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noun + like = adjective

rose + like= roselike

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business + like= businesslike

справа діловий

... ...

lady, gentleman, dream, apostle, willow (плакуча верба), bird, flower, sun, moon, goddess, snow, sky

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explainable, destroy, deliberately, discovery, familiarity, portraiture, desirable, teaching, accordance, bitterly, characteristically, successfully, graceful, imaginary, disposition, observation, creative, imagination, careless

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1. satin and velvet, exposition of Academic position, familiarity with the costumes, the subject of rules, logic and reason, command of the form, to be opposed to, grace of the pose, the Royal Academy, in accord­ance with a fixed ideal

б) класичний жанр, романтичний персонаж, поетична фігура, фіксувати ідеал, рекомендувати стиль, драпіру-вання і костюм, костюм аристократа, пропорції фігури, ексцентричний характер, філософія романтизму

1. Не has a perfect sense of display of the character. 2. You sense the realistic quality of his pictures very strongly. 3. Constable was the herald of romanticism. 4. His interpretations of the native country herald a new school of landscape painting. 5. We can witness the change in the life of the whole planet. 6. He was a witness of the events of that period.

the 18th century theorist, the 18th century portraiture, figure proportions, landscape and genre painting, colour scheme, landscape painting school, family group portrait, art forms

1. These lectures were regarded as the most sensible exposition of the Academic position that by well-directed work it was possible to learn the Rules of Art and use discoveries and ideas of the old masters to create a new style of one's own. 2. If the ladies of the 18th century seem impossibly tall and willow-like, it is Sir Joshua's theories rather than the physical peculiarities of English women that are responsible for it. 3. Victorian England, which found it more impor­tant that a man be a gentleman in the first place and only in the second be a genius, never forgave him.

бути свідком, однак, єдиний жанр, нащадки пам'ятати-муть, доводити до рівня, було очевидно, використовувати відкриття, майбутні художники, запозичувати, радити, витонченість, загальний вигляд, відповідно до, змінити пропорції, швидше ніж, подібний до плакучої верби, вчення, драпірування, оксамитовий, руйнувати, всього лише, обрамлення, злити портретний живопис з історичним, вводити новий зміст, мало піклуватися про, по необхідності і по схильності, з одного боку і з іншого, умисно, ігнорувати, прощати, бути ворожим

1. When did British painting reach its zenith? 2. What art forms became the hallmarks of British painting? 3. What was the only form of painting in Britain up to the third quarter of the 18th century? 4. What did Sir Joshua Reynolds propose when the Royal Academy was founded? 5. What did he recommend in his lectures? 6. What did Thomas Gainsborough introduce into English art? 7. What did John Constable insist on? What did he ignore? 8. What did William Blake pro­pose? 9. What couldn't Victorian England forgive Tur­ner?

It was necessary that he should care more about himself. They demanded that we shouldn't ignore this fact.

to develop a style of painting, to introduce a new meth­od of, to look natural, to follow one's own disposition and inclination, to criticize bitterly, to borrow the devic­es, to destroy the effect, to use smth deliberately, to look romantic, to consist in, to. remind smb of, to put one's faith in, to ignore the rules,

to be familiar with the teaching of, exposition, subject matter, de­velopment of art,

to be responsible for arrangement, introduction, the use of, gener­al air, ceremony,

to be bitterly opposed to discovery, teaching, pro­posal, suggestion

1. Many people find it important that a film ... 2. It is obvious that of all the arts ... 3. On the one hand it is obvious that today's theatre art ... 4. It is quite explain­able why cinema ... 5. It is not enough for any actor ... 6. It is very rare that ... 7. Speaking about cinema, I should in the first place remind you ... 8. I find it essential, when analyzing a piece of work, that ... 9. It is desirable that any gifted person ... 10. On the one hand I wish I could ...

THOMAS GAINSBOROUGH

Thomas Gainsborough was the favourite painter of the aristocracy, but (його не особливо цікавило) high society. This tender-hearted artist had а (пристрасть) for music and delighted in the theatre, yet (ігнорував) literature, (ненавидів) writers and read little. When Reynolds told the Artists' Club that Gainsbo­rough was the first (художник-пейзажист) in Europe, Richard Wilson (пейзажист) remarked that in his opin­ion Gainsborough was the first (художник-портре­тист) in Europe. But in essence Gainsborough 'when at his best was trying to create something (об’єднуюче) portraiture and landscape painting, a (примарний) but memorable world, where human character (злитий) with the nature around it. Even his London portraits seem to suggest we are still in the country. His (примарний) landscapes are completely non-specific; we can't say which country is intended as he (навмисно) avoided rendering the exactness of the place. (Хоча) he loved his native land with its blue horizons, dreamlike rivers and beautiful trees, his (схильність) was to portray a mood (швидше, ніж) а specific view. This dreamlike quality is the (найхарактерніша риса) of this artist.

