Западноевропейское искусство от Хогарта до Сальвадора Дали

2. Whose influence is felt in Gainsborough's portraits? What did Gainsborough achieve in his full-length portraits?

3. Where is the figure in Mary Countess Howe posed?

4. What do Gainsborough's landscapes exhale? What did Gainsborough prefer to paint in later life?

5. What does the Market Cart show?

6. What was said about Gainsborough's landscape?

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

the most influential English painter; the elegant attenuation; a full-length portrait; to pose in front of a landscape background; the embroidered organdy of the overdress; the exquisite play of colour; to prefer landscapes to portraits; to paint landscapes in a studio; the grand manner; to move to tears; the painting of the cart; the shimmer of light; soft strokes; to gather brushwood.

ii. Give English equivalents of the following phrases:

трогать до слез; наиболее авторитетный художник; позировать на фоне пейзажа; предпочитать пейзажи портретам; хрупкость и изящество несколько удлиненных женских фигур; органди; портрет во весь рост; мягкие блики; писать пейзажи в студии; величественная манера; совершенная игра цвета; собирать хворост; изображение повозки; мягкие мазки.

iii. Make up sentences ofyour own with the given phrases.

iv. Arrange the following in the pairs of synonyms:

a) influential; occasional; exquisitely; environment; artificial;

b) unnatural; surroundings; infrequent; perfectly; important.

IV. Translate the text into English.

На формирование Томаса Гейнсборо – великого английского портретиста XVIII века, значительное влияние оказали работы Ван Дейка.

Пейзаж в портретах Гейнсборо имеет большое значение. В зрелом возрасте, когда Гейнсборо переселился в Лондон, он начал писать портреты во весь рост на фоне пейзажа. Модели Гейнсборо поэтичны. Художник придает особую хрупкость и изящество несколько удлиненным женским фигурам. Светлая колористическая гамма становится отличительной чертой его живописи. В портретах Гейнсборо отсутствуют аллегории. Гейнсборо прошел творческую эволюцию от детальной манеры, близкой «малым голландцам» к живописи широкой и свободной.

V. Summarize the text.

VI. Topics for discussion.

1. Gainsborough's portraits.

2. Gainsborough's style.

Unit III Reynolds (1723-1792)

Sir Joshua Reynolds was in his own day a commanding figure, whose authority outlived him and who eventually became a target for Romantic attacks. In Reynolds's day society portraiture had become a monotonous repetition of the same theme. According to the formula, the sitter was to be posed centrally, with the background (curtain, pillar, chair, perhaps a hint of landscape) disposed like a back-drop behind; normally the head was done by the master, the body by a pupil or «drapery assistant», who might serve several painters. Pose and expression tended to be regulated to a standard of polite and inexpressive elegance; the portrait told little about their subjects other than that they were that sort of people who had their portraits painted. They were effigies; life departed.

It was Reynolds who insisted in his practice that a portrait could and should be also full, complex work of art on many levels; he conceived his portraits in terms of history-painting. Each fresh sitter was not just a physical fact to be recorded, but rather a story to be told. His people are no longer static, but caught between one moment and the next. Reynolds was indeed a consummate producer of character, and his production methods reward investigation. For them he called upon the full repertoire of the Old Masters.