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257.A crash course in the 20th century art a guide to understanding and enjoying modern and contemporary art

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Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
А.Н. Войткова
A Crash Course in
the 20th Century
Art
(A Guide to Understanding
& Enjoying Modern and Contemporary art)
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ББК 81.43.1 – 923
В 65
Печатается по решению редакционно-издательского совета Иркутского
государственного лингвистического университета
Рецензенты:
канд. пед. наук, доцент кафедры рекламы и связей
с общественностью ИГЛУ
Ю.С. Заграйская;
канд. филол. наук, доцент кафедры иностранных языков
для спеццелей ИГЛУ Н.В. Елашкина
Войткова, А.Н.
В65 A crash course in the 20th century art: a guide to understanding & enjoying
modern and contemporary art. / авт.-сост. А.Н. Войткова. – Иркутск: ИГЛУ, 2013.
– 114 с.
Учебное пособие содержит обширный аутентичный практический текстовой и
аудиальный материал по актуальным проблемам истории современного искусства и
направлено на формирование профессиональной дискурсивной иноязычной компетенции.
Предназначено для студентов среднего (среднепродвинутого) уровня, обучающихся в
вузах с расширенной сеткой преподавания английского языка, а также для студентов 24 курса лингвистического университета неязыковой направления «Музеология и охрана
объектов культурного наследия».
ББК 81.43.1 – 923
© Войткова А.Н., 2013
© Иркутский государственный
лингвистический университет,
2013
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Contents
A crash course in modern art
Introductory part .
Talking about modern art
 Eggsistantional guide to
eating your art out
Module 1 Impressionism
 Part 1 Impresionism
 (1) Subjects of impresionist
painting
 (2) Impresionist technigues
Artists's eye. Klod manet
 Part 2 Neo-Impressinism
 Part 3 Post-Impressinism
 (1) Dear Vincent...
 (2) Van Gogh's chair
 (3) Toulouse-Lautrec
 Quiz-test
Module 2 Fauvism movement

(1) Art techniques in fauvim
art movement
 (2) How to paint like a wild
beast
 Quiz-test
Module3 Cubism
 (1)What is cubism ?
 (2) How to make cubism art.
Let's draw a cubist portrait
 Quiz test
BOOK 2
Module 4 Futurism

(1) What is futurism?
 Quiz-test
Module 5 Expressionism
 (1) What is expressionism?
 Quiz-test
Module 6 Abstract Art
 (1) Abstract Art movement
 Understanding abstract art
 Quiz-test
Module 7 Dada art movement
 (1) Dada art movement
How to create dada art
 Quiz-test
 (2) Performance art
Pussy Riot prank in
cathedral
Module 8 Surrealism
 (1) What is Surrealism?
 (2) Surreal images & ideas for
a paining
 Quiz-test
Module 9 Op & pop art
 (1) Op art movement
 (2) What pop art?
 Quiz test
Module 10 Final Discussion : Modern
art
 Jars & Modern Art Trends
 Arguing for & against
References
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Talking about
modern art
Introductory part
Art Un-Appreciation
Cartoons
by T. McCracken
taken from
http://members.pioneer.net/~mchumor/art_appreciation_cartoons.html
1. a) Look at the cartoon aside. Does it seem funny to you?
What does it ridicule? Surf the net & find more cartoons that
are mocking at art & discuss their message in class.
Speak up your mind about the cartoon based on this plan:
1. Describe its content; 2. Are some elements recognizable? 3.
Comment on the message if any; 4. Say what you think of it.
Go to http://www.mchumor.com/art_cartoons.html& loot through the art un-appreciations cartoons there
b) These words are used to describe art. Can you match each
with its definition?
1. abstract art
2. cubism___ 3. Impressionism 4. pop art___ 5. surrealism
a. modern art movement that originated in the 1920s and 1930s. Objects are shown
out of their normal context or as being made of inappropriate material. Humor, the
world of dreams, and "the absurd" are three important themes of this movement.
b. art movement that started in the early 1900s. Objects are painted in somber colors,
like brown or gray, and are broken down into geometric shapes and planes, with
several views depicted simultaneously.
с form of art in which there is no attempt to represent objects or people, but which
relies totally on lines, colors, and shapes
d. form of art that developed in the 1960s based on
aspects of twentieth-century life such as movies,
advertising, comics, and everyday products
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e. art movement that started in France in the 18b'0s. The artists use bright colors, and
they try to capture the effects of sunlight on water, trees, and fields.
b) Pair work Use the concepts in Exercise A to classify these
paintings. Do you know other examples of each style?
Andy Warhol Twenty
Marilyns
2. Challenge or support the ideas below.
 Classic art was the art of necessity, modern romantic art bears the stamps of
caprice & chance (Ralph Walde Emerson)
 There is no such things as modern art … There is art - There is advertising
(Albert Stainer)
 Trying to understand modern art is like trying to follow the plot in a bowl
of alphabet soup.~ Anon
 Anybody who paints and sees a sky green and pastures blue ought to be
sterilised. ~ Adolph Hitler
 There are painters who transform the sun into a yellow spot, but there are
others who with the help of their art and their intelligence, transform a
yellow spot into the sun. ~ Pablo Picasso
 Art is the most intense mode of individualism that the world has known. ~
Oscar Wilde
 No great artist ever sees things as they really are. If he did, he would cease
to be an artist. ~ Oscar Wilde
 [Art is] the reasoned derangement of the senses. ~ Kenneth Rexroth
Video File “History of art in 3 minutes"
3. a) How knowledgeable are you about art history?
Watch the video & sum up the ideas. What place
does modern art take in art history? Did it occur
logically that modern emerged that way?
http://www.youtube.com/watch?v=oZOsR0TzbJ8
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b) Answer the questions:
1. Why did the proper history began (Egypt, Greece, Rome, India, China, etc)?
What provoked it? What did those civilization give to us?
2. What were medieval ages dominated by? Did they dispute the validity of all
Gods? As a result what was the medieval art like?
3. What came then? What kind of world did it return to? What are distinguishing
features of that epoch?
4. What did they say about Eastern art (China)?
5. What featured of the world was modern art based on?
6. What is art like today? What did the rise of television & cinema lead to?
c) Vocabulary. Watch the video again trying to catch up the
words & phrases below & restore the context when these
words were said
faceless obese woman pot 'art could no longer feature unrealistic art' morose
'glowing babies' dimensions 'develop in its distinct way' urinals
'visual culture' 'popularization of theories of the universe & the human mind'
stunning Freud 'left an indelible mark on our species' unmade beds
'many-headed creature' be embedded in DNA
lead to dissemination of common visual culture be democratized
d) To give you a critical understanding of why
modern art emerged & what it is do some
research on the net (#encyclopedias or any
reference books) & fill in the table
speculating what distinguishing features
there were in Western Europe in art history
periods that made modern art appear &
provoke that kind of art that we have today Make a report.
Pre-Modern Era
Prehistoric times /
Ancient World &
Creek & Roman
Cultures

Modern Era
Medieval Ages
Renaissance
(5th-13/14th)
(13/14th-

16th)&Reformation
(16th)

Reason") (17th and 18th )
Post Modern
era (coined 1949)
Modern or
Contemporary
art


Enlightenment
epoch (="Age of
Variant: Below are the ideas that reflect the key
factors for each epoch. Match the idea to the
epoch & discuss the pros & cons of each
historical cultural period
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1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
feudal society: strong hierarchy (social stratums)
many people's sense of self and purpose was often expressed via
a faith in some form of deity
the development of linear perspective --> rendering a more
natural reality in painting
age of discoveries
Roman empire: democracy, political & law system -- > collapse
of Roman Empire
man is the hub of the universe
based on the traditions of Roman empire
availability of paper and the invention of metal movable type
(=printing press) (1440)
trade is flourished
Crusades to establish Christian states in the Near East
Christianity (absolute power) --> people humble & obedient
the building of Gothic cathedrals (artistic achievements)
Intellectual life - scholasticism and the founding of universities;
in science- an increased reliance on observation.
were marked by difficulties and calamities (famine, plague, and
war)--> diminished the population of Western Europe
cultural and technological developments transformed European
society
the development of diplomacy
18. intellectual transformation - bridge between the Middle Ages &
Modern Era
19. Martin Luther (G.Calvin, etc) (against church & papacy as the
spiritual intermediaries to the common person)
20. rise of capitalism
21. gradual but widespread educational reform.
