d m it. H e com posed th e p a in t­
ing w ith d isarm in g sim p lic ity w ith J a p a n e s e c o m p artm en ta l
sp a tia l re la tio n sh ip s in m in d , an d th e p ro file s ilh o u e tte m ost
deftly placed. “ A rran g em en t in G rey an d B lack , No. 1” (now
in th e Louvre) becam e h is m ost p o p u lar p ic tu re and w as spoken
of as “ a real poem of th e h ig h est o rd e r, a m ost serene h a rm o n y ” .
It is rea lly a m ost ten d er p ic tu re in w hich th e p u rity and in­
te g rity of Mrs W h istle r are conveyed b y m eans of th e tig h tly
co n stru c ted com po sitio n ; and th e co n c e n tra tio n is em phasised
by h is p lacin g th e s itte r in side view ag ain st an even-toned b ack ­
ground. She has an a ir of perm anence about her. T he p ic tu re is
181
n o t e n tire ly a u ste re , th is n o te is reliev ed b y th e soft strokes of
p a in t on th e c u rta in .
O ne of W h is tle r’s special g ifts as a p o rtra it p a in te r w as a
fla ir for h ittin g upon a pose which suited the sitter. T hus he w as
o ften at his best in p o rtra its of w om en an d c h ild re n , for w hom
he h a d a n a tu ra l sy m p a th y . H is sk ill in th is d ire c tio n is illu s tr a t­
ed in th e c e le b ra ted “ H arm o n y in G rey an d G reen: Miss C icely
A lex an d er” , w h ich w as one of h is tru e m asterp ieces.
T he g irl is posed sta n d in g in a crisp ly -sta rc h e d w h ite an d g ray
m u slin dress h o ld in g a g ray h a t. H ere th e su b tle , m u te d tones
an d th e tra n s p a re n t glazes in d ic a te W h is tle r’s g re a t a d m ira tio n
for V elasquez. T he fig u re is carefu lly in te g ra te d w ith th e b a ck ­
g ro u n d in w hich th e p arallel b a n d s of floor and w all seem all
to b e on one p lan e. Space is p ic to ria l an d n o t atm o spheric.
In 1871 W h istle r p u b lish ed th e six teen etch in g s of t h e “ T ham es
S e t” and c o n tin u e d a series of atm o sp h eric p a in tin g s of th e
T ham es w hich he first c alled “ M o o n lig h ts” , th e n “ N o ctu rn es” .
In these etchings W histler caught the atmosphere of the riverfront,
th e bo ats an d b rid g es and th e people associated w ith riv e r life.

GEOGRAPHICAL A N D PROPER NAMES

James McNeill Whistler ['d jeim Chelsea ['tje ls i] Ч елси (a d istrict

m a k 'n i:l 'w isla ] Дж еймс М ак­ in London)
нил Уистлер “Arrangement in Grey and Black,
Wapping ['w opig] Уопинг (the No. 1” «Композиция серо-чер­
dock d istrict in London) ная, № 1»
nocturne I'noktain] ноктюрн, зд.
ночной этюд

WORK ON THE TEXT

1. Translate the italicised phrases from the text. Give a back translation
without consulting the text.
II. a) Translate in written form the paragraphs beginning with “ Whis­
tler’s affinity with modern French p ain tin g ...” and with “ It is really
a most tender picture...” b) Translate your versions back into English
without consulting the text, c) Check your versions with the original,
make all the necessary corrections.
III. Explain the following from the text: “This is a straight-forward inte­
rior...” “ Space is pictorial and not atmospheric” .
IV. Answer the following questions:

I. W h at w as th e m ain a r tis tic tre n d in th e m id -nineties?

2. W h at w as th e source of W h is tle r’s them es? 3. W h a t is W h is­
tle r p rim a rily concerned w ith in h is p a in tin g ? H ow does he plan
182
h is com positio n ? Illu s tra te . 4. H ow did Jap an ese a rt influence
h is style? 5. W h at is th e ro le of colour in W h is tle r’s com posi­
tio n s? 6. W h a t is W h is tle r’s approach to p o rtra it p a in tin g ?
W h a t lim ita tio n s did he im pose upon him self? 7. W h a t im pres­
sion does “ A rran g em en t in G rey an d B lack , No 1” m ak e upon
th e view er? 8. H ow are W h is tle r’s p o rtra its re la te d to th e sitte r?

V. Retell the text in detail.

§ 5. XX Century American Art

T he sto ry of A m erican p a in tin g an d sc u lp tu re since 1900
is th e sto ry of re v o lu tio n a g ain st tra d itio n . T hese gro u p s of
im a g in a tiv e young a rtis ts w ho h a d broken w ith th e p a st w ere
m ost o u tsta n d in g .
T he first of th ese g roups w as led b y Robert Henri (1865—
1929). H is en th u sia sm a n d know ledge of a rt m ad e him a n a tu ra l
leader and m e n to r of sev eral young new spaper illu s tra to rs, am ong
th em J o h n S loan (1871— 1951), W illia m G lackens (1870—
1938), George L u k s (1867— 1933), and E v e re tt S h in n (1876—
1953). B y 1900 th e e n tire group led b y H en ri h ad m oved to New
Y ork.
T h e tra in in g th e y h a d received on new spapers and H e n ri’s
p ersuasive view on a rt in re la tio n to life led them to p a in t th e
o rd in a ry people th e y saw aro u n d them on th e stre e ts, in cafes
and th e a tre s. W h a t later became known as the Ashcan School
had its basis in this down-to-earth or down-to-pavem ent rendering
of N ew Y o rk scenes.
A n insp ired te a c h e r, H en ri estab lish ed h is ow n school in
1909. “ L ife an d a rt ca n n o t be d isso c ia te d ,” he to ld h is stu d e n ts,
“nor can a n y a rtist, however he m a y desire it, produce a line of sheer
beauty, that is, a line dissociated fro m hum an fee lin g s."
George Bellows (1882— 1925), th e colossus of th e A shcan
S chool, w as som ew hat younger th a n his colleagues. B ellow s w as
fascin ated b y stre n g th an d m o v em en t; he p a in te d bo x ers, steam
shovels, and c art-h o rses s tru g g lin g w ith snow. H is b est p o r­
tr a its are d ra m a tic ; he show ed h is a u n t in all th e u gliness and de­
c re p itu d e of o ld age, y et w ith th e love th a t is b e a u ty ; he posed
his little daughter in an a d u lt dress w ith such u n re stra in e d de­
lig h t in her ch arm th a t th e re su lt w o u ld be clo y in g w ere it not
so sincere. H is landscapes are alive w ith m ood: som etim es sunny
ly ric ism , som etim es g ray m y ste ry . A lth o u g h a very em otional
p a in te r, h e o n ly ra re ly descended to lite ra ry rh e to ric , for his
feelings spran g d ire c tly from w h a t h is eyes saw . F u ll, detailed,
varied, strong canvases came from h is brush w ith a ra p id ity th a t
183
 precluded tra n q u il th o u g h t. A lth o u g h his p ic tu re s are never d u ll,
m an y are incoherent: the compositions fa ll apart and passages
vary in power as h is in terest flared or b u rn t low. Since he th o u g h t
m o stly in b la c k an d w h ite , h e w as a g re a t lith o g ra p h e r and in
h is p a in tin g s he m ad e b r illia n t use of c o n tra sts betw een lig h t
an of shade.
W ith th e p assing years he w h ittle d aw ay a t h is w eaknesses,
to an alm ost u n d im in ish e d v ita lity he added m ore effective com ­
p o sitio n s, more sensuous hues. A lre a d y one of th e m ost e x citin g
p a in te rs A m erica h ad p ro d u ced , he m ig h t h av e grow n in to one
of th e w o rld ’s re a lly g re a t a rtis ts h a d n o t, a t th e age of forty-
th re e , he su d d en ly died of a ru p tu re d ap p en d ix .
Edw ard H opper (1882— 1967). L ike m a n y self-m ade a rtis ts
E d w ard H op p er had been slow in reach in g m a tu rity . H e w as in
h is early forties before he began to express h im self fu lly in p a in t­
ing. W hen H o p p er achieved reco g n itio n in th e e a rly 1920’s,
th e A m erican a rt w o rld w as b eg in n in g to show th e strong in flu ­
ence of th e School of P a ris. H o p p e r’s a rt from th e very first h a d
been o p p o site to th e general tre n d s of m odernism : in stead of
a b stra c tio n is m , a p u rely re p re se n ta tio n a l a r t, in stead of in te r­
n a tio n a l influences, an a r t based on A m erican life.
H opper h a d stro n g c o n v ictio n s a b o u t n a tio n a l c h a ra c te r in
a rt. H e w rote in 1933 “ In gen eral it can be said th a t a n a tio n ’s
a rt is g reatest w hen it m ost reflects th e c h a ra c ter of its p e o p le .”
H is w ork is m ost d ecidedly fo unded, not on a rt, b u t on life. The
con tem p o rary A m erican c ity w as th e cen ter of m uch of H o p p e r’s
w ork.
L ig h t p lay s an essen tial ro le in H o p p e r’s p a in tin g s. W h e th ­
er ou td o o r o r indoor, n a tu ra l or a rtific ia l, its ex act n a tu re ,
its source, d irectio n and colour are as fu lly realised as th e objects
on w hich it falls. I t is an a c tiv e elem ent in th e p ic to ria l concept.
I t reveals th e c h a ra c te r of b u ild in g s, th e ir colour an d surfaces.
B y c astin g d e fin ite p a tte rn s of lig h t and sh ad e, it acts as an in te ­
gral elem ent of design. In “M orning in a C ity ” th e clear, cool
lig h t from o u td o o rs on th e n ak ed g irl in ten sifies h er isolation.
M any of h is c ity in te rio rs are seen th ro u g h w indow s from th e
v iew -point of a sp e c ta to r and are im bued w ith a p e n e tra tin g
sense of loneliness.
D u rin g th e 1930’s, in A m erica, th ere arose a re a c tio n on th e
p a rt of m an y a rtis ts ag ain st foreign a rt influences. W h ile A m er­
icans such as A rth u r D ove an d G eorgia O ’K eeffe w ere follow ­
ers of th e m od ern m a n n e r, o th e r voices rose a g ain st th e new
sty le s. C itin g th e ir p a th as one of s a n ity an d tra d itio n , p ain ters
such as T hom as H a rt B en to n , J o h n C u rry , an d G ra n t W ood,

184
th a t la te r cam e to be c alled R eg io n alists, recorded the Am erican
scene in conventional pictorial terms. Views o f K ansas an d Iow a,
lab o u r in th e fields, to rn a d o e s, an d even folk ta le s such as “ T he
Jea lo u s L over of L one G reen V a lle y ” issued from their easels.
L ite ra l and a t tim es ly ric a l form s w ere c a p tu re d on can v as as
th e p a in te rs gazed a t b ro ad level expanses or view ed h am lets
n estled in h ills o r v alley s. Ignoring th e fin d in g s of th e C u bists,
A b stra c tio n ists, S u rre a lists,th e y b ro u g h t fo rth im agery blended
w ith touches of p h o to g rap h ic illusionism an d R o m a n tic se n ti­
m ent.
*

F ollow ing W o rld W a r I I , m an y p a in tin g sty les an d divergent

a ttitu d e s p a tte rn e d th e A m erican scene. V ario u s p a in te rs w ere
in trig u ed w ith expressionism ; o th e rs h eld to classical tendencies.
Som e engaged in C ubistic ventures or dealt w ith Surrealistic im ­
a gery; a b stra c tio n s w ere also com ing to th e fore. W ith in th is
hodge-podge of co n flictin g sty le s, stress and s tra in w ere obvious.
A cadem ic Illu sio n ism , C o n tem p o rary R o m a n tic ism , R ealism ,
S u rre a listic F o rm a lism , A b stra c t E xp ressio n ism , an d m an y m ore
term s w ere em ployed to classify p a in tin g m ovem ents. C u rren tly
divergent and often u n h arm o n io u s a ttitu d e s ex ist reg arding th e
sty les and d irectio n s th a t m odern p a in tin g should assum e. To­
day th e re is a d e fin ite sw ing tow ard s a re p re se n ta tio n al sty le —
a grow ing concern for th em e an d figure.

