классические традиции художников Ренессанса; спустя десятилетие; излюбленный сюжет; божественная любовь; нейтральный фон; единственный различимый предмет на заднем плане; реалистические сцены; новаторское искусство.
III. Make up sentences of your own with the given phrases.
IV. Here are descriptions of some of Caravaggio 's works of art. Match them up to the given titles.
1. Christ points along the beam of light with a strikingly real hand whose gesture repeats that of God the Father in the
2. Against a background of nowhere he has fallen from his horse toward us, drastically foreshortened.
a. Conversion of Saint Paul
b. Calling of Saint Matthew
V. Translate the text into English.
Микеланджело Меризи, известный как Караваджо, дал название реалистическому течению в искусстве, которое нашло последователей во всей Западной Европе. Караваджо брал темы из окружающей действительности. Реалистические принципы сделали Караваджо наследником Ренессанса, даже несмотря на то, что он часто выражал свое презрение к великим художникам Ренессанса. Караваджо утверждал принципы реалистического искусства, бросив вызов общепринятым нормам. Картины на религиозные сюжеты он писал как жанровые. Герои произведений Караваджо — картежники, гадалки, авантюристы. Их изображениями Караваджо положил начало бытовой живописи. Караваджо накладывал краску широкими мазками, выхватывая из мрака светом наиболее важные части композиции. Эта контрастность световых пятен создавала атмосферу внутреннего драматизма. Герои Караваджо помещены в простую обстановку. Иногда произведения Караваджо были настолько реалистичны, что заказчики отказывались от них. Искусство Караваджо породило истинных последователей его художественного метода, получившего название «караваджизма».
VI. Summarize the text.
VII. Topics for discussion.
1. Caravaggio's style and characters.
2. Caravaggio's mode of life and work.
3. Caravaggio's artistic legacy.
Unit XI Poussin (1593/94-1665)
Nicolas Poussin is the embodiment of the Classical spirit. His paintings are the product not only of great imagination and pictorial skill but also of a discipline and control that grew firmer as the painter aged. Born in the small town in Normandy, Poussin went to Paris in his late adolescence. He had access to the royal collection of paintings where he was impressed by the works of Raphael and Titian, and to the royal library where he studied engravings after Raphael. After two trips to Italy, Poussin settled down in Rome in 1624. It was unlikely that he would ever enjoy official success. The world of nobles, popes, and monarchs was not for him. Poussin made only one large altarpiece for St. Peter's, and was dissatisfied with it.
An attempt by King Louis XIII to have Poussin work on ceiling painting for the Long Gallery of the Louvre ran afoul of the artist's refusal to consider ceiling paintings different from those on walls, and to turn over the execution of vast projects to assistants. The latter objection ruled out the customary colossal Baroque monumental commissions.
Poussin's paintings reflect his interest in antiquity and in Stoic philosophy. In his early work the
At another point Poussin explained his theory of the modes of painting by analogy with the modes or scales in Greek music, and mentioned five, the Dorian, the Phrygian, the Lydian, the Hypolydian and the Ionic. He carried his ideas of the modes systematically into execution. His
A later work, the
Make sure you know how to pronounce the following words:
Poussin; Normandy; lyre; Paris; Louvre; Greek; Dorian; Phrygian; Lydian; Hypolydian; Ionic; Sabines; Cezanne
I. Read the text. Make sure you understand it. Mark the following statements true or false.
1. Nicolas Poussin embodies the Renaissance spirit.
2. Poussin made a lot of altarpieces.
3. Poussin was fond of ceiling painting.
4. Poussin invented five modes or scales in music.
5. Poussin formulated the theoretical basis of his art in 1648.
6. Poussin worked in the
II. How well have you read? Can you answer the following questions?
1. What do Poussin's paintings reflect?
2. What did Poussin attempt to recapture in the
3. What were the main theoretical principles of Poussin's art? How did Poussin connect painting and music?
4. With what Poussin's painting is the Phrygian mode associated? Why? What is the subject of this painting?