22. ideas concerning God, reason, nature, and man were synthesized
into a worldview
23. revolutionary developments in art, philosophy, and politics.-->
science
24. the use and the celebration of reason, the power by which man
understands the universe and improves his own condition.
25. spread of social movements
26. the goals of rational man were considered to be knowledge,
freedom, and happiness.
27. urbanization
28. great cravings for liberty,
29. increasing role of science and technology
30. mass literacy and proliferation of mass media
31. institution of representative democracy
32. industrialization
33. humanism
34. individual self-fulfillment.
Your Word Bank 1. Let's sum up the vocabulary from the
introductory part (1)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
mock at
ridicule smth
obese
pot
morose
urinal
'develop in its distinct way'
dimensions
stunning Freud
'left an indelible mark on
out species'
11. 'many-headed creature'
12. be embedded in DNA
13. 'art could no longer feature
unrealistic art'
Talking about
modern art
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
glowing babies
feudal society
hierarchy
social stratums
people's sense of self
be expressed
via
faith in some form of deity
linear perspective
render a more natural reality
in painting
24. age of discoveries
25. Roman empire
26. collapse of Roman Empire
27. the hub of the universe
28. the invention of metal
movable type (=printing
press)
29. trade is flourished
30. Crusades
31. to establish Christian states
in the Near East
32. humble
33. obedient
34. calamities (famine, plague,
and war)
35. diminish the population
36.
37.
38.
39.
papacy
spiritual intermediaries
rise of capitalism
gradual but widespread
educational reform.
40. ideas concerning... God,
reason, nature, and man
41. be synthesized into a
worldview
42. great cravings for liberty,
43. mass literacy
44. proliferation of mass media
individual self-fulfillment.
EGGSISTENTIAL GUIDE
TO EATING YOUR ART OUT
4. a1) Vocabulary1. Get yourself familiar
with some of the vocabulary from the text below.
Make up sentences with them
1. feel animosity towards smb - You hate smb or feel strong dislike towards
the person
2. flicker - shine
3. precede smth - smth occured (=happened) before smth
4. be distinguished by - be different from smth
5. smear - (размазать по тарелке)
6. dizzy - I feel dizzy = everything is spinning around
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7. coddle - Don't spoil the child = don't spoil him
8. seaweed - a plant in the sea
9. yell out - scream
10.outsmart - (обхитрить)
11.be desperately constipated - it's hard to go to loo
12.(listen) aghast - ошеломлённый; объятый страхом; поражённый ужасом;
a2) Vocabulary2. Match the words from column a with their
parts in Column B
Column A
Column B
1. Things sounded
2. smooth
3. he felt
4. his eyes fell
5. his face flickered
6. short-lived
7. bold
8. loosely
9. be dyed with
10. the eyes were
11. the man was
12. smear smth across
animosity towards
tempting
movement
slightly
shapes
cooked
the plate
purple & red
deadlocked
constipated
on the item
expressionless face
Column A
13. it was
14. push smth
15. variety of
16. on succeeding
17. he was backed
18. imaginative
19. the kitchen was
20. she was
21. he was
22. you wronged
23. dizzying
24. he needed an
excuse
Column B
to the side of the plate
inedible
by the kitchen
days
seduced by the landlord
kitchen
baffled
the woman
variety
poisoned
to choose smth else
styles
a3) Vocabulary 3. Transcribe the following words
simultaneous(ly) ................................. smooth......................... mixture
......................... expressionless ................................ threatening ..........................
undeniably .............................. variety ......................... incidentally .........................
triumphant ............... desperately ...............................
precede ........................
b) Read the text & discuss the styles mentioned there.
EGGSISTENTIAL GUIDE
TO EATING YOUR ART OUT
Today, a complete Post-Modernist tale entitled: “Eggs any Style”.
When you have booked yourself in for a fortnight at a seaside hotel to get away
from it all, the last thing you want is another set problems. But, as the man found
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out, even at a seaside hotel there are new problems. Such as what to have for
breakfast.
The man studied the breakfast menu on the first day and hesitated. There were
things on the menu that he hadn’t eaten for months. Things that sounded
simultaneously tempting and threatening. Black budding. Kippers. Arbroath
smokies….
“May I take your order, sir?”
He looked up into the face of the waiter, a smooth expressionless face. He smiled
at the waiter. The waiter did not smile back. Suddenly he felt animosity towards
the waiter. He looked again at the menu. His eye fell on an item he had not noticed
before. It said, “Eggs, any style”.
“I’d like eggs, please,” he said
“How would you like them?”
“Art Deco.”
“Excuse me, sir?”
“It says, ‘eggs any style’. My favorite style is Art Deco.”
The waiter’s face flickered ever so slightly.
“I’ll see what can be done, sir”.
He returned ten minutes later with a boiled egg sitting at the top in a very thin, very
tall, undeniably Art Deco eggcup. It had a very long, undeniably 1920s spoon with
it.
“Thank you”, the man said
“Not at all,” said the waiter
the next morning at breakfast the man looked the
waiter in the eye and asked for neo-classical eggs.
“I’ll see what can be done, sir,” said the waiter
He returned with a plate of scrambled eggs, arranged
tastefully under a Palladian arch of toast.
“Thank you”, said the man
“Not at all,” said the waiter
on the third day the man asked for Fauvist eggs.
“I beg your pardon, sir?” said the waiter .
“Fauvist. Fauvism was a short-lived painting movement which preceded Cubism,
distinguished by its love of bright colors and bold shapes…”
“I am perfectly well aware of the nature of the Fauvist movement, sir”, said the
waiter. “I was just not sure whether you had actually said ‘Fauvist’. “It sounded a
little also like Fascist and a little like Vorticist and a little like…”
“Fauvist,” said the man
“Very good, sir,” said the waiter.
What he brought back was a plate of eggs loosely cooked and dyed with purple and
red, smeared across the plate to look like an angry sunset. It was inedible. But it
was undeniably Fauvist.
“Thank you,” said the man, pushing the mixture to the side of the plate.
“Not at all, sir”, said the waiter, taking the plate away.
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On succeeding days the man asked for his eggs to be done in a dizzying variety of
styles. Futurist, absurdist, Celtic revivalist, Early English, Jazz Age, even
melodramatic.
The waiter, backed by the imaginative kitchen, was never once baffled.
The Celtic revivalist eggs had come coddled in a nest of seaweed. The Jazz Age
eggs were done with gin. For the eggs in the style of the melodrama, the waiter had
brought them simply boiled, then yelled out: “For God’s sake, sir, before you eat
those eggs, think of your daughter Nell who even now is being seduced by her
cruel landlord for a matter of rent money so small that you could easily have paid
it yourself for a very small price of these eggs themselves, which have incidentally
been poisoned not a moment ago in the kitchen by the very woman you wronged
so many years ago in Calcutta!!!”
The rest of the dining room had listened aghast, but the man
had to agree that the waiter could not be faulted. On the last
day, at breakfast, the man asked for his eggs to be done in a
post- modernist style.