GEOGRAPHICAL A N D PROPER NAMES

the Ashcan School «Школа мусор­ Thomas Hart Benton ['bentan]

ного ящика» Томас Х арт Бентон
George Bellows ['belouz] Д ж ордж John Curry ['kA ri] Д ж он Кэрри
Б еллоуз Grant Wood [wud] Грант Вуд
Edward Hopper ['Ьэрэ] Эдвард Regionalists регионалисты
Хоппер Kansas I'kaenzas] К анзас (a state
Arthur Dove [dAv] Артур Дав in th e USA)
Georgia O’Keeffe [o(u)'ki:f] Д ж о р ­ Iowa ['aio(u)wa] Айова (a state
дж ия О ’Кифф in the USA)

WORK ON THE TEXT

I. Translate the italicised words and phrases. Give a back translation

without consulting the text.
II. Answer the following questions:

1. W h a t is th e sto ry of A m erican p a in tin g in th e e arly tw en ­

ties of th is cen tu ry ? 2. W h a t them es a ttra c te d G eorge Bellows?
9—614 185
C h aracterise h is p o rtra its . 3. W h a t are th e o u ts ta n d in g q u alities
of B ellow s’ landscapes? C ritic ise h is com p o sitio n . 4. W h a t w as
th e general tre n d of p a in tin g in A m erica in th e 1930’s? 5. W ho
w ere th e R eg io n alists? W h a t w as th e c h a ra c te ristic featu re of
th e ir im agery? 6. H ow can p a in tin g in A m erica since W orld
W ar II be ch aracterised ?
III. Retell the text in detail

§ 6. Andrew Wyeth* (born — 1917)

W yeth's draftsm anship and celebrated brush technique, and his

g ift for penetrating observation— not to m en tio n h is ru ral u p b rin g ­
ing — have p ro v id ed him w ith the mastery to forge his own ex­
pression and satisfy th e y earn in g s of his age as no o th e r living
A m erican a rtis t h as done.
S im ple pleasures, co u n try people, so litu d e , th e unexpected
b e a u ty of th e co m m onplace, n a tu re serene and in v io la te, the
q u ie tu d e of th e c o u n try — th is is th e rep erto ry of A ndrew W yeth.
S ilence, silence a b so lu te is one of th e stro n g est elem ents in
h is work.
W y e th ’s a rt is an a rt of o b se rv a tio n , selectio n , and th e in te n ­
sifying effect of m em o ry , affection an d th e power of v iv id s ta te ­
m en t. It is not th e c o u n try , b u t w h at you ca rry to it th a t
m akes an a rtis t. W hat W yeth brings to his subject is not only a
rem arkably disciplined sk ill, but an involvem ent, w hich m ore
th a n his sk ill, req u ires ex p la n a tio n . N ot m erely an aesth etic
dogm a or a th eo ry of p a in tin g , b u t h is w hole life and p erso n ality
are reflected in h is a r t, an d th e observer m u st, consciously or u n ­
consciously, recognise th is stro n g sen seo f id e n tific a tio n , w hich far
m ore th a n re a listic d e ta il, distinguishes W yeth 's work from that
o f prevailing trends in p a in tin g . A fter know ing and liv in g in it
for years, som e triv ia l in c id e n t, a sudden w in d blow ing th e c u r­
ta in s , or a gleam of la te aftern o o n sun upon a w h itew ash ed w all —
w ill catch h is a tte n tio n , and th is m o m en tary ex p erience w ill
c ry sta llise th e asso ciatio n s of a life tim e ... T he in cid en t has been
tran sfo rm ed by feeling, d istille d from a th o u san d days of living
a n d rem em bering. Y ears of association are condensed in to a
sin g le im age.
H o m er’s w ater-co lo u rs h elp ed W y eth to m ove in th e d ire c t­
ion he h ad a lre a d y discovered, to w ard a b o ld ra p id im pression
of lig h t and tone. P recisio n in d raw in g , an eye for lig h t and tone

* Andrew Wyeth ['waia0 ) Эндрю Уайес

186
w ere th e tw o poles of h is s ty le w hich he slow ly b ro u g h t to g eth er
th ro u g h th e d iscip lin e of such an exacting m edium as tempera
and of w h a t he c a lls h is d ry -b ru sh w ater-colours.
R eb e llin g ag ain st im pressionism of s ty le , w hich w as leading
h im , he fe lt, aw ay from n a tu re in to effects o n ly of p a in t, W y eth
now began a conscious effort to capture the tru th o f the object.
Tom C lark , o n e of th e people know n in th a t ru ra l lo ca lity as
M oors, h ad sla n te d b lu e eyes an d stro n g a q u ilin e featu res, dif-
eren t from th o se of h is Negro neighbours. H e was a m an of
great and austere d ig n ity , w hich .in te re ste d W y e th enough to
p a in t him several tim es.
S ea-gulls below th e lig h th o u se on P e m a q u id P o in t, p o in ted
to a cold, fo rb id d in g day. T here w as a sto rm off shore, and th e
g u lls, in stead of p u ttin g o u t to sea, rem ain ed snuggled on th e
g ro u n d , th e ir backs to th e ocean. T h e broo d in g lig h t and th e
m ood of hush before th e sto rm are caught w ith great subtlety.
I t is c h a ra c te ristic of W y e th th a t he prefers to im p ly th e storm
w ith o u t p a in tin g it — a sense of larg er th in g s unseen pervades
th e sm all d e ta ils he p a in ts for us.
A fter m ore th a n h alf a c e n tu ry of a rt b u ilt on a
re jectio n of n a tu re , o u r age is n o t w ell eq u ip p ed to un­
d erstan d th e p a in te r ’s use of im a g in a tiv e o b serv atio n . W h at
appears to be a flash of o b se rv a tio n has been m a tu re d during
m o n th s of w ork. T h is w ill n o t su rp rise an yone w ho know s how
p a in te rs w orked in th e p ast. B u t a rtis ts u sin g th e ir im a g in atio n
on n a tu re are so few to d a y th a t th e p o etic q u a lity of W y e th ’s
realism and th e su sta in e d , d isc ip lin e d , conscious effort th a t cre­
a tes th ese im ages of an in s ta n t of ex p erience need to be in sisted
upon. T h is is im p o rta n t for o u r u n d e rsta n d in g of th e a r tis t’s
achievem ents.
WORK ON THE TEXT
I. Translate the italicised words and phrases from the text. Give a back
translation without consulting the text.
II. Answer the following questions:

1. W h a t is th e su b je c t m a tte r of W y e th ’s p a in tin g ? W h a t
are h is g u id in g values? 2. W h a t d istin g u ish es W y e th ’s w ork
from th a t of p re v a ilin g tre n d s in p a in tin g ? 3. H ow does W y e th ’s
a rt re la te to h is ow n experience? 4. W h a t m ed iu m does W y eth
use? W h a t dem ands does th is m ed iu m m ake upon th e a rtist?
W h a t effect does th e a r tis t achieve w ith th is m ed iu m ? 5. W hat
does W y eth m an ag e to convey In h is pictu res? Illu stra te .
III. Retell the text in detail.

9* 187
 EXERCISES TO PART VII

I. Read the following text; reproduce the text from memory in written form.
Compare your version with the original and make whatever changes or
additions you find necessary.

P o rtra its of C harles W illso n P e a le fall in to several d istin c t

c ategories, th e la rg e st, p erh ap s, being th o se m ad e on com m is­
sion for th e s itte r or h is fa m ily . F re q u e n tly these c o n ta in acces­
sories p e rta in in g to th e su b je c t’s profession or o ccu pation.
P o rtra its of p u b lic m en for p u b lic b u ild in g s s till req u ire d
th e o ld sta n d in g pose, w ith th e a ir an d g estu re of n o b ility . P eale,
in c o n tra st to th ese, co u ld n ever p a in t th a t a ir of ste rn com m and;
let custom dem and it o r no, all h is form al fu ll-len g th s, th e best
of w hich is his official “ G eorge W a sh in g to n ” of 1779, are all
a t ease, affab le, w elcom ing, ag reeab ly am used.
A n o th er categ o ry of his p o rtra itu re m ig h t be c a lle d th e P eale
fam ily p o rtra it. S ince th ese p o rtra its did n o t h av e to hold to
th e p rescrib ed co n v en tio n s dem anded for th e o th e r categ o ry ,
th ey ran g e from th e a sto n ish in g ly p erso n al, such as “ R achel
W eep in g ” , to th e u n ex p ected ly in v e n tiv e , such as “ T he S ta ir­
case G ro u p ” .
II. Describe Whistler’s “Arrangement in Grey and Black, No. 1” , using
the text on Whistler as a guide. In your description use the following
vocabulary:

to pose, geom etrical a rra n g e m en t, b ack g ro u n d , tones, to

silh o u e tte , m onochrom e, s itte r, to convey, off-cen tre, rh y th m ic ­
al design, low -keyed, to be im bued w ith
III. Read the following excerpts from Rockwell Kent’s “ It’s Me О Lord”
and discuss the problems raised in them.