(to be sick of, though, rarely, find it important, ideal, look natural, arrange, remind, care much, dreamlike, herald, take care, kind)

When Gainsborough ... making portraits he painted landscapes for his own pleasure. ... he passionately loved nature he ... if ever painted actual views. Like most of the 18th century theorists, he was convinced that nature as it exists was an unsuitable subject for painting. He ... that the elements of a landscape should be distilled through the artist's imagination and gently turned into the ... vision of a pastoral poet projected onto the canvas. To be able to make his ideal composi­tions he brought into his painting room stumps (пні) of trees, branches and animals of different... . As he wanted his compositions to ... he ... a miniature land­scape on the table. He ... that the landscape shouldn't remind one of any specific English countryside, but at the same time he ... about creating a ... mood that is so characteristic of all his pictures. Gainsborough's dreamlike landscapes ... the great English school of landscape painting.

This scene painted from sketches shows the unquiet seawaters at the mouth of the Thames. The theme of seas was very popular in Britain in the XVIII century. The choppy seawaters add excitement and move­ment to the composition. Changing light and colour often attracted Turner's attention, and he painted such scenes very quickly. This painting is carefully com­posed, there is dramatic contrast between light and shadow, both in the foreground (sails and landscape) and in the background (the sky). The choice of a marine, subject and the use of dark tones reveal Turner's study of Dutch masters. The emphasis on action shows the artist's love of drama in Nature.

1. The teaching of Reynolds.

2. Portraiture as the leading genre up to the 70's of the 18th century.

3. The most important representatives of British paint­ing between 1750—1850.

WILLIAM HOGARTH

William Hogarth (1697—1764) was an English engrav­er of remarkably original character and thought. Ho­garth's gift for quick graphic portrayal of the life around him led him to engrave a series of conversa­tional pieces and then moralities. He was the first to speak openly and bitterly of the social tragedy in every­day life.

He began his conversational pieces in the 20's soon af­ter John Gay's "The Beggars' Opera" had been staged. Hogarth must have been impressed by the perform­ance, a music parody on the aristocratic theatre on the one hand and the morals of society on the other. He wanted to make pictures that would remind one of a theatre. He wished he had his own actors to play on his stage. His first series of conversation pieces, which was called "The Beggars' Opera" was a great success with the public, though it lacked the satirical bitterness of John Gay's music. But the subject matter he introduced in painting made a revolution in the history of painting. He became the herald of a new comic art-caricature [.kaerɪka'tjua]. For a long time he even developed his own theory of comic art in which he suggested that car­icature should be based on comic comparison, whereas character, by contrast, on knowledge of the human body and heart.

Вправа 17

Перекладіть письмово

l. Англійський художник Річард Вілсон (1713/14-1782) вважав за необхідне, щоб пейзаж був поетичним. Його мало турбувала точність передачі місця, яке він писав. Він писав картини, цілком покладаючись на свою уяву. 2. Джозеф Райт (1734-1797) у своїх пейзажах не дотримувався правил, встановлених Академією. У роботі над картиною він дбав про те, щоб правильно передати форму, гру світла на воді і світло, відбите від предметів. 3. Семюель Палмер (1805-1881) у своєму мистецтві запозичив різні художні прийоми, якими користувалися художники старшого покоління, яким він повністю довіряв. 4. Констебл вважав що художник повинен прекрасно володіти змістом картини, яку він писав.

Підготуйте повідомлення на теми:

1. The principles of the Grand Style.

2. The herald of British landscape painting.

3. The herald of Romanticism in painting.

4. The herald of Impressionism in painting.

5. English portraiture of the XVIII—XIXth century.

6. English landscape painting of the XVIII—XIXth century.

7. The herald of satirical painting in Europe.

Independent work of the students

Текст

particularly особливо

water-colours акварель

to insist наполягати

to care little мало дбати

even back in ще в

to enjoy a reputation користуватися репутацією

nearly майже

to print друкувати

to consider врахувати

not merely не просто

amount кількість

demand for потреба в

at least як мінімум

backward відсталий

eagerly пристрастно

pathetically жалістно

heartily від душі

record літопис

to commission замовляти

but indifferent але не байдужі

to delight in насолоджуватись

entertainment розваги

to be unfavourable to ставитись неприхильно до

to respond to відкликатись на

invention винахідливість

to manage to + inf вдаватися

to stamp відзначати

admirer шанувальник

nevertheless незважаючи на

to remind of нагадувати

sadness печаль

to regard as вважати

due to завдяки

awakening пробудження

generation покоління

to draw inspiration черпати натхнення

to purify очищувати

folk tunes народні мелодії

leaning схильність

to favour надавати перевагу

command володіння

Вправа 32

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ENGLISH MUSIC

1. England is world famous for its literature, painting (particularly for its water-colours), for its theatre, but not for its great composers. Now why is this so? Germans would have insisted if asked that the English are not a musical people, that England is the land that cares little for music. But this is not true. In fact the XVIth century and early XVIIth witnessed Germans vis­iting England to listen to music. Even back in the XVth century Dunstuble enjoyed a European reputation for his church music, and nearly two centuries later Dow-land's songs and aires for the lute were widely printed and performed abroad. Speaking of the music in Eng­land of the XVIIth century we should consider not mere­ly the splendid quality of Purcell's best work but the amount of music, of all kinds, and most of it performed, that he produced during his short life (1659—1695). This means that the demand for music was great, at least at Court and in London.

2. In the XVIIIth and XIXth centuries England may have been very backward indeed in the creation of symphonies and concertos, but a nation so eagerly vo­cal — the existing tradition of English choral singing should be mentioned here — can hardly be described as being pathetically unmusical. And if London, after Handel, produced no great music, it could heartily wel­come such music, and if necessary, as the record shows, was ready to commission work from famous compos­ers, when they were left ignored by their own Central Europe, because in England there were certainly per­sons anything but indifferent to music.

Besides, it is quite explainable why the XVIIIth century produced no great composers. The XVIIIth century de­lighted in the theatre and entertainment in general. The main entertainment was ballad opera, which usually offered as much spoken dialogue as it did songs and dances.

3. As to the composers of the XIXth century, we should remember that the musical climate of Victorian England was unfavourable to bold and daring composition.

The first important British composer in two hundred years — that is, since the death of Purcell — was Sir Edward Elgar (1857—1934). Elgar loved England, her past, her people, her countryside and he responded to her need for a national artist. By inclination he was a natural musician of great invention. "It is my idea," he said, "that music is in the air all around us, the world is full of it and it is important that you should take as much of it as you wish." What he took was not always distinguished, but he managed to transform it into something that shone with all the brilliancy of the post-romantic orchestra.

His music is full of sound and movement. It comes from an eclectic late XIXth century style. Elgar borrowed elements from Brahms, Strauss, and even from Verdi, but it is stamped with British personality all the same. "He might have been a great composer if he had not been such a perfect gentleman," one of his admirers wrote. Nevertheless Elgar served his country well and England will long remember him.

4. Frederik Delius (1862—1934) comes next. He found it essential that music should be the expression of a poetic and emotional nature, and indeed Delius's music reminds us of the English landscape and its seasons: the freshness of spring, the short-lived brilliancy of summer, the sadness of autumn. He was regarded as the most poetic composer born in England.

Delius was lucky to find an ideal interpreter in Sir Tho­mas Beecham. It was due to this dynamic conductor that Delius's music became popular in Great Britain. Sir Thomas Beecham organized in 1929 a six-day festi­val of Delius's works which he conducted himself. It is said that had Sir Thomas Beecham not organized that festival Delius might have died unrecognized as an ar­tist.

5. The English renaissance in music was heralded by an awakening of interest in the native song and dance. Out of this interest came a generation of composers. The most important figure among them was Ralph Vaugham Williams (1872—1958) — the representative of English music on the international scene.

He suggested that a composer in England should draw inspiration from life around him. "Have we not all about us forms of musical expression which we can take and purify and bring into line with the greatest art? Why should not the musician build national monu­ments like the painter, the writer or the architect?" He was in the first place a melodist. His love of folk tunes was part of an essentially melodic approach to mu­sic. His natural expression was diatonic, with strong leanings toward modal harmony and counterpoint. He favoured old forms — the passacalia, fugue and concerto grosso, also the Elizabethan fantasia with its flowing counterpoint. He held the attention of the world due to his superb command of the grand form.

6. Speaking of today's music it should be mentioned that now there are a great many composers hard at work and what they are doing is very promising.

(From "The English" by J. B. Priestley. Abridged)