“We at this hotel do not think that post-modernism is
worthy to be called a style, sir,” said the waiter coldly. “It is
merely a ragbag of cultural mannerism.”
“So you will not bring me a post-modernist style egg?”
“No, sir.”
The two men stared at each other, eyes deadlocked.
“In the case,” said the man, “bring me Abroath smokies.”
The waiter went away triumphant. He told the kitchen that
they had outsmarted the egg-eater. In fact, the truth was
quite different, after nearly two weeks of eggs, the man was
desperately constipated and needed almost no excuse to
choose something else.
(by Miles Kington, Independent 11/09/96)
http://www.highbeam.com/doc/1P2-4810136.html
c) Answer the following questions:
1. Why should the guest have decided to order eggs in different art styles?
2. What was the first style he ordered eggs in?
3. What kind of dish were the eggs in Art Deco style?
4. How did the kitchen staff manage to present Neo-Classical style?
5. Why did the waiter find it difficult to understand the term "Fauvist Style"?
6. How did they cook Fauvist Style eggs?
7. What style did the client choose on the succeeding days?
8. What were the Celtic Revivalist eggs like?
9. What did they invent for the Jazz-Age style eggs?
10.How did the waiter introduce the melodramatic eggs?
11.Why wouldn't the waiter serve a post-modernist style egg?
12.Who won this 'game'?
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d) Vocabulary4. Match the word with its definition
definition
word
a) a smooth surface has no rough parts, lumps, or holes, especially in a
1. smooth
way that is pleasant and attractive to touch
2. animosity b) strong dislike or hatred
3. flicker c) shine with an unsteady light that goes on and off quickly:
4. precede smth
d) to happen or exist before something or someone, or to come before
5. be distinguished
by -
6. smear 7. dizzy 8. coddle
9. seaweed
10.yell out 11.outsmart 12.be constipated
13. (listen) aghast
-
something else in a series
e) to be the thing that makes someone or something different or special
f) to spread a liquid or soft substance over a surface, especially in a
careless or untidy way
g) feeling unable to stand steadily, for example because you are
looking down from a high place or because you are ill:
h) to treat someone in a way that is too kind and gentle and that
protects them from pain or difficulty:
i) a plant that grows in the sea
j) to shout or say something very loudly, especially because you are
frightened, angry, or excited:
k) to gain an advantage over someone using tricks or your intelligence
l) the condition of having difficulty in getting rid of solid waste from
your body
m) feeling or looking shocked by something you have seen or just
found out
n) if an emotion or expression flickers on someone's face or through
their mind, it exists or is shown for only a short time
Vocabulary4.Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
verb
Adjective/participle
distinguished
coddle
yell
animosity
undeniable
poison
mixture
C) Follow-up.
Draw or paint eggs in all modern styles? Compare the
drawings & prove that the paintings are really executed in this
or that style?
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Variant: Just show painting /sketching of yours without naming the trends in
modern art that your pictures are done in & make everybody guess the trend
giving their reasons.
Video file 'It's not funny, it's
5. Watch the video file & say
what you think of it. What is
moral????
art'
the
Go to http://www.youtube.com/watch?v=-TcRzvjIMj4
b) Watch it again & fill in Blanca's biographical data?
Blanca's background
1. Blanca doesn't understand ....................... about art how to look at it when you
are ..................... to touch it
2. on occasions She also managed to...................... the museum attendance for
........................... artists
3. When she was little ............................................................................. she found
it all highly ................................... That wasn't the idea. Her father
.............................................
4. She read about ....................................................................................
5. Blanca read about Mondrian & Funderburgh .................................................
Mondrian was opposed all ........................
6. Passionate debate about art that would be quite .................. but it never
...........................
7. Finally she decided to .................... what people .................. may be it became
.................................
8. She wasn't allowed to museum ...................... She ...........................
9. Art returned to being art. Blanca refused to ............................... she continued
............................. until she was given a restrain order for roundabouts
10.She often had to make .................
11.She decided to make art ...................... This was the result in ....................
12.Everyone understood her art ..................... .................. Blanca
Now this is the time for a crash course in Art History to inspire
you all.
Module 1 Part 1
Impressionism
Now this is the time for a crash course in
Art History to inspire us all.
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Impressionism
1. a) Look at the pictures below. What do they have in
common? Do the pictures look appealing to you? Do the
picture something in common?
Aldo Gaverini
CaillibotteA rainy day
Mary Cassat
b1) Vocabulary1. Match the words from column a with their
parts in Column B
Column A
1. originate
2. divided
3. the light
4. break away
5. capture
6. transitory
Column B
from the traditions
hits the object
style
the mood of a moment
effect
in 1870
brush strokes
Column A
7. gain
8. prescribe
9. annual
10.execute
pictures
11.exhibition
12. apply
Column B
style to painting
art exhibition
outdoors
standards
was held
independence
b2) Transcribe the following the words and phrases
streak …………………… unique ………….. loose ………………………..
c) Read texts 1-3 & express
your attitude to the this style
of painting. Answer the
questions after the texts.
Text 1
Impressionism
"Merely think, here is a little square of
blue,
here an oblong ( прямоугольник) of pink,
here a streak (полоска) of yellow,
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and paint it just as it looks to you." Claude Monet
A style of painting that originated in France about 1870. Paintings of casual
subjects, often executed outdoors, using divided brush strokes to capture the mood
of a particular moment as defined by the transitory effects of light and color. The first
Impressionist exhibition was held in 1874.
Impressionism was essentially the study of how light hits an object.
Impressionist painters strove to break away from the traditional rules of subject
matter, technique, and composition in painting, and created their own, unique style.
A group of painters who became known as the Impressionists decided to gain
independence from the standards prescribed by the French Academy of Fine Arts
and France's annual official art exhibition called The Salon (an annual juried art show
in Paris). Impressionism covers approximately two decades, from the late 1860s
through the 1880s.
The term impressionist was first used by French art critic Louis Leroy in 1874
based on Monet's painting Impression, Sunrise. Leroy found the term fitting to
describe the loose, undefined and "unfinished" style that Monet and several other
artists applied to their paintings.
"A preliminary drawing for a wallpaper pattern is more highly finished than
this seascape." Louis Leroy, 1874, criticism of Monet's Impression, Sunrise
http://wiki.answers.com/Q/What_is_impressionist_art
http://www.impressionism.info/info.html
Answer the questions
1. When did the style of painting like this originate? Where & why?
2. How did they define a particular moment?
3. How did it happen that it is called this way now?
4. What is considered the beginning of the art movement?
5. How many decades did this art movement cover?
6. What was The Salon? How important was it that time?
7. What did French art critic Louis Leroy say about Monet's Impression, Sunrise?
Explain the meaning of the words in bold.
Vocabulary4.Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
verb
Adjective/participle
essential
prescribed
apply
undefined
loose
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Text 2
Subjects of Impressionist Paintings:
2. a) Vocabulary. Match the words from column
parts in Column B
Column A
Column B
Column A
1. focus
emphasis on
7. capture
2. idealized
beauty
8. suburbs
3. put
path
9. experiment with
4. riverside &
in everyday life
10.seacoast
the
effect
of
light
5. portray people
11.leisure time
on
6. study
12.industrial
a with their
Column B
of Paris
activities
resort
revolution
depiction of
reality
b) Read the text about what subjects impressionist Painters
preferred & comment on what was particular about the
following subjects:
 Scenes from Everyday Life
 Nature
 People


Paris
Still life
Subjects of Impressionist Paintings
Unlike conservative painters who focused on portraying
dramatic, often historical scenes of idealized beauty and moral
or religious meaning, the Impressionists chose ordinary scenes
from everyday life as the subject matter of their work. They
put emphasis on capturing reality and depicting what they saw
at a given moment.