A rt is not a rt u n til it h as effaced itself. O n ly w hen th e b lu e

p a in t of a sky ceases to be ju s t color — becom ing, as it w ere, th e
d ep th s of space — is th a t b lu e rig h t, an d tru ly b e a u tifu l. O nly
w hen green becom es th e grow ing g rass, or th e e a rth colors —
lan d an d rocks, w hen indigo becom es th e ocean, an d th e colors
of a figure becom e flesh an d blood; o n ly w hen w ords becom e ideas:
w hen th e sounds of m u sic becom e im ages; o n ly w hen every m e ­
dium of th e a rts becom es tra n s m u te d in to a p o rtio n of o u r liv in g
u n iv erse, o n ly th e n is a rt co n siste n t w ith th e d ig n ity of m an.
F u n d a m e n ta l to all c o n sid e ra tio n of a rt is its purpose. To
be e n title d to th e honor th a t society bestow s upon it, it m u st
u n q u e stio n a b ly h a v e a social v alu e; th a t is, as a p o te n tia l m eans
of co m m u n ic a tio n it m u st be addressed , and in co m prehensible
te rm s, to th e u n d e rsta n d in g of m a n k in d .
188
 A rt as a social force h as g ra v e re sp o n sib ilitie s and w ill be
judged by its discharge of th em .
IV. Comment on the point of view expressed by Jack Levine, a contempo­
rary American artist, in an interview for “The New York Times”
on modern trends.
I th in k a rt h as reached th e p o in t of in a rtic u la te n e ss and th e
m ore c u ltiv a te d section of th e p o p u la tio n h as em b raced m any
th in g s it doesn’t u n d e rsta n d an d feigned a d m ira tio n an d p le a s­
u re w hich it doesn’t feel. I th in k th in g s h a v e never sto o d as
b ad as th ey are to d a y .
I th in k th a t a b s tra c t, n o n -o b jectiv e a r t, th e m odern m ove­
m en t g en erally — th ese people h a v e re a lly lost th em selves in
th e w ilderness. 1 d o n ’t th in k th ey can fin d th e ir w ay back.
I th in k they h av e been m o tiv a te d b y a co n tin u o u s sequence of
reb e llio n s, o n e a g a in st th e o th e r, so nobody rem em b ers w hich
cam e first, th e w hy and w herefore of w h a t th e y are d o in g ...
You m ig h t h av e been a g a in st th e Im p re ssio n ists, if you w ere
liv in g at th e tim e w hen th e y m ad e th e ir s ta n d b u t you knew w h a t
th ey w ere b re a k in g aw ay from and w h a t th e y w ere try in g to do
in th e ir b rea k w ith th e A cadem y. T h in g s w ere q u ite clear. Now
you c a n ’t te ll w h a t has bro k en aw ay from , w hich and w hy.
I h av e alw ays been in te re ste d in th e h u m a n im age, th e h u ­
m an co u n ten an ce. I am a p h y sio g n o m ist, I suppose. I th in k m y
w ork show s th is. F o r ex am p le I w ould not in th e least be in te re st­
ed in p a in tin g a p ic tu re w here th e h ead is sim p ly a d ia g ra m m a t­
ic o v al. I c o u ld n ’t care less. I am v ery m uch in te re ste d in som e­
how cre a tin g a m an or a p a in tin g w hich h as som e in v e stig a tio n
of c h ara cter an d p erso n ality .
V. Render the following in English.
Р о к у эл л К ент принадлеж ит к числу крупнейш их масте­
ров ам ериканского реализм а X X века, имеющего свою д ав ­
нюю и прочную традицию , идущ ую еще от лучш их худ ож н и ­
ков эпохи войны за независим ость в конце X V III века. Он
я в л я ет с я , вместе с Э. Х оппером и Э. У айесом , Р . Сойером,
Ч . У айтом и другим и мастерами А мерики наш их дней, дос­
тойным преемником велики х ам ериканских реалистических
мастеров кон ца прош лого и н ач ал а нынеш него века: У инслоу
Гомера и Т ом аса И ки н са, Д ж ейм са У и стлера и Д ж о р д ж а
Б ел л о у за. Вместе с Б ел л о у зо м Кент был учеником Роберта
Генри — подлинного родоначальни ка и идейного вож дя всей
ам ерикан ской реалистической ж ивописи и граф ики X X века.
И скусство К ента — вовсе не исклю чение, к а к п оказалось
по неосведомленности тем, кто поверил закл и н ан и я м и увере­
189
ни ям абстрактны х худож ников об их «полной победе» в совре­
менном ам ериканском искусстве. Е го работы — важ н ое звено
в цепи больш ой реалистической традиции искусства Аме­
рики.
Со дня своего рож дения — 21 ию ня 1882 года — и до н а­
ш их дней Кент прош ел необычайно яр ки й ж изненны й и т в о р ­
ческий п уть, ж адно впиты вая в себя окруж аю щ ую ж и зн ь,
всем интересуясь и все умея делать, работая к а к худож ни к
и писатель, архитектор и плотник, м оряк и учены й-географ,
ж у р н ал и ст и политический оратор.
И з многочисленны х путеш ествий К ент привозил свои к а р ­
тины , восхваляю щ ие величественную , суровую и прекрасную
при роду, начиная с дикого, уединенного острова М онхегана
у берегов северного ш тата Мэн и дальш е — с Н ью ф аундленда,
с А л я ски , О гненной зем ли, из И рландии, особенно из Грен­
ландии, где он прож ил в общей слож ности два с половиной
года, кончая прекрасны ми А дирондакским и горами на севере
ш тата Н ью -Й орк. П рирода К ента не только величественна и
монум ентальна, не только увидена в строгой гармонии спо­
койного и чистого ц в ета,— она всегда сопоставлена с челове­
ком, ее покровителем и организатором .
Кент тщ ательно изучил и передал чистоту цветовых отно­
ш ений, неж ность серебристы х, серы х, голубы х, синих, б и ­
рюзовых и розовы х оттенков, которы е на самом деле свойствен­
ны гренландской зем ле, ее льдам , морю и небу, передал и
прозрачность возд уха, приближ аю щ ую к зрителю самые от­
даленны е цепи покрытых льдом и снегом гор.
Д л я больш ей части ранних картин Р о к у эл л а К ента х а р а к ­
терны ш и ро кая ж и вописн ая м анера (в д у х е Генри или И ки нса),
сдерж анны й тональны й строй, иногда сумрачный и тяж елы й .
Н о уж е в них чувствуется то мастерство передачи простран­
ства, которое станет основой будущ его монументального стиля
К ента тридцаты х годов.
Б ольш инство гренландских картин 1932 и следую щ их
годов вы держ ано в каком -либо одном тональном клю че, то
интенсивном и бурном, к а к «Эскимос в каяке», то ж емчуж ном
и неж ном, к а к «Н оябрь в северной Гренландии», «Возвращ е­
ние охотника», или «Зимний день», то сурово холодном, к ак
«Север» или «Собаки в фиорде К ангердлуарссук», то глухо
пламенном, к а к «М ертвая тиш ина», где весь первый план по­
кры т ковром быстро распустивш ихся в короткое гренландское
лето красны х цветов. Бесконечное разнообразие оттенков
цвета, особенно л ьд а и м оря, неож иданная и причудливая
о к р а ск а скал или об лаков, вариаци и освещ ения, погоды, вре­
190
мени года в одном и том ж е пейзаж ном мотиве — все это д е­
лает вторую гренландскую серию К ента особенно наполненной
ж и знью и динам икой и внуш аю щ ей чувство необычайного
богатства реального мира.
Кроме колористических достоинств, гренландские кар ти ­
ны К ента обладаю т т а к ж е и композиционными: строгой и яс­
ной пластикой пространства, точно взвеш енной системой по­
строения планов и размещ ения фигур.
Граф ика К ента необычайно м ногообразна. О на уж е с д ав ­
них времен отличается высоким мастерством, чеканностью и
чистотой своего строгого линейного строя, виртуозной техн и ­
кой самых разны х видов гравю ры (на дереве, на металле),
литограф ии, р исун ка пером. Он много работал в станковой
граф ике, часто исп ользуя таки е листы в качестве иллю страций
собственных кн иг, делая п лакаты , кар и кату р ы против ф аш и з­
ма, листовки, альбомы гравю р и т. д. О собенно много сделано
им в книж ной граф ике — больш ие серии рисунков пером н а­
полняю т все написанны е им самим книги и множество книг
классических и современных писателей разны х стр ан , времен
и народов.
VI. Use one of the following topics for oral or written composition.

1. An o u ts ta n d in g A m erican p a in te r or sc u lp to r. 2. An ex ­
h ib itio n of p a in tin g s. 3. R e a list a rt versus a b s tra c t a rt. 4. T w en­
tie th cen tu ry a rt trdfids in A m erica. 5. Select th re e rep ro d u ctio n s
of p a in tin g s in th is book w hich you fav o u r, an d in d ic ate re a ­
sons for your choices.
V II. Act as interpreter in the following dialogue:

A. К сож алению , я долж ен пр и зн аться, что с современным и зо­

бразительны м искусством Америки я мало знаком. О т­
кровенно го во р я, после того к ак я посетил вы ставку
Современного ам ериканского искусства, я потерял тот
интерес к ам ериканском у искусству, который у меня был.
К а к , наприм ер, можно считать искусством л у ж у черной
к раск и , вылитой на белый холст? И л и ...
B. Or a num b er of squares placed one above th e o th er. B ut 1
should say th a t a b stra c tio n ist p a in tin g is now declining
in in terest value. A nd th a t w as to be ex p ected, because
w hen form is reg ard ed as an end in itself w ith o u t th e a rtis t
concerning him self w ith th e h u m an app eal of his w ork,
th e kin d of art it rep resen ts can n o t b u t be sh o rt-liv ed .
А. Соверш енно верно. И стинное искусство всегда человечно,
и потому оно вечно. К арл М аркс очень хорош о по этому
191
 поводу с к а за л , что чудо греческих статуй закл ю чается
в том, что они говорят язы ком , понятны м нам до сих
пор.
В. T h a t w as. v ery a p tly p u t, indeed.
A. Е сли я вас правильно п о н ял , абстракционизм в СШ А сей­
час идет н а убы ль. А как и е сейчас наблю даю тся новые
нап равлени я в ам ериканском искусстве?
B. A rt, to ju d g e from som e c u rre n t dev elo p m en ts, seems to be
m oving tow ard s a th em e, w hich is an a tte m p t to e stab lish
a p o sitiv e re la tio n sh ip betw een th e a rtis t an d h is en v iro n ­
m en t. T here seem s to be a new concern w ith figures. Of
course, it ta k e s v ario u s form s and nam es such as New R e a l­
ism , S uper R e a lism , P op A rt...
A. П оп-арт? К ако е странное н азван и е... Что оно значит?
B. As you m ay h av e guessed it m eans P o p u la r A rt and th e m ain
th in g ab o u t it is th a t th in g s are once m ore recognisable.
A tin of soup looks lik e a tin of soup. B u t w h a t a p ic tu re
show ing row s of soup tin s m eans to say is an y b o d y ’s guess.
A. О чевидно, н азван ие «популярное искусство» связан о с
модой, которая тож е играет немалую роль в формировании
вкусов?
B. In a w ay , th e nam e “ pop a r t” is a c a lc u la te d m isnom er.
F ashion does p lay a p a r t, b u t fashion is n o t th e sp ontaneous
th in g m any b eliev e it to be. As in la d ie s’ c lo th e s, c e r­
ta in tre n d s are a rtific ia lly p ro m o ted — and e x p lo ite d ,
o th ers suppressed as u n p ro fitab le. A m ong those w ho ex p lo it
a rt to d ay are th e a d v e rtise rs and th e rich collectors. In
any case, “ pop a r t ” n ever w as p o p u lar in th e sense th a t
“ pop m u sic ” is.
A. И эти коллекционеры — настоящ ие знатоки искусства?
B. N ot alw ays. M ost co llecto rs b u y p ic tu re s for tw o reasons:
one, to possess for th e ir p restig e v a lu e , as a s ta tu s sym bol,
and tw o, to resell if and w hen th e (m oney) v alue goes
up high enough. A fter a ll, a w ork of a rt can be resold lik e any
o th e r co m m o d ity , a fte r w hich o n e m oves on to bigger fish,
and fin a lly , to th e big “ n am es” . B u t for th a t one needs
expert advice.
A. Н у это наверно уж е ф ункц ия тех, кто торгует картинами.
B. R ig h t. A rt dealers are very in flu e n tia l. They can m a n ip u ­
la te th e m ovem ent (sale and resale) of a rt on th e m ark et
in m uch th e sam e w ay as b rokers do on th e stock exchange.
W h eth er a p ic tu re (or tren d ) h as h u m an appeal o r n o t, it
m ay well h av e com m ercial appeal.
192
A. Вы упом янули так ж е н азван ие «новый реализм». А в чем
заклю чается это новое в реализме?
B. New realism is an a rt m o vem ent th a t b egan in th e U S in
th e 1960’s an d now h as a n u m b er of a d h e re n ts in E u ro p e
to o . S om etim es term ed “ p h o to g ra p h ic a r t ” , it tr ie s to re ­
create real th in g s w ith m o re realism a n d d e ta il th a n th e
o rig in al. '
A. Мне представляется, что если этот «новый реализм» н а ­
зываю т т а к ж е «фотографическим искусством», он скорее
долж ен быть бли ж е к н ату р ал и зм у , чем к реализм у.
С другой ж е стороны , вы говорите о том , что изображ ение
более реалистично, чем сам о ригин ал. Вы не поясните,
что вы имели в виду?
B. F o r ex am p le, if you look a t th e su p e r-re a list scu lp tu re
“ A rtis t S e a te d ” b y D u an e H an so n of th e U SA , m ade o u t
of p a in te d p la stic , p o ly ester an d fib erg lass, you w ill see
th a t a lth o u g h it is a fa ith fu l re p re se n ta tio n of th e m odel,
it is too life-lik e, rig h t dow n to th e m in u te s t d e ta ils of
th e s itte r ’s shoe-laces an d b u tto n s to be a w ork of re a list
a rt. B ecause re a lism , as far as I can ju d g e, presupposes
som e selectio n , w ith em p h asis o n th e m ost ty p ic a l features.
T h e a r tis t’s ow n v isio n of th e w o rld sh o u ld dom inate.
I m ean h is p e rso n a lity sh o u ld be a f iltr e for h is im p res­
sio n s.
A. Д а , конечно. Р еализм — это обобщ енное изображ ение
наиболее типичны х черт. С позиций реализм а отображ е­
ние объективной действительности не означает ф отогра­
фически точного воспроизведения, а скорее создание
об р аза, которы й худож ественны ми средствами раскры л
бы основное в предмете или явлении. А создание образа
немыслимо, если х у д о ж н и к не имеет своей ин ди видуаль­
ности. К ром е того, искусство долж но бы ть кому-то ад­
ресовано и долж но иметь содерж ание.
B. T h a t is an im p o rta n t p o in t. A rt, to q u o te R ockw ell K ent,
as a social force h a s g ra v e re sp o n sib ilitie s an d w ill be ju d g ­
ed by its discharge of th e m . I t can e n liv en or depress us,
foster our hopes or deepen o u r d esp airs, it can b u ild our fa ith
or destroy it.
 SUGGESTED KEY TO TRANSLATI ON
A N D RENDERING