Nature was elevated to become the subject of the
painting, rather than a backdrop for another scene, as was the case in traditional art.
In painting landscapes, the Impressionists tried to put on canvas
what they saw in front of them, without idealization. They often
made a seemingly ordinary part of nature (a riverside path, a field
of haystacks (стог сена)) the focal point of their work. (Camille
Pissarro: Pommiers en Fleurs, Eragny)
Impressionist artists were
interested in portraying people in
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everyday, informal situations: the middle class during leisure time activities in
gardens, parks, or at the seaside, and workmen or rural people at work. One novelty
of people portraits was the introduction of nudes who, "at the time, ... were an
acceptable subject in allegorical or historical paintings, but not in scenes of everyday
life." (Pierre Renoir: Oarsmen at Chatou)
With the 19th century Industrial Revolution and the reconstruction of Paris into
a modern city, the city scene became one of the Impressionists' favorite subjects:
"women wearing the latest fashions, the airy new streets and suburbs of Paris,
modern modes of transportation ..., and the riverside and seacoast resorts where
Parisians spent their leisure time. (Gustave Caillebotte: Paris, a Rainy Day, 1877)
Painting still life allowed the Impressionists to experiment
with the depiction of changing light and to study the effects of
light and shadow on the look of ordinary objects.
(Paul Cézanne: Natura Morta Con Tenda)
http://wiki.answers.com/Q/What_is_impressionist_art
http://www.impressionism.info/info.html
a) Make up true of false sentences to the text & make other
students disagree with the ideas.
d) Comment on the paintings (make up 5 sentences
answering the question: what emotions did the pictures of
impressionist artists evoke in you?)
Text 3
Impressionist Technique
3. a) Vocabulary. Match the words from column a with their
parts in Column B
Column A
1. distance
themselves
2. avoid
3. traces
4. omit
Column B
the use of black
of the brush
details
from somber tones
Column A
1. vibrant
2. passing
3. give a work
4. capture
Column B
a spontaneous feel
a given moment
moment
colors
b) Read the text that tells you what make Impressionist
Paintings different from classical art. Match the titles with the
passages. Underline the key words that make you think you
are right.
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Locale [ləu'kɑːl]
Composition
Color
Brush work
Impressionist Technique
………….. The Impressionists distanced themselves from the somber tones of
earlier paintings. They generally avoided the use of black and earth …………s and
instead of light, vibrant ………..s to give their paintings luminosity and to capture
the changing effect of sunlight on the scenes they painted. Bright, contrasting
………..s were put onto the canvas one next to or on top of each other, often without
prior mixing or subsequent blending.
……………. In order to convey the movement and changing nature of a
passing moment, the Impressionists used quick, broken brushstrokes that were left
without any further smoothing. This method allows the viewer to clearly see the
traces of the brush and gives impressionist paintings an unfinished appearance. The
Impressionists worked quickly, sometimes in one sitting, in order to capture the
fleeting moment and to give their work a spontaneous feel.
……………….Impressionist painters often worked outdoors, not in a studio,
to be in close touch with nature and to be able to directly observe the effects of
changing sunlight, weather and movement.
……………….. The Impressionists broke the traditional
rules of …………… and opened their style to experimenting. In
their attempts to capture a given moment, they omitted detail in
favor of the overall effect of the painting. They looked at their
subjects from unusual angles and often cropped (crop –
обрезать) or framed their work in a way that was new to
painting. A scene is often captured as if in passing or through
the lens of a camera (a new invention at the time that enabled the Impressionists to
study movement and gesture in real-life situations). (Edgar Degas: Blue Dancers)
http://wiki.answers.com/Q/What_is_impressionist_art
http://www.impressionism.info/info.html
c) Take any impressionist painting & analyze the technique
proving the ideas in the text
d) Explain the meaning of the words in italics
e) Comment on ‘A scene is often captured as if in passing or through the lens of
a camera”.
Video file 1.
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4. Go to you YouTube & Watch the video lecture on what
impressionism is. Make up questions to ask your group mates
the understanding of the gist of this art movement.
Video file 2.
5. Private life of a masterpiece. Renoir “Moulin de la gallete”
a) Look at the painting &
discuss:
 Does the painting
seem messy to you
or unusual &
extraordinary?
b) Watch the video file
&discuss the main issues
raised in it.
http://www.youtube.com/watch?v=x6rAFt5FW_Q
Listening 1.1.
5. Artist's eye. Klod Monet (1840-1926).
a) You will hear part of a program in which a doctor expresses
a medical opinion about artist. As you listen, complete the
sentences for question 1-10 with an appropriate word or short
phrase. You will hear the recording twice
Artist who paints the world differently may have (1) ____________________
If you want to see blue clearly through brown sunglasses, you need to paint an
extremely (2) ___________________________________________________
The fact that Claude Monet suffered from cataracts is apparent (3) _________
In later life minor cataracts affect (4) _________________________________
Monet suffered from a form of the disease which turned the eye lens (5)______
In Monet's paintings of his garden, the whites are (6) __________________&
The blue appears much (7) _________________________________________
In a fit of depression, Monet (8) _____________________________________
He never painted (9) ______________________________________________
In 1922 he complained that everything he saw looked (10) ________________
Three years after having cataracts surgery, he (11) ______________________
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b) Surf the net & make up a quiz on Klod Monet’s life story.
Look at these sample quiz ideas:
Claude Monet’s Biography Quiz
1. Monet struggled with …. a) depression,
poverty and illness throughout his life; b)
luxury, popularity & fame
2. His father, Adolphe, worked in his family's
…………………. a) shipping business; b)
construction business; c)
grocery store
business.
3. His mother was a ……. a) a trained dancer;
b) a trained painter; c) a trained singer.
4. In the community at the start of his career,
Monet became well known for his ………. a)
sculptures; b) caricatures; c) ivory
5. a) Eugene Boudin; b) August Renoir; c)
Eduard Manet…. was his mentor & taught
him to use oils & "en plein air" (outdoor)
techniques for painting.
6. What brought him recognition? a) charcoal caricatures; b) his painting
“Camille” (Woman in the green dress); c) his new style of painting.
7. Why did he live in England in September 1870? a) to study works of John
Constable & William Turner; b) after the outbreak of the Franco-Prussian
War; c) he found a job there.
8. Who or what inspired Monet's innovations in the study of color? a) the works
of John Constable & William Turner; b) an accident of being outdoors where
he noticed the game of light & shadow on the objects around; c) the Royal
Academy exhibition.
9. Monet died of …… on December 5, 1926 at the age of 86 and is buried in the
Giverny church cemetery. a) cataract; b) lung cancer; c) tuberculosis.
10.His famous home and garden with its waterlily pond are ………. a)
bequeathed by his heirs to the French Academy of Fine Arts; b) the two main
attractions of Giverny, which hosts tourists from all over the world; c)
refurbished & sold to a private collector.
c) Bring in some of his pictures & comment them on.
6. Videofile 3.
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Watch the movie “The impressionists” to get more
understanding of this kind of artand somefavorites, Renoir,
Degas, Monet, and Manet
http://www.youtube.com/watch?v=xZ4BNr2Ou7Q
Answer the questions:
1. Who came to see Monet in his garden & why?
2. Where did Monet study art that time?
3. Who did he study with there?
4. Who provoked Monet’s ideas of creating a new vision of life & reality around?
5. What two pictures were opposed to each other while being selected for the Salon? What were the
striking differences?
6. Where did Monet & his friends see that picture then? Describe the contents of the painting
7. Next scene what was Eduard Manet’s talking to? What were they discussing?
8. What was the incident at Glair’s studio?
9. Where did all three friends go after the incident? What happened there?
10. Who said “Art & reality are different things”? & When?
11. Why was Monet lying on the floor? Who came in? What did he say?
12. Who came to see Monet the following day? What was she wearing?
13. What was the picture “Woman in the green dress” mistaken for? Who was congratulated on this
picture?
14. How did Manet & Monet meet?
15. What news did Monet receive that changed his life? What seemed to be the problem? How did he get
out of it? Who bought his painting? What did it make Monet understand?
16. Why did Monet moved out of Paris?
17. How was their first exhibition thought of? Who organized it?
18. What prevented the exhibition from being held? What happened? Where did Monet have to go?
19. Why did Renoir get angry with Bazille? How old was Bazille? What happened to him?
20. What was Monet fascinated by in London?
7. Your vocabulary bank. Think up exercises & fun activities
to practice using the following vocabulary units in their
contexts
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Text 1
a crash course in
look appealing to smb
originate in
divided brush strokes
the light hits the object
break away from traditions
capture the mood of a passing
moment / reality / a given
moment
transitory effect
gain independence from
prescribe standards
annual art exhibition
execute pictures outdoors
apply the style / techniques to
painting
exhibition was held
preliminary drawing
wallpaper pattern
Text 2 subjects
17. focus emphasis on
18. emphasize smth
19. idealized beauty
20. riverside / seaside
21. suburbs of
22. experiment with
23. at a given moment
24. portray people in everyday life
25. leisure time activities
26. nudes
27. industrial revolution
28. study the effect of …
Videos
29. water lily pond
30. forger (forge)
31. oblong of
32. mere (ly)
33. streak
34. essentially
Text 3 techniques
35. locale
36. distance themselves from
somber tones
37. avoid the use of black…
38. traces of the brush
39. omit details
40. vibrant colors
41. passing moment
42. give a work a spontaneous feel
43. crop a picture
44. frame a picture
45. angle
46. triangle
47. rectangle
48. circle
49. smooth colors
50. mentor
8. Credit activity. Analyze any impressionist painting based on
the vocabulary and the plan analysis in the supplement.
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Videofile 4.1.
9. A Forger’s Masterclass (ep-4). Watch the video & express
your opinion on the pictures the students were trying to
“forge”. Which one you liked or dislike most? Why?
http://www.youtube.com/watch?v=C9wI-qoI6b8
10. Video file4.2. A beginner’s guide: “Paint like Monet” with
Berry Whitehouse.
http://www.youtube.com/watch?v=-Ftb1mkN30g
a) Discuss:
 Have you ever thought of painting a piece of art in any style? Do you think you
would cope with it? Are you too shy to try it?
b) Watch the file & Answer the questions:
1. What are the colors on the palette called?
2. What was the era when people started to think freely & move away from
formal styles of that day?
3. What invention help the movement develop?
4. What was the technique Monet used?
5. What did the artist do step by step?
b) Try to produce a piece of art after some painters you liked
from impressionist art style. As you in the videos your work is
not supposed to be as skillful & professional as real painters
do. Try your best & have fun with the paints & the brush.
11. Additional video file 5:
Gustave Gaillebotte. An Artist portrait.
a) Surf the net & look through Gustave Gaillibotte’s picture.
Analyse what makes the pictures different from other
impressionist works.
b) Watch the video & tell as much as you can about the artists
& his works.
http://www.youtube.com/watch?v=U8d45ETt78o
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Module 1 Part 2
Neo- Impressionism
1. a) Look at the pictures below & say
whether look different from impressionist
art
Paul Signac ( in “D’Eugène Delacroix au néoimpressionisme”)
Martina Krupickova Spring 2007
Paul Signac 1890
b) Vocabulary. Match the words from column a with
their parts in Column B
Column A
1. pictorial
2. mix
3. place
4. founding
Column B
colors on the ‘palette
dots side by side
masterpiece
technique
Column A
5. minuscule
6. create
7. luminescent
8. mix colors
Column B
a specific hue
surfaces
optically
dots
c) Presuppose what can be the difference between
impressionist Paintings & neo impressionist Paintings. Read
the text & find out.
Neo-Impressionism (a.k.a. Divisionism or
Pointillism) is a movement and a style. It is a
subdivision of the term Neo-Impressionism refers
to a pictorial technique where color pigments are
no longer mixed either on the palette or directly on
canvas, but instead placed as small dots side by
side. Mixing of colors takes place from a suitable
distance, in the observor's eye, as an "optical
mixture".
In the early 1880s, French painter Georges Seurat studied writings on color
theory by French chemists Eugène Chevreul (1786-1889), Charles Henry, and
American physicist Ogden Rood, and invented & formulated a new painting
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technique that he named "separation of color" or "Divisionism", the main advantage
of which is to give a greater vibrancy of color.He called this system
Chromoluminarism.
Seurat's first large painting (206x305cm) "A Sunday Afternoon on the Island of
La Grande Jatte" - 1884-1886 may be considered as the founding masterpiece of
Divisionism.
Neo-Impressionism organized the system of applying separate colors to the
surface so that the eye mixed the colors rather than the artist on his or her palette.
The theory of chromatic (цветовой) integration claims that these independent tiny
touches of color can be mixed optically to achieve better color quality.
The Neo-Impressionist surface seems to vibrate with a glow that radiates from
the minuscule ['mɪnəskjuːl] dots that are packed together to create a specific hue.
The painted surfaces are especially luminescent [ˌluːmɪ'nes(ə)nt].
The Belgium art critic Félix Fénéon described Seurat's systematic application
of paint in his review of the Eighth Impressionist Exhibition in La Vogue in June
1886. He added a bit to this article in his publication Les Impressionistes en 1886,
and from that little book his word néo-impressionisme took off as a name for Seurat
and his followers.
Neo-Impressionism was an art movement from 1884 until 1935 (the end of
Signac's life).
To sum it up, the Key Characteristic of Neo-Impressionism are:
 Tiny dots of local color.
 An artificial lifelessness in the figures
 Clean, clear contours
and landscapes.
around the forms.
 Painted in the studio, instead of outdoors
 Luminescent surfaces
like the Impressionists.
 A stylized deliberateness
 Carefully ordered and not spontaneous in
that emphasizes a
its technique and intention.
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decorative design.

Subjects about contemporary life and
landscapes.
http://www.ehow.com/about_6569030_post-impressionism-art_.html#ixzz1l0VUc6Le
http://www.ehow.com/about_6569030_post-impressionism-art_.html
d) Discuss the following questions
1. What are the other terms of the art movement? & why?
2. Where does the mixing of colors take place?
3. Who invented & formulated the technique?
4. What was the first founding painting of divisionism?
5. What was the color theory called?
6. When & where & by whom did the word néo-impressionist take off as a
name for the art movement?
7. Who were the biggest representatives of this art movement?
2. Vocabulary Tasks:
 Explain the meaning of the words in bold in the text
3. Video file 7. George Seurat Short Documentary
http://www.youtube.com/watch?v=KcYyfXyxICg
a) Get familiar with the some vocabulary from the movie:
taciturn proletarian bourgeois superficial reason pendants to smth poverty
impoverished resist smth ritualized performance leisure
b) Watch the file & answer the questions:
1.
2.
3.
4.
5.
6.
7.
Why do French people not like Seurat according to the opinion of an art critic
in the file?
What kind of theory did Seurat have? How is he viewed in modern art?
What did Seurat believe an artist had to do before he would go to colors?
What kind of person was he? What episode from his life proves he was a
taciturn & secretive person?
What do many people read Seuratfor?
What two pictures are considered pendants to each other & why?