PART I

Ex. V

a) 1. F ro m its beginnings, E g y p tia n art tended to m onum ental

forms of expression. 2. T he build ers of ancien t Greece gave th e world
the elem ents it was to use as the basis of arch itec tu ral design for th e
n ext tw e nty -five centuries. 3. In plan, the G o th ic church resembles
the late R om an esq ue ty p e of church, consisting of a basilica w ith a n ave
and side aisles and a v ery large, elongated choir. 4. T h e pointed arch
is one of th e most ch a rac teristic motifs in G oth ic arc hite ctu re. It b e ­
ca m e th e principal elem ent, th e basis of th e en tire s tru ctu ra l system ,
the shape assumed by arches, v a u lts, niches and w indows. 5. To pro v id e
a d d itio n al support, a n u m be r of heavy bu ttresses were erected ag ain st
th e exterior wall of th e side aisle, and from these arches, know n as fly­
ing buttresses, were throw n across to th e upper section of th e wall.
6. T h e buttresses o rig inally ended w ith a w indow at th e top, b u t la te r
they were decorated w ith a pinnacle or steeple. 7. T h e most beau tifu l
p art of th e exterior of a G o th ic cathedral is th e west fagade w ith its
po rtals lavishly decorated w ith s t a tu a ry .
b) 1. A rtistic endeavour am ong th e early Slavs consisted p rim arily
in the fashioning of o rn am en ts and household articles. 2. T h e new m on ­
um ental art cam e to full flower in Kiev in th e elev en th centu ry . 3. Mon-
u m e n ta lity of concept is th e most im pressive fe a tu re of th e mosaics
and frescoes at th e C ath edral of St Sophia in Kiev. 4. The
murals in th e a lta r apse of the cath edral depict th e church fathers,
w hile the walls of the staircase leading to the choir are decorated (are
covered) w ith h u n tin g scenes and pictures of court life. 5. There are in
the histo ry of art few exam ples of such u n it y of arch itectu ral design
and mural p a in tin g as exists in S t S o p h ia ’s. 6. L a te in th e eleventh
cen tu ry th e icon of Our L ady of V la d im ir was b ro u g h t to Kiev from
C o nstan tino ple. There is none to m atch it am ong the finest m o nu m e nts
of B y zan tin e icon p ain ting . 7. The old Novgorodian murals, like th e
m o n u m en tal figures of th e prophets in th e dome of S t S o p h ia’s, are in
th e best tr a d it io n of ancient mosaic work. 8. In the V ladim ir-Suzdal-
ian reliefs we see the folk legends of the past recreated th ro ug h th e im a g ­
in atio n of an a rtist who was able to rise above pagan su p erstitio n . The
tr a d itio n a l anim al motifs are executed by highly skilled carvers in
ston e. 9. In th e ir tr e a tm e n t of scenes of ev ery day life, the old Russian
p a in te rs reveal an o bserv ant and a h um orous eye. We see in their
pa intings th e first glim pses of realism in R ussian a rt. 10. In ad d itio n
to the frescoes in th e Novgorod church, th e Deesis in th e C athedral of
th e A n nu ncia tion in Moscow, w ith its m ajestic Mother of God, also

194
comes from th e h an d of Theophanes the Greek. 11. In both Russia and
B y za n tiu m m urals were of p a ra m o u n t im p ortan ce in church decoration.
Frescoes were p ain ted on walls, v a u lts and piers until the church seemed
to be alive w ith life-size h u m an figures. 12 . In th e la te fou rteen th cen­
tu r y , th e low wall sep aratin g th e san ctu a ry from th e n a v e in th e R us­
sian church was decorated at first w ith frescoes and later w ith icons. All
these icons arranged in tiers in th e prescribed order m ad e up th e iconos­
tasis. 13. Of the m urals ascribed to Andrei R u blev , th e most a u th e n t ic
are th e frescoes at th e C athedral of th e Assumption in V lad im ir. 14. Of
the nineteen towers th a t rise above th e K rem lin wall, some are cir­
cular, some square, some p y ram id al and some terraced, or stepped.
15. The single-domed church w ith th ree apses rem ain ed th e basic ty pe
of church in Pskov.

P A R T II

Ex. IV

1. G io tto ’s great c o n trib u tio n to art lay in his rejection of th e pre­

vailing medieval canons on p ain tin g, and his stu d y of a c tu a lity and
n atu re. His characters are above all solid and three-dim ensional w ith
a massive body and a profile carved as it were o u t of stone. In stea d of a
flat gold background, he places his figures in an interior or against a land­
scape. There-is a gentleness in G io tt o ’s art, a p u rity and a g re a t lo ve of
people.
2. Very few works from the hand (brush) of Masaccio have come down
to us. In the fresco, “ A dam and E v e ’’ (“The E xpu lsion from P a ra d ise ” )
Masaccio found a solution to one of the most d iffic u lt pictorial problems
of his day, that of correctly posing and representing the nude figure. Using
chiaroscuro and colour, he modelled the form s fir m ly but g ently.
3. V an E y c k ’s inno vatio n in th e p re p a ra tio n of p ain t m a de it pos
sible to achieve greater brilliance and transparency of colour and a sm ooth­
er, glossier fin ish , a greater fid e lity in reproducing the subtle b len d in g
of one tone into another. It also becam e possible to work more freely
and more rap id ly th a n in th e old technique. V an Eyck, who was endowed
w ith a fin e feeling for nature, found in his im proved method of p a in t­
ing a felicitous way of conveying w hat he observed. H e founded th e r e ­
alistic tren d in th e Flem ish school of p ainting .
P a in tin g on religious subjects, as did the Flem ish m asters before
him , V an Eyck tried to introduce realism into his art. H is sain ts had in­
d ividual faces and n a tu ra l postures. Only now, in th e work of V an Eyck,
did a rt become a precise representation of nature. The m odelling of his
figures became more definite, and because of his observance of lin ear and
p a rtia lly of aerial perspective, every subject was painted true to life
as to illu m in a tio n and relief (three-dim ensional q u a lity ).
4. M ichelangelo’s celebrated sculptural group, the “P ietd” (1 4 9 8
1500), at S t Peter's in Rome, has an aura of deep sorrow about it. The
mother holds the body of her dead son on her knees; her head is bent
low in grief. A restrained g e stu re of her hand conveys her profound grief.
A lthough placing th e body of a grown man on th e M adonna’s knees p re ­
sented certain problems, the great master resolved the m by means of
a careful arrangement of the flo w in g draperies, w hich emphasise t h e fe m ­
in inity of her image. And the heavy fabric of her m an tle falling to the

195
ground form s som ething like a pedestal su p p o rtin g the body of C hrist.
S triv in g for th e u tm o st c la rity an d s i m p l ic i ty , M ichelangelo like Leo­
nardo, chose a pyram idal com position.
Ex. V
1. B o tt ic e l li’s p a in tin g , “S p rin g ” , evokes a mood of poetic m e la n ­
choly. The com position is b u ilt on th e c h a ra c te ris tic r h y t h m of flow­
ing lines and th e rep etitio n of curves in his figures, which are placed
as on a stage.
2. The problems of build in g up form and masses and suggesting per­
spective, depth a nd m otion of th e h u m a n body, as well as ba lan c e and
harm ony in co m position, in terested L eonardo da Vinci as they did all
the F loren tine painters.
3. “ The Madonna of the Rocks” is one of th e most re p resen tativ e
works of th e It a li a n High Renaissance, in concept as in execution. And
y et everything in it is new. The Madonna, th e angel, and th e children
are shown against the background of a somewhat m ysterious land scape,
which seems to fuse with the figures, w hile both th e illu m in atio n and
th e characters them selves are surrounded by a special aura of beauty.
Viewing composition as th e key to th e idea behind th e picture, Leonardo
ejnployed a p yram id al struc tu re , which became th e classic composi­
tion in /d uring the High Renaissance. The rocky g ro tto and th e grassy
p lan ts in th e foreground reflect L eonardo’s in terest in botany and ge­
ology.
4. L e o n a r d o s drawing, “ The A doration of the Magi” , one of the
few th a t have come down to us, reveals to us one of the first versions of
his arran gem en t of the figures in the picture. In o rder to giv e th e im pres­
sion of m ovem ent, Leonardo places th e figures in th e foreground along
a strict geometric diagonal. The background is conceived as a d y nam ic
chord struck to magnify the feeling of movem ent.
5. The pictures of Leonardo da Vinci are d istinguished by an un­
usual kind of colour scheme: he had no use for bright colours, and tried
to convey th e lyric qu ality of his subject using a muted palette.
6 . In his m urals in th e Stanze, Raphael proved himself a master
of com position and a g reat m o n um en tal p a in ter.
7. In th e “S istine M adonna” by R ap h ae l, ex trem e cla rity of com ­
position is combined with depth of concept. The calm, solid s ilh o u e tte
of th e Madonna stan ds out clearly against a b rillia n t sky th a t is bath ed
in light. H er step as she moves is -light and her draperies f lu tte rin g in
th e wind make her figure even more su b sta n tial.
8. T itia n worked in different genres: he painted p ortraits, lan d ­
scapes, altarpieces and mythological subjects. Betw een 1530 and 1550,
basing his work on motifs from a n ti q u it y he painted a n u m be r of pic­
tures fe aturing th e n ud e fem ale figure. W hatever subject T itian set his
han d to, he treated it in his rich and sweeping (broad) style.
9. I was a ttra c te d by a p ain tin g in oil done in w arm, dark tones
and rem iniscent of T itian not only for its colour, b u t also for its play
of light and shade.

P A R T III
Ex. V
1. C aravaggio, who was opposed to M annerism , th o u g h t t h a t a
should be tru e to life, based on a faithful im ita tio n of n a tu re . His own
p aintings were realistic and im bued w ith a democratic sp irit, th e com po­

196
sition simple and easily taken in. The drama of th e strongly modelled
figures is b u ilt up by the skilful use of chiaroscuro. C aravaggio’s ear­
ly p a in tin g s show a sm ooth surface te xtu re. The colours are laid on th i c k ­
ly and evenly, th e brush strokes are q u ite invisible. The gradual t r a n ­
sitio ns from light to shade, and from one colour to an oth er, as well as
th e h a rd edges, m a ke th e earlier work som ew hat dry in m anner. In
his la t e r works, how ever, th e d ra m a tic tension is heightened. The p a in t­
er becom es more concerned w ith ligh tin g and a tm o sp h e ric effects.
2. T he large size of th e canvases and their m on u m e n ta l c h a racter
com positions u tilisin g th e foreground alone, b u t filling it com pletely
w ith figures, som etimes cut off, b u t alw ays on a large scale, a to tal lack
of in terest in landscape, interiors, or any other sort of background, the
prevalence of religious subjects — realistic ally tre a te d and im bued w ith
a democratic sp irit, w ith ordin ary people as models — and d ra m a tic
situ a tio n s, powerful feelings, spectacular heroics, th ese are the elem ents
t h a t m ake up w h at is known as “C aravaggism ” .
3. R ubens’ compositions are asym m etrical, governed by a complex,
d y n a m ic r h y th m , the figures often being shown foreshortened in violent
a c ti o n , chiaroscuro playing a leading p a rt thro ug hou t.
4.' R ubens’ virtuoso p a in tin g can best be seen in th e numerous r a p ­
id p relim in ary sketches he m a d e for his work in th e studio. W h a t
strikes one first is th e beau ty of th e colour, w hich is laid on w ith the
lightest touch possible.
5. Velasquez achie ved g reat success as a p o r t r a it p a in te r. U nlik e
m a ny other court p ainters, however, he was concerned w ith th e tr u e
n a tu r e of th e m an or woman before him , setting down w h a t was most
characte ristic in ap p earan ce and inner qu alitie s as he saw them . He
never flattered his aristo c ra tic sitters.
6 . Velasquez painted only in oils, and usually on a fine g ra d e of
canvas. A brow nish-pink ground in his early pictures was replaced by
a pale rose or a yellowish tone in later work, w h ile th e thick im pasto
he used to favour gave way to a th in n e r, more tr a n s p a r e n t p a in t. Very
few prelim inary studies by V elasquez h av e come down to us, probably
because he did not often need to m a ke them , preferring to draw d irect­
ly on th e canvas w ith charcoal or reddish p ain t. Most of his best work
is today in th e P rad o in Madrid.
7. R e m b r a n d t’s pain ting s done between 1645 and 1650 are n o ta b le
for a rich and su b tle chiaroscuro and a warm p a le tte , d o m in ate d by
reds and g o ld en -b row ns.
8. As a g rap h ic artist, R e m b ra n d t was an in d efatig ab le and orig in ­
al d ra ug htsm a n as well as a superb m aster of th e etching.
9. Vermeer mastered the te ch n iq u e of ren dering d a y lig h t as it
poured into a room , w ith m any h igh lig hts and reflections on walls and
objects. W hat distinguished V erm eer’s m a tu re period was his clear,
glowing colours, rich in su b tle shades and tin ts . H is most c h a ra c te ris ­
tic colour schem e was based on b rig h t blu e a nd lemon-yellow and in ­
cluded some reds and greens. In the 1660’s, his p a le t te becam e cooler
and th e p ain tin g s h av e an e n am e l-lik e finish. ■- .....................

P A R T IV
Ex. IX
1. H o g a r th ’s v iv id in terest in th e life a b o u t h i m p ro m p ted hi
to turn to an absolutely new genre, in a series of m oralistic and satirical
narrative p aintings — a field never before explored in any country. To­

197
gether w ith th e w riters of th e first half of the 18th cen tu ry , “ Age
of E n lig h te n m e n t” , H o garth a tta c k e d th e vices th a t society was w a l­
lowing in. To bring these ideas of his to th e public, Hogarth made engrav­
ings of his p a in tin g s w hich were sold in g reat num bers and found th eir
way to all parts of th e country.
2. One outstanding exam ple of H ogarth's p a in tin g is the “P ortrait
of C aptain C o ra m ", done in the ceremonial m anner. Yet, posed as he is
against the traditional p illa r and drapery, and surrounded by objects
sym bolic of his occupation, the sitter th is tim e belongs to the “ m id d le
class” . N either noble b ir th nor high ra n k nor riches is w h at in terests
us in C a p ta in C oram ’s p o rtra it, b u t a n o b ility and kindliness of c h ar­
acter, th e d ig n ity of an old m an who has seen a g reat deal in his day.
T h e p a in te r does no t conceal his s y m p a th y for the old C a p ta in and
conveyes this feeling to the viewer.
3. In d epth of concept and unparalleled execution, “Marriage
a-la-Mode” is one of the most im portant of H ogarth's series. The ch arac ­
ters are so many-sided t h a t it is clear th ey do no t represent in d iv id u a ls
only, b u t e n tire social groups.
4. A very special place am ong H o g a rth ’s works belongs to “ The
Shrim p G irl” , painted with an airu, lig h t, yet broad and vigorous touch
in transparent layers of p a in t. In th e m anner of execution, however, he
went so far ahead of his tim e th a t for a long w hile it was assumed th a t
“ The S h rim p G irl” was only a sketch. B u t the setting down of a transient
impression tu rn ed out to be so m ething much more significant w ith H o ­
ga rth . The girl in th e p icture is all in m otion, all smiles, th ro bb ing
with joyous Hie; she appears as a p a rt of th e noisy crowd th a t fills th e
streets of L ondon, and H o g a r th ’s canvases, too. Y et she personifies th e
crowd as \frell. T h e im age of “ T h e S h rim p G irl” is tr u ly of th e people.
T here is in th is picture th e poetry of real life, which, coupled w ith a
c on su m m ate skill w ith p ain t, places it among the finest p a in tin g s in
the world.
5. A fin e colourist and a master of com position, R eynolds produced
over two thousand portraits of statesmen, famous w riters and actors and
others, w hich are of historical as well as a rtis tic value. From his hand
came not o nly ceremonial portraits, but also such m agnificent, tru ly re­
alistic works as the portrait of S am uel Johnson — R eynold’s masterpiece.
The subject is shown ju s t as he is — fat, short-sighted, u n tid ily dressed.
B ut th e p a in te r has also succeeded in rev ealin g th e complex cha rac ter
behind th e o u tw a rd app earance. Dr Jo h n s o n has th e air of being ab ou t
to pronounce one of his famous ep igrams.

Ex. X
1. H o g a rth ’s characters serve to ridicule a v a rie ty of vices, b u t
they are not caricatures. The a rtist himself often said t h a t compared
w ith c a ricatu rists who distorted and exaggerated, he tried to p a in t a
person’s character. The works of a comic history pain te r, he said, dif­
fered from caricatures in th a t they were faith fu l re presenta tion s of life.
2. T h e fam ous “ B lue B o y ” of T hom as G ainsborough is re m a rk a b le
for th e sp o n ta n e ity of his pose and th e n a tu ra l expression of his youthful
face. H is figure stan d s out against the b ackground of a receding river
bank, a som bre sky and a forest th a t is barely suggested.
3. G ainsborough, w ith his g rea t insight in t o ' character, was ca­
pab le of m akin g even th e tr a d itio n a l ceremonial p o rt ra it a profound p sy ­
chological stu d y , a nd conveying th e tr a n sie n t mood, besides.

198
 4. G ain sborough painted w ith tin y touches of t h e brush, often a p ­
plying a colour “wet into w et” in to an area ju s t p ain ted , th e resu ltin g
p ic tu re for this reason being very close to tne tr a n sie n t effects in n a ­
tu re. This in n o v atio n in pictorial te ch n iq u e in m a n y ways a n tic ip a te d
th e Im pressionists.
5. A m agnificent w ater-colou rist, greatly concerned w ith lig h t and
air, and in v e stig atio n s into colour, in which he was a forerunner of
th e Im pressionists, W illiam Turner was above all a ro m a n tic . He was
a tt ra c t e d by unusual and fa n ta stic subjects — craggy cliffs, old ru in s,
th un derstorm s, an d more th a n an y th in g else, th e sea. “ The Calais P ie r ”
(1803) is a typical ro m a n tic seascape, w ith e v e ry th in g th a t e n ta ils—
som bre skies alm ost merging w ith sto rm y waves, a sail in th e foreground,
and w h ite crests on the waves — all this c om bining to suggest th e a t ­
mosphere th a t precedes a c ata strop he.
6 . In 1838 T urner painted th e famous “ The F ig h tin g ‘Temerai-
re’ ” in which we see the results of his in v es tig atio n into light. T he
clear, pure air, rich colours of th e setting sun, th e dead calm of the
sea — all project a mood of serenity th a t is a l i t t l e sad, too. The entire
scene seems to be enveloped in th e golden ligh t of the setting sun.
7. C on stab le’s landscapes are generally calm , pleasan t ou tdo or
scenes suffused w ith sun lig ht. B ut in th e re p re se n ta tio n of n atu re , Con­
sta b le p ainted in a new and different way, th e essence of which was th a t
there was a bso lutely no id ealisa tio n of th e scene before him . C o n sta b le
sketched from n atu re ; his approach was th a t of a scientist concerned w ith
th e details — from th e s t ru c tu r e of th e soil to th e sh ape and m ovem ent
of th e clouds, an d at th e same ti m e of an. artis t, for w hom all th ese de­
ta ils are fused in to one perfect whole. N a tu re for C on sta ble was no t an
idy llic draw ing-room landscape, b u t th e v ib r a n t, liv ing world of th e
g reat outdoors.
8 . A stu d y m ad e in 1825, “ The C o un try L a n e , at th e T a te G a l ­
lery, is one of th e best pieces of p a in tin g ever to come from C o n stab le s
hand. N othing could be more ex qu isite th a n th e b ou qu et of every pos­
sible shade of ligh t green b a th e d in sunlight.
9. The historical p ain tin g s of Delacroix differ greatly from co n ­
tem porary academ ic pain tin gs because of his novel and co nvincing
tr e a tm e n t of historical events, th e bold and poetic concepts, th e desire
to show living people and v io len t emotions.
10. Delacroix was an inn o v ato r in colour, bring ing to his p a i n t ­
ing a highly em otional and expressive use of it, w ith a w ealth of h a lf­
tones, c o m p lem en tary tones and reflections.
11. The a rt of D aum ier is m arked by powerfully modelled forms, a
dignified re s tra in t as to colour and strongly c o n trastin g lig h t and
shade.
12. Ingres’ early works are re m a rk a b le for a su b tle feeling for col­
our, w hich is alw ays clear, fresh and h arm onious.
13. The most im p o rta n t elem ent in th e art of Ingres was line. His
draw ing is im m acu late , precise, supple, and economical, w ith a re m a rk ­
ab le r h y t h m and a w h o le -h earted in te g rity in th e re alistic depiction
of nature.
PA RT V
Ex. Ill
a) Sea-gulls (The Thames in London, Houses of Parliam ent, b) Bo­
ulevard des Capucines. c) Rocks at Belle-Ile.

199
Ex. X

1 . M onet’s skill w ith p a in t is to be seen even in his early pictures,

w hich were u n u sua lly bold and sweeping in execution at least for th a t
tim e, though som etimes ra th e r dark in to n a lity. H is m a tu re work, how­
ever, was pain ted in clear and joyous colour, w ith m any subtle grada­
tions. The com position gives th e im pression of g reat n atu raln ess. His
ach ie vem en ts in the fie ld of plein-air p a in tin g show his a b ility to render
transient atmospheric effects and the p lay of su n lig h t.
As we all know, M onet used to make innum erable versions of one sub­
ject, a h aysta ck, for exam ple, in th e morning, th e sam e h a y stac k at
m id d a y , in th e evening, in th e m o onlight, in t h e rain , etc. B u t these
ex p erim en ts instead of looking lik e som e scientific colouristic register,
as m ig ht h av e been expected, turned o ut to be l i t t l e poems in p aint.
2. T h e work of Auguste Renoir is distinguished for its v it a li ty and
his w arm , in t im a te view of th e world abou t him . R enoir did not deal
w ith any im p o r t a n t social problems; his work consisted en tirely of genre
scenes fu ll of the joy of life. His in terest in conveying fu g itiv e effects in
nature, bro u g h t h im in co n tac t w ith th e Im pressionists in th e 1870’s.
R enoir’s transparent colour, and especially his treatm ent of reflected
lig h t to convey atmospheric phenomena serve as a means of rendering the
mass of his fig u res convincingly.