Put down the description of these two pictures from 03.53-4.57.
c) Say what you think of the artist & his works. Make a review
of his pictures. Were you inspired or bored by looking at them?
4. Credit activity. Bring in any neo impressionist painting &
comment on its contents and technique in class.
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5. Your Vocabulary bank.Think up exercises & fun activities
to practice using the following vocabulary units in their
contexts.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
pictorial techniques
place dots side by side
founding masterpiece
optical mixture
the word … take off as a
name for
luminescent (surfaces)
minuscule dots (=tiny)
followers
a.k.a.
subdivision
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
Module 1 Part 3
Post-Impressionism
Paul Gaugin 'When Are
You Getting Married?
clean clear contours
deliberateness
artificial lifelessness
hue
mix colors on the palette /
canvas
directly
observer
formulate
vibrate with a glow that..
radiate from the dots …
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
vogue
taciturn
proletarian
bourgeois
superficial reason
pendants to smth
poverty
impoverished
resist smth
ritualized performance
leisure
1. a) Look at the pictures below & say
whether look different from
impressionist artworks.
Vincent Van Gogh's "Starry Night Over the Rhone"
Paulo zeerbato
b) Vocabulary. Match the words from column a with their
parts in Column B
Column A
Column B
Column A
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1.
2.
3.
4.
be influenced
share
the term
influencial
5. impressionist
6. unifying
a few similarities
examples
characteristics
was coined
era ['ɪərə]
by impressionist
7. notable
8. unveil
9. eclectic bunch
10.push the ideas
11.convey
of individuals
the truth
into new direction
his struggle with
depression
examples
c) Read the text & sum up the differences between all three
art movements.
Post-Impressionism
Post-Impressionism follows Impressionism. The artists involved were influenced
by Impressionism although their work shares few similarities. Disinterested in
recording light and color phenomena, Post-Impressionism is characterized by bright
color, sharp, often outlined edges. In pursuit of individual goals, theories, and
interests, they don't work or exhibit together.
Although Post-Impressionism describes French art created during the period of
1886 to 1941, the term itself was not coined until 1910 by English art critic and artist
himself, Roger Fry. He named it Post-Impressionism simply because it followed the
Impressionist era.
As with many other forms of artistic expression, these artists were trying to reveal
something about themselves. They used their talents to convey truths they had
discovered about themselves and the world around them. Van Gogh used a great deal
of grays and blues in most of his paintings unveiling his struggle with depression and
the idea that everyone has an inherently evil soul. Cezanne focused more on the
structure of his subjects. He once stated "With an apple I will astonish Paris." Suerat
was a believer in optical truth; the idea of using color and form to show the real
world. He took the rapid, "broken" brushwork of Impressionism and developed it into
the millions of colored dots that create Pointillism, while Paul Cézanne elevated
Impressionism's separation of colors into separations of whole planes of color.
The most notable and influential examples of Post-Impressionism are Van
Gogh's "Starry Night" (painted outside the Saint-Remy mental asylum) and his floral
work "Irises", Cezanne's use of depth perception in "The Card Players", Rousseau's
almost surreal "The Dream", Henri De Toulouse-Lautrec's inspired work, "Seated
Dancer In Pink Tights" and most certainly, Seurat's most famous piece, "Sunday
Afternoon On The Island Of Le Grande Jatte."
Post-Impressionists pushed the ideas of the Impressionists into new directions.
The word "Post-Impressionism" indicates their link to the original Impressionist ideas
and their departure from those ideas -- their modernist journey from the past into the
future.
The Post-Impressionists were an eclectic bunch of individuals, so there were no
broad, unifying characteristics. Each artist took an aspect of Impressionism and
exaggerated it.
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It would be a gross understatement to say that Post-Impressionism had a
tremendous affect on future painters. It has been credited with being the foundation
of later styles such as Fauvism, Neo-Impressionism and Cubism. It stands as a
standard of artist self-expression, conveying emotion, embracing your environment
and questioning the human condition
http://www.ehow.com/about_6569030_post-impressionism-art_.html#ixzz1l0VUc6Le
http://www.ehow.com/about_6569030_post-impressionism-art_.html
http://arthistory.about.com/od/modernarthistory/a/Post-Impressionism-Art-History-101-Basics.htm
d) Discuss the questions:
1. When was the term post impressionist coined?
2. Did the artist work in team?
3. What was the period for this movement?
4. What was particular of Van Gogh’s works? Cesanne’s works? Suerat’s?
5. Did the post impressionism have a tremendous effect on future painting?
2. Match the art movements with their representatives
impressionism neo-impressionism
post-impressionism
Paul Sezanne Eduard Degat Klod Monet
Sislei Paul Signac
Paul Gaugen August Renoir Van Gogh Emil Pissarro Georges Seurat
Henri de Toulous Lautrec Henri Matisse
Art movement
Painters
 Make reports on works of French painters in the texts
3. Your Vocabulary bank.Think up exercises & fun activities
to practice using the following vocabulary units in their
contexts.
1.
2.
3.
4.
5.
6.
7.
be influenced by
influence smth /smb
share a few similarities
the term was coined
influential
eclectic bunch of individuals
push the ideas into a new
directions
8.
9.
10.
11.
12.
13.
14.
15.
16.
convey the truth / emotion
impressionist era
unifying characteristics
exaggerate
self-expression
indicate the link btwn …..
tremendous
be credited with
convey thruth/ emotions
4. Render the ideas below
27
17.
18.
19.
20.
21.
22.
23.
24.
question human condition
embrace your environment
gross
understatement
reveal smth about themselves
have an effect on
notable
unveil
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1. Импрессионизм как направление в живописи возникло во Франции в 1860-х годах.
2. Чтобы передать каждое мгновение непосредственно, живо, свободно и в то же время
точно, импрессионисты писали по большей части на пленэре – на открытом воздухе.
3. Большое внимание они уделяли свету, светотени, картины их полны солнечного света
и чистого, прозрачного (transparent) воздуха.
4. Их чрезвычайно занимала проблема взаимоотношения света и цвета, свои картины
они писали открытыми мазками чистого красочного пигмента.
5. Они совершили также переворот в выборе сюжетов, отказавшись от традиционных
исторических, религиозных или литературных тем, и обратились к сценам
повседневной жизни.
6. Интерес к человеку, особенно, к современной жизни Франции был присущ ряду
представителей этого направления.
7. Впервые этот термин импрессионизм был использован в негативном смысле.
Журналист Луи Леруа написал критический отзыв о первой выставке приверженцев
этого еще никак не названного направления. Оттолкнувшись от названия картины
Клода Моне «Впечатление. Восход солнца», критик «обозвал» импрессионистами
всех участников выставки. Те в знак протеста приняли это название, и оно укрепилось
как термин без негативного значения.
8. Зарождение импрессионизма датируется 1860-ми. В этот период художники ищут
способы ухода от академизма.
9. В 1863 г. Э. Мане, негласный идейный лидер импрессионистов, представил публике
картину «Завтрак на траве», в следующем году Э. Буден приглашает его в Онфлер.
Там художник наблюдал за работой учителя на этюдах и учился создавать картины на
пленэре.
10. В 1871 году Моне и Писсаро в Лондоне знакомятся с творчеством У. Тернера,
которого называют предшественником импрессионизма.
11. Стараясь уйти от академизма, представители нового направления проводили свои
поиски как в области сюжетов картин, так и в технике их создания.
12. Импрессионисты отказались от мифологических, литературных, библейских,
исторических сюжетов – они были характерны для салонной живописи и
пользовались спросом у аристократов.
13. Новые полотна можно назвать демократическими, ведь на них были изображены
люди в парках и кафе, в саду и во время лодочных прогулок.