Ex. XI
1. Monet p ain te d landscapes, and in th e m stro v e to set down
all the t r u t h abo ut sun lig ht and air, th e resu ltin g pictures being re­
m a rk a b ly rich in colour and mood.
2. In his efforts to set down w h at seems th e chance im pression of
a m om ent, Degas p a in te d from unaccustom ed angles, som etimes shift­
ing all th e figures and objects in his com position sh arp ly to one side,
pro ducing an asym m etrical arran gem ent.
3. V an Gogh worked in different ways, now w ith a brush, now with
a p a le tte knife, som etimes pain tin g in a tr a n sp a re n t wash, sometimes
in a th ick im pasto h atch in g and cross-hatching in a variety of ways.
In his p o rtra its, Van Gogh did not achieve a likeness by dint of a slow
b uild in g up of th e forms; he caught the likeness in a few swift brush
strokes, se ttin g down only th e essential. He revealed th e ch aracter of
a person by ex aggeration in th e drawing and by th e a r b i tra ry use of
colour.
4. O riental a rt is one of th e ingredients of Matisse’s deco rativ e
a rt. The preponderance of colour over form, th e flat tr e a tm e n t, th e fig­
ured or p a tte rn e d surfaces, objects stylised into decorative sh ap es —
all these features of oriental p ainting , faience, te xtiles and carp ets are
to be seen in th e work of Matisse. It should be noted, h o w ev er,th at Ma­
tisse has borrowed the principles of decoration of a surface; he does not
sty lise his figures in im ita tio n of a P ersian m in iatu re, and he combines
O rien tal decorativeness w ith a purely W estern sense of dy nam ics. Ma­
tisse enriched th e a rt of his tim e w ith new inventions. After m any years
devoted to the stu d y of th e laws of colour, he had such a thorough know ­
ledge of colour c om b in atio ns th a t he was ab le to reveal a new elem ent
in a r t —th e dy nam ic force of the colour area. And he achieved th e g re a t­
est b rillianc e in colour to be seen in E urope since th e days of th e G o th ­
ic stained-glass window. The im p act of colour in Matisse is very g reat.

200
 5. Each of th e figures in “T he C itizens of C alais” is a m asterpie
of p lastic art and psychological insight. Yet th e com position of th is work,
the only one of its k in d, gave rise to a storm of objections. Rodin had
created som ething new, som ething unprecedented; he had flouted th e
ru le s. In th e first p lace ,h e had not isolated th e sc u lp tu re from its sur­
roundings. The group was placed not on th e tr a d itio n a l pedestal, bu t
on a ston e slab level w ith the ground. In a d d itio n to this, th e group was
said to resemble a crowd rath er th a n an orderly procession. R odin had
rejected any sort of geometrical b lu eprint for a rtific ia lly placing th e
figures, and had not imposed any o bvious rh y t h m i c stresses.

P A R T VI

Ex. V

1. “ A Major Comes А-Courting” , by F edotov, has a profound so­

cial message. It condem ns m arriag e w ith o u t r o m a n ti c love, m arriag e th a t
is an earth-bound, practical con tract. I n the centre of the picture sta n d s
the bride elaborately dressed b u t asham ed, wishing only to be elsewhere.
Her ag itated figure is very expressive, an d to gether w ith its billo w in g
dress it serves to draw the whole com position together. In th e doorw ay
at th e extrem e rig h t, silhouetted against a green w all, the major sta n d s
in a th eatrical pose, as he a n ticip ate s the double b enefit he is soon to
reap: the tid y sum and th e blushing bride.
2. One of P e ro v ’s most powerful w orks is his “ A Village E aster
Religious Procession” . It gives us a sad p ictu re of th e ignorance and
w retchedness of village life, w ith the sombre sky, th e m u dd y road and
b are trees of the landscape heightening the impression of hopeless dreari­
ness. The drunken priest is shown in caricature, and th ere is no ideal­
isation of th e peasants — they appear just as they really were.
3. The Society of W andering A rt E xh ib itio n s was founded by Miasso-
y edov, P erov, Ghe, K ram skoi and others in 1870, an d it was to exist
u n til 1923, hav in g arran ged forty -eig ht large e x h ib itio n s in St P e te rs­
burg, Moscow, Kiev, Nizhni-Novgorod and other cities. As for th e peo­
ple who came to these shows, it was th e first ti m e many of th em had
seen an easel pa in tin g . And they found them interesting. Instead of cold
religious or mythological subjects th at were hard to understand, the W an­
derers p a in te d town and cou ntry life in th e ir own tim e.
4. A new conception of th e R ussian n a tu ra l scene was to b e seen
in “ The Rooks Are B ack” by Savrassov, who w ith his sincere approach
and sim ple m a n n er of representing early spring, m a d e a big impression
on his contem poraries, opening th eir eyes to th e b eau ty of their own n a ­
t i v e landscape. In th e plain and fa m iliar a pp eara nce of th e village, S av­
rassov found a poetic b eau ty. The com position is sim p le and n a tu r a l.
The m uted colour scheme of blues, whites and browns in th e tr a n sitio n s r e n ­
ders th e play of ligh t and shade.
5. The p ain te r K u ind zhi was draw n to th e ro m a n tic side of n atu re.
H is “ N ight W atch in th e P a s tu re ” , w ith its musical noctu rn al silence,
could be called “poetry in space ’’ th e dark masses of trees and the hors­
es silhouetted against th e light-coloured sky and river creating a last­
ing mood.
K uindzhi sought th e sort of lig ht effects th a t lent poetry to a scene.
Such was th e nocturnal U k ra in ia n landscape, th e “ N ig h t on th e D niep ­

201
er” , producing an illu sio n of real m oo nlig ht, t h a t seems to e m a n a te d i­
rectly from th e moon in th e picture. K u in d z h i’s “ Birch G ro ve” gives
th e viewer the impression of d epth, and the smooth roundness of the birch
tru n k s is alm ost tang ible. The lig htin g and v iv id colours once again play
an im p o r t a n t part.
6 . Besides being an art historian who m ade a fu nd am en tal c o n tr i­
bu tio n to th e stu d y and p op u la risatio n of R ussian a rt, Igor G rab ar was
a p a in ter, and is best known for his lyrical landscapes: “S u n b e a m ” ,
“F e b ru a r y B lu e” , “S ep tem b e r Snow ” — these a re some of his most
po p u lar pictures. G ra b a r p ain ted a th e m e h e fe lt drawn to m any times.
H e m ad e a series of studies show ing hoar-frost in different light co nd i­
tio n s an d re tu rn in g again and again to the depiction of th e last rays of
th e s e ttin g sun. Yet he was concerned not only w ith these elem ents of
visual experience. For him th e poetry of the R ussian lan dscape was
alw ays at the heart o f his work.
7. T h e art of Boris K u stodiev is e x tr a o rd in a ry bo th in its origins
and in its use of colour. K u stodiev borrowed som ething from th e lu-
bok and from Russian fo lk art and m ad e cre ativ e use of these elem ents to
p ortra y provincial life in p etty bourgeois and merchant fa m ilies. H is
treatm ent of this theme was a fa n ta stic co m b in a tio n of idea lisatio n and
irony. Typical exam ples were his “F a irg ro u n d s” , “ B e a u ty ” , “Show
B ooths” and oth er genre pictures fe atu rin g his fam ous b u xo m b eau ties.
T h e d e lib era te n aiv ete in the approach was a form of sty lisatio n .

Ex. VI
1. In “ M idday in I t a l y ” , B rullov has depicted an I t a li a n g irl,
throb bing w ith th e joy of life, h arv es tin g grapes. H e p a in te d from n a ­
ture, in th e v in e y a rd , and the en tire p ic tu re is suffused w ith th e hot sun.
2. P ero v worked in w h at was v ir tu a l ly a greyish-brow n m ono­
c h r o m e li k e most of th e W anderers, who d e lib era tely chose a low-keyed
colour scale to counter th e flowery o rnateness of the draw ing-room art
of th e tim e.
5. K ram skoi continued th e work of Perov in th e psychologic
p o rtra it. Leo Tolstoy was p ain ted by him w ith deep psychological in sig ht,
th e en tire a t t e n ti o n being focussed on rend erin g th e inner world of th e
g reat w riter. K ram skoi him self alw ays avoided affectation, and in his
work, too, there was a certain restraint. The play of light and shade was
subtly calculated giving the illusion of transient expression in th e face
of th e sitter.
4. T h e p a in t e r who h an d le d th e p ea sa n t th e m e best was probably
S a v itsk y , who tre a te d th e subject w ith g reat s y m p a th y , an d whose
p ain ting s convey a profound social message.
5. V assiliev’s “Meadow” is an o u ts ta n d in g ex am p le of R ussian r e ­
alistic p a in tin g . I t is ha n d led in big masses, b u t w ith all d etails c a re ­
fully finished, especially in th e .foreground. The colour scheme conveys
th e dewiness of the grass an d air.
6 . T h e a rt of th e W and erers reached its highest pin n a cle in the
work of R epin and Surikov. T h e vivid n a tio n a l ch ara cter of th eir p a i n t ­
ing was ev id e n t in su bject m a t te r and ideas, as well as in sources and
tr a d itio n s.
7. Ily a R e p i n ’s v e rs a tility was one of his most asto nishing tra its.
A great genre pa inte r, he was at th e sam e tim e orte of our most
distin gu ish ed p o rtra itis ts. In a d d itio n to his m on u m e n ta l historical
canvases, R ep in depicted th e co n tem p o rary re v o lu tio n a ry scene.