14. Широко распространен был пейзаж, в том числе городской. В рамках этих тем
импрессионисты пытались уловить неповторимость каждого изображенного
мгновения, уникальность дыхания жизни, передать свое непосредственное
впечатление.
15. Стремясь к легкости изображения, художники отказались от контура – они заменили
его маленькими контрастными мазками.
16. Накладывая такие дробные штрихи, мастера ориентировались на теории цвета
Шевреля, Гельмгольца, Руда. Это позволяло им с помощью, казалось бы, не очень
близких к реальности цветов создавать нужные оттенки и отражать в картинах
практически каждое движение воздуха.
17. (франц. neoimpressionnisme) (дивизионизм, пуантилизм), течение в живописи,
возникшее во Франции ок. 1885 (Ж. Сера, П. Синьяк).
Используя выводы научного цветоведения, придало
методический характер введенному импрессионизмом
разложению сложных тонов на чистые цвета. Плоскостнодекоративные картины систематически заполнялись
мазками правильной формы.
http://www.kakprosto.ru/kak-82423-chto-takoe-impressionizm
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5. Dear Vincent ...
a) Surf the net & find out as much as possible about Van
Gogh’s life. (Watch the video file 9)
b) Read the letter from Vincent van Gogh (Dutch painter, 185390) to an English painter called Horace Mann Livens. They met
when they were fellow students at the Antwerp Academy. He
sometimes uses non-standard English, Find answers to these
questions:
 What does van Gogh think of Livens?
 What is van Gogh's financial situation like?
 What kind of pictures is he painting at the moment?
 Is his mood optimistic or pessimistic?
Paris
My dear Mr Livens,
Since I have been here in Paris I have very often thought of you and your work.
You will remember that I liked your colour, your ideas on art and literature, and I
add, most of Wall your personality. I have already before now thought that I ought to
let you know what I was doing [and] where I was. But what restrained me was that I
find living in Paris is much dearer than in Antwerp, and not knowing what your
circumstance are, I dare not say come over to Paris from Antwerp without warning
you that it costs one dearer, and that if poor, one has to suffer many things –as you
may imagine. But on the other hand, there is more chance selling. There is also a
good chance of exchanging pictures with other artists.
There is much to be seen here - for instance, Delacroix, to name only one
master. In Antwerp I did not even know what the Impressionists were, now I have
seen them, and though not being one of the club yet, I have much admired certain
impressionists' pictures - Degae nude figure - Claude Monet’s landscape.
And now for what regards what I myself have been doing, I have lacked money
for paying models, or I would have entirely given myself to figurepainting. But I
have made a series of colour studies in painting flowers: red popple (плеск, рябь
зыбь), blue corn flowers and mysotys, white and rose roses, yellow chrysanthemums
[krə'sænθɪməm] - seeking oppositions of blue with orange, red and green, yellow and
violet seeking ,.. to harmonise brutal extremes. Trying to render an intense colour
and not a grey harmony.
…..With regard to my chances of sale, they are certainly not much but still I
have a beginning.
At the present moment I have found four dealers who have exhibited
studies of mine. And I have exchanged studies with many artists. Now the price is 50
francs. Certainly not much, but as far as I can see, one must sell cheap to get on. And
mind, my dear fellow, Paris is Paris. There is only one Paris and, however, hard
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living may be here, and even if it became worse and harder the French air clears the
brain and does good - a world of good.
Yours truly,
Vincent
c) Read the letter again. Underline words to do with painting,
and circle words to do with money and finance.
6. Van Gogh’s chair
A) Look at this picture by Van
Gogh. Do you think the picture is
very interesting / fairly interesting
/ not at all interesting. Can you
say Why?
Do you know what colors Van
Gogh painted: the chair? The
walls? The tiled floor? If not can
you guess?
What does the picture tell us
about the man who uses this
chair? Choose the sentences you
agree with.
He’s old.
He’s heavy smoker.
He has gone away forever.
He’s poor / rich.
He’ll be back soon.
He’s lonely.
You’ll hear a woman talking about the picture. How would she
answer the questions above?
B) Your own chair. Four people imagine a picture in the style
of Van Gogh showing their own chair.
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Look at the pictures & decide which person:
Likes to be comfortable / likes cooking / likes eating / likes animals / likes watching
television / likes doing crossword puzzles / smokes
C) Listen to the tape, & match the descriptions with the
pictures. 1………….. 2…………….3…………….4……………….
Which speaker uses the words: a rocking chair / a tea-towel / remote
control / a squeak
What exactly do they say?
Listen to the sentences on the tape & check your answers.
D) Imagine you are painting a picture of your own chair. Think
of two things to put on it, which show something about you.
Tell another student what have chosen, & explain why.
7. Spot the forgery
a) Look at the two pictures of Van Gogh's Dr Paul Gacher and
decide what is differences between them are and which you
think is the genuine work of art. Only one is genuine, the
other is a forgery!
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Report your decisions to another group. Did you agree?
b) Listening for statements the speakers make
A You will hear a news item on the radio in which a reporter and a police
commissaire are discussing an art scandal. During the discussion they make
various comments. For questions 1 to 12. indicate which comments are made by
the reporter and which are made by the Commissaire, by writing R (for the
reporter) С (for the Commissaire) or N (for neither).
1. Mr. and Mrs. Van Den lived rather grandly in the French countryside
2. The Commissaire doubts whether the loot is recoverable.
3. There hasn't been an art scandal like this for two decades.
4. The forgeries are not on show for the press to see.
5. The pictures will be auctioned.
6. Some of the pictures are worth a lot of money
7.Van Den Bergen sold many of the forgeries in Germany,
8. Police arrested him at home.
9. Local people saw little of Mr. Van Den Bergen.
10. Van Den Bergen will spend at least three years in prison.
11. Art collectors can now breathe a sigh of relief!
12 . Van Den Bergen might not be allowed to paint in prison.
C) Analyse your success or failure. Compare the script with
the reformulated statements. What helped you to recognize
the statements the speakers made?
Toulouse-Lautrec
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At the Moulin Rouge
(1892/5) Henri Marie
Raymond de
Toulouse-Lautrec
8. a) Listen to a
guide in an art
gallery talking
about At the
Moulin Rouge.
Answer the
questions:
1. What was
Moulin Rouge
famous for?
2. Who did
Toulouse-Lautrec in his painting & posters?
3. Which person is Toulouse-Lautrec?
4. Why do some people think he liked painting the dancers?
b) Listen again. Write the numbers of the people next to their
names.
1. Toulouse-Lautrec
4. Jane Avril, a dancer
2. His cousin Gabriel
5. La Macarona , a dancer
3. His friend a photographer
6. La Goulue, a singer
9. Follow-up
Do the Quiz-Test
The questions to be answered
1. What was the title of the Monet’s Painting
that was criticized by a critic & that gave
the name for the art movement?
2. Who was that critic?
3. Continue the phrase by the critic about
Monet’s painting?
A preliminary drawing ……
4. When does the movement start? When was
the first exhibition held?
5. What are the periods of impressionist
movements?
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6. What are the subjects of impressionist paintings?
1) ………… 2) ……………. 3) ……………… 4) …………….. 5)
……………..
7. What are the peculiarities of the impressionist techniques? Write a sentences to
each of the points to prove it?
1) ………………. 2) ………………….. 3) …………………… 4)
……..………..
8. What are the representatives of impressionist art movement?
1) ………………. 2) ………………….. 3) …………………… 4)
……..………..
9. What are the representatives of post-impressionist art movement?
1) ………………. 2) ………………….. 3) ……………………
10.What are the representatives of neo-impressionist art movement?
1) ………………. 2) …………………..
11.What are the other terms of neo-impressionist art movement?