202
 8 . In th e la te 1870’s Vassili Polenov aban d o n ed historical and
battle-scenes in favour of land scap e and genre p ain tin g , for w hich he
th o u g h t his ta l e n ts b e tte r su ited . F a ith fu lly and w ith great s in cerity
depicting th e surrou nd ing scene, Polenov did his best works including
a p a rtic u la rly delightful pain tin g called “ Back Y ard in Moscow” ,
which is im bued w ith a freshness a nd su n lit lyricism n ot to be found in
R ussian p ain tin g before him . H is approach was novel, too. S ta r tin g
with th e homely pa tch of ground behind a sm all house of a ty pe v e ry
common at th a t tim e, he showed th e sheds and th e well t h a t belonged
to it, an d in th e background, more wooden dwellings and a church w ith
its five golden cupolas and tall, tent-roofed bell tow er, the o u tl in e of
still a no ther church in th e d is ta n c e to th e rig h t.
9. N estero v’s soft, p re d o m in a n tly greyish-green to n a lity , as in
t h e p o rtra it of his d au g h ter, brings to g eth er all colours harm o n io usly .
The delicate brush stro k e perm its N esterov to com b in e precise, de­
ta iled rendering of objects w ith a re m a rk a b le u n ity of th e whole.
10. A great m aster of lyric la nd scap e was Isaac L e v ita n . The g re at
v a rie ty of his subjects reflects a w hole g a m u t of h u m a n em otional
experience from a quiet r a d i a n t joy to profound sorrow. In his d e lic a te
perception of n a tu r e and his a b ility to convey a mood he is som ew h at
ak in to C hekhov.
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 GLOSSARY
абстрактное искусство — ab­
stract art, 185
абстракционизм — abstractio­
nism, 184
абстракционист — ab stractio ­
nist, 185
автопортрет — self-portrait, 82
ажурная каменная работа —
tracery, 22
акварель — water-colour, 43
алтарь — altar, 23
алтарная часть церкви — sanc­
tuary, 32
анималист — anim al painter, 43
анималистская живопись — ani­
mal painting, 43
антихудожественный — inar­
tistic, 15
античный — antique, 17
апсида — apse, 31
арка — arch, 17
аркада — arcade, 32
аркатурный фриз — blind arcad-
ing, 31; decorative band, 31
архитектор — architect, 16
архитектура — architecture, 16
архитектурный — architectural,
16
Б view; вид сзади — a back view,
базилика — basilica, 21
барабан — drum, 31
барбакан — barbican, 31
барельеф — bas-relief, 15
баталист — painter of battle-
scenes (battle-pieces), 43
батальная живопись — painting
of battle-scenes, 43
башенка — tu rre t, 32
башня — tower, 31
безмятежный — serene, 83
бетон — concrete, 17
библейские эпизоды — icono-
graphic scenes, 32
блик (световой) — highlight, 32,
95
богатство красок — a riot of co­
lours, a wide colour-scheme, 59
бронза — bronze, 17
бытовая живопись — genre p a in t­
ing, 43
бытовые сценки — everyday
scenes, 43; genre scenes, 64
В
ваяние — sculpture, 15
ваятель — sculptor, 15
ваять, изваять (из камня, дере­
ва, кости) — chisel, carve, 15;
(из глины) — model, 15; из
бронзы) — cast, 17
великий художник — master, 76
весомость (фигур) — solidity (of
figures), 44
вид — view; вид сбоку — a side
view; вид спереди — a front
123
видение (индивидуальное вос­
приятие) — vision, 64
витраж — stained-glass window, 21
включать (как составную часть) —
incorporate, 21
внутренний — interior, 22
вогнутый — concave, 17
воздвигать, строить — erect, 17
207
воздух, воздушная среда в живо­
писи — atmosphere, 76
воздушный — atmospheric, 76
воздушность — airiness, 96
Возрождение — Renaissance, 42
волюта, завиток, спираль — vo­
lute, 16
восьмерик, восьмигранник, oc­
tagon, 31
восьмигранный, восьмиуголь­
ный — octagonal, 31
выделяться, выступать — stand
out, 50
вызывание к жизни, воскреше­
ние в памяти — evocation,
44
вызывать (воспоминания, чув­
ства) — to evoke, 44
выполнение — execution, 51
выполнять — execute, 51
выражение лица — facial expres­
sion, 17
вырезать — to carve, 15
вырисовываться на фоне чего-л.
— to be silhouetted against, 82
высекать, обрабатывать резцом —
to chisel, 59
выставка — exhibition, exhibit,
100
выставлять — to exhibit, 100
выставляться — to be on display
(show, view, exhibit), 100
Г
гамма (красок) — palette, 32;
colour-scheme (range), 124
главка — cupola, 31
гладкая (поверхность картины) —
smooth (surface, finish), 45
глухой серый — dull grey, 124
глыба — block, 138
гончгрчые изделия — pottery, 16
rep улья — gargoyle, 22
rep :льеф — high relief, 15
гор адской пейзаж — town (ci-
ty)-scape, 51
гравер — engraver, 15
граверное искусство — engrav­
ing, 15
гравировать, выгравировать —
to engrave, 15; вытравить —
to etch, 82
гравюра — engraving, 15; print,
95;
208
Грановитая Палата — Palace of
Facets, 30
график — graphic artist, black
and w hite artist, 64
графика — graphic art, 64
графический — graphic, 64
гробница — tomb, 15
грунт — foundation, ground, 100
Д
дальний, удаленный (в картине) —
background, 51
деисус — deesis, 32
декоративное искусство — deco­
rative art, 14, 31
декоративный — decorative, 31;
ornam en tal, 16
деревенские сценки — rustic sce­
nes, 96
деревенский пейзаж — rural land ­
scape, 51
диапазон (размах, масштаб) —
range; гамма цветов — range of
colours, colour-scale, 100
диптих — diptych, 23
дорический ордер (стиль) — Doric
order (style), 13
доска для живописи — panel, 32
Ж
жанр — genre, 43
жанрист — genre-painter, 43
жанровая картина — genre
scenes, 43; domestic interior(s),
76
желобчатый — fluted, 16
живописец — painter, 43
живописный — pictorial, 64
живопись — painting, 43
жизненный, реалистичный —
life-like, realistic, 15
3
завладевать вниманием — com­
mand attentio n, 51
задний план — background, 51
заказ (художнику) — commission,
82
заказать (портрет) — commis­
sion (a portrait), 82
закомары — blind arches, 31
законченность — finish, 44
залитый (солнцем, светом) —'
charged (with), bathed (in), 64;
suffused (with), 64 flooded
(with); awash (with), 101
замысел —conception, concept, 50;
design, 16
замышлять — conceive, 50;
design, 16
запечатлевать — set down, 123
запрестольный образ — altar-
piece, 23
звонница — bell tower, 31
земной — earth-bound, 95
знаток искусства — connoisseur,
174
зодчий — architect, 16
зодчество — architecture, 16
золотых дел мастер — goldsmith,
22
зубчатая стена — battlem ent,
battlem ented wall, 31
И картина — picture, painting, 43;
идейное содержание — message,
51
известняк — limestone, 16
изгибаться — to curve, 44
изгибающийся — curving, 44
излучать (свет, тепло) — to r a ­
diate, 131
изображать — to represent, to
depict, to portray, 15
изображение — portrayal, depic­
tion, representation, 15
изобразительное искусство — vis­
ual arts, Fine Arts, Arts, 14
изобразительный — graphic, 64
изогнутый — curved, 44
изысканный — exquisite, 96
икона — icon, 32
иконописец — icon-painter, 32
иконопись — icon-painting, pan-
el-painting, 32
иконостас — iconostasis, 32
импрессионизм — impressionism,
123
индивидуальное (личное) восприя­
тие — o n e ’s personal (style),
vision, 64
интенсивность (цвета красок) —
brilliance, brilliancy, 124
интерьер — interior, 22
ионический ордер (стиль) — the
Ionic order (style), 14
искаженный — contorted, dis­
to rted, 59
искривленный — askew, 148
искусный — masterly, 76
искусство — art, 14
исполнять, выполнять — to
execute, 51
историческая живопись — his­
torical painting, 43
К
5 каменная (кирпичная) кладка —
masonry, 21
капитель — capital, 16
карандаш — pencil, 44
карандашный рисунок — pencil
drawing, 44
карикатура — caricature, cartoon,
95
карниз — cornice, 31
canvas, 50
картинная галерея — art gallery,
14
керамика — pottery, 16
кисть — brush, 45
классический — classical, 16
классицизм — classicism , 16
колокольня — belfry, 31
колонна — pillar, column, 16
компактная (композиция, груп­
па) — closely (tightly) knit
(com position, group), 43
контрасты тонов — contrasting
tones, 76
контрфорс — buttress, 21; ароч­
ный контрфорс — flying but­
tress, 21
контур — outline, 16; контур­
ное изображ ение— outline
drawing 16
копировать — to copy, 127
копия — copy, 127
коринфский ордер — the Corinth­
ian order, 14
краситель — pigment, 50
краска — paint, 43; pigment, 50;
colour, 123
кривая — curve, 44
круглая (в плане) circular, 21,
209
 круглая скульптура —
sculpture in the ro u n d , 15
кубизм — Cubism, 148
купол — dome, 17
JI
лак, фиксаж — varnish, 50
лакировать, накладывать лак —
varnish, 50
лемех (осиновая черепица) — as­
pen shingles, 31
лепить — mould, 22 ; model, fa­
shion, 15
лепка, лепная работа — model­
ling, 15
лепное украшение — moulding, 22
лессировка — glaze, 59
линейная перспектива — linear
perspective, 32
линейный (имеющий отношение к
рисунку) — linear, 32
линия (рисунок) — line, 32
линия нисходящая — downward
movement, 59
литье — casting, 137
луковичный — bulbous, onion­
shaped, 31
лучистый — rad ian t, 131
М натурщик(-ца) — model, sitter,
мазня — daub, 101
мазок—touch, 100; brush, stroke, 45
манера (живописная) — brush-
work, brushing, 45
маринист — sea-scape painter, 43
маринистская живопись — sea­
scape (m arine) painting, 43
масло, масляная краска — oil, 50
мастер — craftsman, 16; master,
76; старые мастера — Old Mas­
ters, 125
мастер линии — a master of
line, linearist, 76; 45
мастерская — workshop, 50
мастерски (искусно) — in a mas­
terly way, 76
мастерство — mastery; artistry,
skill, 76
мастихин — palette-knife, 100
материал — medium, 134
мел — chalk, 45
210
моделировать — model, 15
модель (живая) — model, 17
мольберт — easel, 43-
монументальная (живопись) —
monumental painting, 16
монументальный — monumental,
16
мотив — motif, 16
мрамор(-ный) — marble, 16
H
набросок — sketch, 95
наводить (на мысль) — suggest,
44
«надгробная плита — tombstone,
15
наделять — endow, 32
накладывать (краски и т. п.) —
lay on, 50
(лишь) намечаться — be barely
suggested, 44
напоминать — be reminiscent of,
31; recall, 96
направление — trend, movement;
school, 76
народное искусство — popular
(folk) art, 14
насыщать, пропитывать — imbue,
33
натура — model, 17
17, 95
(писать, рисовать) с натуры —
draw (paint) from nature, paint
from life, 44
натюрморт — still-life, 43
негармонирующий — discord­
ant, 76
непосредственность — immediacy;
spontaneity, 96
непосредственный — spontane­
ous, 32
нервюра — rib, 21
неровная (поверхность картины) —
rough (surface, finish), 44
ниша — niche, 22
нюанс shade, 32, nuance, 131
О
обнаженный — nude, 60
обработка (поверхности) — fin­
ish, 44
образ (изображаемое лицо) —
subject, 15, character, personage
образец — model, 17, pattern, 22
образное воплощение замысла-
imagery, 106 :
обращаться (к чему-л) — turn to
sm th, draw one s subject from
sm th; paint, treat a subject, 76
объединять — bring (hold) to ­
gether, pull together, unite, 64
объем — volume, 31
объемный — well-rounded, sculp­
turesque; three-dimensional, 44
огораживать, окаймлять — en­
close, 21
огороженное пространство — en­
closure, 21
одухотворенность — sp iritua­
lity , 138
окно-роза — rose window, 21
окутывать — envelop, 96
орнаментальный — ornam ental,
16
основной цвет — prim ary colour,
124
отливать — mould, 22; cast, 137
отливка — moulding, 22
оттенок — shade, hue, 32; tinge,
124
офорт — etching, 82
П позирующий — sitter, 95
палитра — palette, 32
парадный портрет — ceremonial
p ortrait, 95
парапетная стенка с бойницами—
b attlem en t, 31
пастель — pastel, 44; пастель­
ный — pastel, 44
пастозная живопись — impas-
to, 76
пейзаж — landscape, 43, 51
пейзажист — landscape painter,
43
пейзажная живопись — la n d ­
scape painting, 43
передавать — render, 50; convey,
51; handle, 55
передать (сходство) — to catch a
likeness, 96
передний план — foreground, 44
переплетение — interlacing, 31
переплетающиеся — interlacing,
31
перламутрово-серый — pearly-
grey, 124
перспектива — perspective, 43
пилястр — pilaster, 32
пирамида — pyram id, 16
писать (красками) — paint, 43
плавный — fluid, fluent, flow­
ing, 32
плакат — poster, 43
плакатист — poster-painter, 43
план — plan, 31; в плане — in
plan, 31; на заднем (переднем,
втором) плане — in the back­
ground, 44
пленэр — plein-air, 134; на пле­
нэре — out of doors, 134
плоскость — plane, 144, 155
поверхность картины — surface
(texture), 44
подмастерье, ученик — appren­
tice, 50
подклеть — substructure, 31
подлинный — authentic, 51
подлинность — authenticity, 51
подмалёвок — underpainting, u n­
dercoat, 50
подъемный мост — drawbridge, 31
поза — posture, pose, 96
позировать — to pose, to sit (for),
96
позолота — gilding, 31
позолотить — to gild, 31
позолоченный — gilt, 31
полоска, полоса — streak, 101
полотно — canvas, 50
портал — portal, 21
портрет — p o rtrait, 55, 82, 95
портретист — portrait-painter,
portraitist, 43
псртргтная живопись — p ortrait,
painting, p orta iture, 43
предвосхищать — anticipate, 96
предметное искусство — represen­
tational art, 184
придворный художник — court
painter, 76
придел — chapel, 21
прикладное искусство — applied
art, 14
принимать (цвет, форму и т. п . ) —
to take on (a colour, form, etc.),
124
211
проект — design, 16
проектировать — to design, 16
прозрачный, светлый — lu m i­
nous, 32
пронизывать (пропитывать, насы­
щать) — imbue, penetrate, 96
просторность — spaciousness, 17
просторный — spacious, 17
простой(без украшений) — austere,
31
пространственный — spatial, 17
пространство — space, 17
пуантилизм — pointillism, 124;
spot technique, 134
пульсировать (трепетать, вибри­
ровать) — throb, 96
пучок (света) — shaft (of light), 95
пьедестал — base, 16
пышный, богатый — lavish, 31
пышный (о фигуре) — voluptuous,
60
пятно, patch, spot, splash, 109, 132
Р ника) — broad (style, tech­
размашистый (рисунок, линия) —
a sweeping (line), 32
размывка — wash, 45
разнообразие (форм, направлений)
—diversity of form (genres, etc.),
31
разносторонний — versatile, 76
расписывать (стены) — decor­
ate, 31
распятие — Crucifix, 23
ргбристый (рубчатый) — ribbed,
21
ребро — rib, 21
резные украшения — embroi­
dery, 31
резчик — carver, 15
резьба — carving, 15
религиозный — ecclesiastical, 21
ргльеф — relief, 15
рельефность — plasticity, 50
рельефный — relief (attr.), in re­
lief, 15; rough, 44; scu lptu r­
esque, 43; plastic, 50
ремесленник — craftsman, 16
ргмесло — craft, 16
рефлекс — reflection, 83
рисовальщик, мастер рисунка —
draughtsman, 44
рисование — drawing, 44
рисовать — draw, 44
212
рисунок — drawing, 44; design,
16; pattern, 22 ; подготовитель*
ный рисунок, этюд — study, 44
ритм — rh ythm , 32
ритмический — rhythmic(al), 32
рифленый — fluted, 16
раза (а рхит .) — rose window, 21
розовато-лиловый — mauve, 124
роспись — decoration; wall p a in t­
ing; murals, frescoes, 31, 32
рука (художника) — hand, brush,
50
С
сангина (карандаш) — sanguine
(crayon), 44
свет (освещение) — light, 76,
82, 101 , 120
светотень — light and shade,
chiaroscuro, 44
светский, гражданский — secu­
lar, 17
свободная (манера письма, т е х ­
nique), 58, 69, 196
свод — vault, 17
сводчатое покрытие— vaulting, 17
сводчатый — vau lted , 17
сельский — rural, 51; rustic, 96
серебряных дел мастер — s ilv e r­
sm ith, 23
сильный (по воздействию)—force­
ful, powerful, 32; vigorous, 132
скульптор — sculptor, 15
скульптура — sculpture, 15; s t a t­
uary, 22
скульптурный — sculptural, 15,
43
слепок — cast, 137
сливать(ся) —blend, 51, 96; fuse,
64
слияние — fusion, 64
сложный, разработанный в дета­
лях — elaborate, 59
сложный цвет — secondary col­
our, 124
слой — layer, 86, wash, 45
слоновая кость — ivory, 23
смещенный — off-centre(d), 44
собор — cathedral, 21
соперничать — rival, 76
сочность (о цвете) — richness, 59
сочный (о цвете) — rich, 59
сплетать(ся), переплетать(ся) —
interlace 31; intertwine, 44
способность (дар к чему-л.) —
faculty (for sm th), 76
средневековый — medieval, 21
станковая живопись — easel
painting, 43
становиться менее ясным — blur,
44
статуэтка — figurine, statuette,
16
(на)стенная живопись — mural
(wall) painting, 32
стенная роспись mural(s), fres­
co (es), 32, 31
стилизованный — stylised, 64
стиль — style; (a p xim .) order, 13
столб — pillar, pier, 16
стоять (высоко и т. п.) — rank
(high, etc.), 82
строгий, суровый — austere, 31;
rigid, 16
строгость, суровость — rigidity,
16
ступенчатый — terraced, 16
«сфумато» — “ sfum ato” , 51
схватить (передать) — catch, cap­
ture, seize, 96
схематичный — sketched in, 95
сходство — likeness, 15
сцен(к)а — scene, 43, 123
сюжет subject, 15; motif, 16
сюжетно-тематический — narra­
tive, 95
T fully-(well) -balanced, 43
творчество — art, creative powers
(ability), work(s), painting(s),
artistic endeavour, 15
текстура (структура) поверхнос­
ти — surface, surface texture, 44
телесный цвет — flesh-tints, flesh-
colour, 76
тема (содержание) — subject m at­
ter, 15; motif, 16
тень — shadow, shade, 76; в полу­
тени — in partial shadow, 76
терраса — terrace, 16
террасированный — terraced, 16
техника (работы) — technique,
medium, 134
техника (материал) — medium,
134
тон, цвет — tone, 32, 123
тональность — ton ality , tonal
effect, 45; key, 124
тонкий слой (краски) wash, 45
точечная техника — spot tech­
nique, pointillism, 134
точное (правильное, правдивое)
изображение — faithful rep re­
sentation (depiction, portray al),
15
трактовать (решать тему) —
treat, handle, 55
трактовка — tr eatm ent, han­
dling, 55
трехмерный (объемный,круглый)—
three-dimensional, 44; in the
round, 15
триптих — trip tyc h, 23
тушь — ink, 44
У
увенчиваться — be surmounted,
topped, crowned (with), 32
увлекаться (быть привлеченным к
...) — be drawn to ..., 76
уголь — charcoal, 44
удлиненная форма — elongation,
17
удлиненный — elongated, 17
узор — design, 16; p attern, 22
украшать — ornam ent, 16; decor­
ate, 31; prettify, 64
украшение — ornam ent, 16; decor­
ation, 31
украшенный — ornam ented, 16
(хорошо) уравновешенный (care-
усеченный— truncated, 16
усиливать — heighten, enhance,
17
ученик — apprentice, 50
ученичество — apprenticeship, 50
Ф
фактура — te xture, 44
фактура письма — pictorial te x tu ­
re, brashwork, 45
фактура поверхности — sufrace
texture, finish, 44
фарфор — porcelain, 132
фасад — facade, 21
фигура — figure, 16
фовизм — Fauvism , 148
фовист — Fauve, Fauvist, 148
фокус — focus, 44
фон — background, 51
фонарь — lantern, 32
213
 форма — mould, 22
формовать, придавать форму—
mould, 22
формовка, отливка — moulding,
22
фреска — fresco, 31
фресковая живопись (техника) —
fresco p ainting (technique), 31
фриз — frieze, 16
фронтон — pedim ent, 16
фундамент — base, 16
X spire, 21
холст — canvas, 50
храм — temple, 16
художественное творчество —
artistic endeavour, 15
художественный рецепты — ar­
tistic formulas, 109
художественный — art (attr.), ar­
tistic, 14
художник — artist, painter, 14
Ц экспонат — exhibit, 100
цвет — colour, 32, 123
цветисто (пышно) украшенный —
ornate, 17
цветное стекло — stained glass,
21
цветочный — floral, 22
церковный— ecclesiastical, church,
21
4 95
часовня — chapel, 21
чертить — draw, 44
четверик — square, 31
четкость — exactness of design, 76
чешуя (орнамент в виде чешуи)—
im brications, 31
чин (в иконостасе) — tier, 32
чистый (прозрачный, ясный) —
crystal-clear, 64
чистый цвет — pure colour (tone),
i24
чувственный — sensual, 59
чувство меры — sense of modera­
tion, 76
чувство цвета sense of colour, feel­
ing for colour, 32
Ш
шатер — tent, tent-(shaped) roof,
шатровая башня — a tent-roof­
ed tower, 31
шатровая церковь — a tent (roof­
ed) church, 31
шедевр — masterpiece, 76
шпиль (пирамидальная крыша) —
steeple, 21
шпиль (остроконечная вершина) —
шпиц, остроконечная башенка—
pinnacle, 21
штрих — stroke, 44; touch, 100
штриховать (заштриховать) — to
shade, 67
штриховка — shading, 67
штукатурка — stucco, 31; ошту­
катуренный — stucco, 31
Э
экспонировать (выставлять) e x h i­
bit, hang, 100
экспонироваться — be on display
(exhibition, show, view, exhibit),
100
экспрессионизм — expressio­
nism, 185
эскиз, (набросок) — sketch, 95
эскизный (контурный) — sketchy,
эстамп — engraving, 15; print, 95
этюд — stu dy , 44
этюдник — paint-box, 43
Ю
ювелир — goldsmith, 23
Я
языческий — pagan, 21
яркость — brilliance, 124
ярус — tier, 32
ясный — lum inous, 32 crystal-
clear, 64
ясность— lum inosity, 32
Мария Михайловна Фалькович,
Елена Марковна Лебединская,
Наталья Серафимовна Стрелкова
Алла Диомидовна Цигельная

ПОСОБИЕ ПО РАЗВИТИЮ
НАВЫКОВ УСТНОЙ РЕЧИ

Заведую щ ая редакцией В. А. ЧЕЛЫШЕВА

Редактор В. П. ТОРП А КОВЛ.
И здательский редактор Г. Г. ПЕТРОПАВЛОВСКАЯ.
Оформление художника А . А . ГО РЯЧКИНА.
Х удожественный редактор Р . А. КАЗАКОВ.
М ладшие редакторы: О . Г . МИРНОВА,
Е. П . ПОЛИТОВА.
Технический редактор И . Г. МАКАРОВА.
К орректор Г . И . КОЛОДКОВА.

А 13038. Сдано в набор 3 IX 1975 г. Подписано

в печать 19/111 1978 г. Формат 84x108 • / „ Бумага
тип. № 3 . Уел. печ. л . 12,18. У ч .-и з д . л . 14,91,
Тираж 65 ООО экз. И зд. Ка 1/73-Ф .

И здательство «Международные отношения». 103031,

М осква, К-31 Кузнецкий мост, 24—26
З ак. № 614. Ярославский полиграфком бина/ Союз-
полиграфпрома при Государственном комитете Сове­
т а М инистров СССР по делам издательств, п оли­
графии и книжной то р го вли . 150014, Я рославль,
у л , Свободы, 97,Ц ена 70 ко п .
 ИЗДАТЕЛЬСТВО
« М Е Ж Д У Н А Р О Д Н Ы Е О ТНО Ш ЕНИ Я»
выпустило в свет
следующую литературу
по вопросам перевода:
БАРХУДАРОВ Л. С. Язык и перевод (англ. яз.), 13 л.
КОМИССАРОВ В. Н. С лово о переводе (англ. яз.),
12 л.
КРУПНОВ В. Н. В творческой лаборатории перевод­
чика (англ. яз.), 12 л.
ЛЕВИЦКАЯ Т. Р., ФИТЕРМАН А. М. Проблем ы пере­
вода (англ. яз.), 12 л.
Тетради переводчика. Под ред. проф. Л. С. Барху­
дарова. Вып. XII, XIII, 6 л.

Книги можно приобрести в магазинах Книготорга,

распространяющих литературу по иностранным языкам.
В случае отсутствия литературы в местных книжных
магазинах обращайтесь по адресу: индекс 125299, Моск­
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наложенным платежом.
 1. A. Rublev “The Trinity”
8—614
2. S. Botticelli “A nnunciation”
3. Leonardo da Vinci “M ado nn a L itta”
 5. Raphael "M adonna Connestabile'"

4. Michelangelo “M oses”
6 . El Greco “Saint Peter and Saint P a u l”
7. P. P. Rubens “Lady in W aiting”
8 . Rembrandt van Rijn "Sacrifice of A braham”
9. T. Gainsborough “Dutchess de Beaufort”
10. E. Delacroix “Rider S addling a Horse”
11. A. Renoir “Lady with a F a n ”
12. A. Rodin “The Kiss”
 13. P. G augin “Jealousy”

14. V incent van Gogh

■"The P o rtra it of D r Rey”
15. V. Surikov “Menshikov in Beryosovo"

16. V. Serov “The Portrait of Fyodor Shalyapin’*

17. V. Favorsky “The Lay of the Host of Ig or”