1) ………………. 2) …………………..
12. What was the founding masterpiece of divisionism?
………………. ………………….. …………………………………….
13.Who prescribed standards for art that time?
14.What was the period for post impressionism art movement?
15.Did the post impressionism have a tremendous effect on future painting?
Module 1 Part 1
Fauvism movement
1. a) Look at the pictures below. Do the
pictures look appealing to you? Express your
way you see them. “React” to the paintings
with descriptive words
Fauvism movement
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Henri Matisse (18691954)The Open Window,
(oil on canvas, 1905)
André Derain (1880-1954)
The Pool of London (oil on canvas,
1906)
Henri Matisse , Dance
b) Vocabulary1. Match the words from column a with their
parts in Column B
Column A
1. revolutionize
2. earn
3. issue
4. clumsy
5. arbitrary way
Column B
the name
style
to express oneself
the concept of colors
theoretical manifesto
Column A
6. form
7. pure
8. blobs of
9. go
10.the peak
Column B
colors
paint
one’s separate &
personal way
a cohesive group
was over
c) Read the text& express your attitude to the
this style of painting. Answer the questions
below the text.
Fauvism (From 1905)
Between 1901 and 1906, several comprehensive
(всесторонний) exhibitions were held in Paris, making the work of
V.van Gogh, P.Gaugin, and P. Cezanne widely accessible for the
first time. For the painters who saw the achievements of these great
artists, the effect was liberation (освобождение) and they began to experiment with
radical new styles. Fauvism was the first movement of this modern period, in which
color ruled supreme. The advent (наступление) of Modernism is often dated by the
appearance of the Fauves in Paris at the Salon d’Automne in 1905.
So, we can say Fauvism in some ways grew out of the impressionism
movement that van Gogh was a part of & had a great influence on the fauvists. His
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use of color affected Henri Matisse (whose Woman with a Hat is shown below) and
it affected Maurice de Vlaminck.
Fauvism is a movement in French painting that revolutionized the concept of
color in modern art. Fauves earned their name (‘les fauves’- ‘wild beasts’) by
shocking exhibit visitors on their first public appearance, in 1905. One art critic
(Louis Vauxcelles) compared the paintings to "fauves" which was French for ‘wild
beasts’. So, this term was coined by this art critic& then it was exploited (=used) by
other hostile critics. The paintings were
displayed in Room 7 which became known as the
"cage for the wild beasts." This art style became
known as Fauvism even though the Fauves never
used the term. The wild beast idea helped these
artists sell lots of paintings, which was grrrrrreat.
At the end of the nineteenth century, neo
Impressionist painters were already using pure
colors, but they applied those colors to their
canvases in small strokes. The fauves rejected
the impressionist palette of soft, shimmering
(мерцающий) tones in favor of radical new
style, full of violent color and bold
distortions(искажение).
They greatly admired van Gogh, who said
of his own work: “Instead of trying to render
what I see before me, I use color in a completely
arbitrary (произвольный) way to express myself
powerfully’’. The Fauvists carried this idea
further, translating their feelings into color with a
rough, almost clumsy style.
Mattisse was a dominant figure in the movement; other Fauvists included
Vlaminck, Derain, Marquet, and Rouault. However, These painters did not form a
cohesive [kəu'hiːsɪv ] (сплочённый) group& they never formed a movement in the
strict sense of the word, but for years they would nurse a shared ambition(цель),
before each went his separate and more personal way. And
by 1908 a number of painters had seceded(отделяться) to
Cubism.
The Fauves never issued a theoretical manifesto. By
the time Matisse wrote his "Notes of a Painter" in 1908, the
peak of Fauvism was over. Matisse himself moved from the
spontaneous and exuberant (яркий, пышный) use of color
that characterized Fauvism to a more decorative formalism.
By 1908 the movement had run its course and
many of the artists involved moved on to other styles. Georges Braque, for
instance, moved on to cubism. You can see this in the two paintings shown
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below, Spared from the Storm (1906) and Houses at L’Estaque (1908). Look
at the change in style that happened in just two years!
http://www.huntfor.com/absoluteig/matisse.htm
http://www.discoverfrance.net/France/Art/fauvism.shtml
http://wwar.com/masters/movements/fauvism.
htmlhttp://www.towson.edu/~sisaacs/docs/StudyGuide.pdf,
http://www.ibiblio.org/wm/paint/tl/20th/fauvism.html,
http://arts.enotes.com/oxford-art-encyclopedia/fauvism
d) Answer the questions
1. What provoke fauvism as art movement?
2. What did they exhibit visitor by?
3. How did they earn their name?
4. Whose ideas did the fauvist carry further?
5. Did The Fauves issue a theoretical manifesto? Why?
6. What was the author’s attitude to the artist of this movement? Prove it.
e) Comment on:
‘If you like squeezing toothpaste out of a tube, you could have been an artist who
painted in the style of Fauvism. These excitable artists would have been
excellent in toothpaste commercials. They used bright blobs of paint right
out of the tube to create explosions on their canvases and in the world of
art’.http://www.discoverfrance.net/France/Art/fauvism.shtml
f) Vocabulary2. Look through the text again & explain
the meaning of the words in bold.
Vocabulary3. Match the word with its definition
word
1. radical
2. manifesto
3. distort
4. reject
5. cohesion
6. exuberant
7. bold
8. ambition
9. secede to
10.strict
definition
a) a public declaration of policy and aims, esp. one issued before an election
by a political party or candidate;
b) pull or twist out of shape;
c) refuse to agree to (a request);
d) the action or fact of forming a united whole;
e) characterized by departure from tradition; innovative or progressive;
f) filled with or characterized by a lively energy and excitement;
g) 1)(of a person or manner) so confident as to suggest a lack of shame or
modesty 2) (of a color or design) having a strong or vivid appearance;
h) a strong desire to do or to achieve something, typically requiring
determination and hard work;
i) withdraw formally from membership in a federal union, an alliance, or a
political or religious organization;
j) demanding that rules concerning behavior are obeyed and observed.
Vocabulary4.Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
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noun
distortion
verb
adjective
reject
violent
accessible
admire
compare
Art techniques in fauvism art movement
2. Read the passage
below & say what their
idea of colors is.
Fauvists used exaggerated
colors when painting subjects.
In fact, color was the most
important aspect of a fauvist
painting, with the subject taking
a backseat. For example, when
painting a portrait of a woman
with very dark hair, a fauvist
might choose to use blue in the hair to show just how dark it was. He might use
yellow for the skin instead of a carefully mixed bronze. Shadows might be drawn in
greens and purples instead of grey.
Shown above is Andre Derain’s The Turning Road, L’Estaque. I love this
painting for the way Derain has taken the colors of the changing fall leaves and used
those colors throughout the painting, in the trees, the earth, and the people.
Main representatives of fauvism art movement
3. a) Vocabulary 1. Match the words from column a with their
parts in Column B
Column A
1. bold
2. intense
3. bizarre
4. profound
Column B
emotions
stokes of
colors
art
Column A
5. notable
6. brief
7. unselfconscious
8. give
Column B
use
adherent
flourishing
visual pleasure
How did they start their wild style?
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He had studied the paintings of Vincent van
Gogh and other Post Impressionists. He then
decided that he wanted to do something
completely new and colorful. He admired van
Gogh, but he wanted to use more dramatic
colors. Matisse especially liked to use bold
strokes of blue, green, and red in his paintings to
show his intense emotions.
Henri Matisse painted one colorful picture
called Open
Window. He
painted it in a
small
Mediterranean fishing port in a village called Collioure
near the Spanish border. Matisse broke many rules in
this painting. The painting shows the view through a
small window. Little boats bob along on pink waves in
the distance. The sky is bright turquoise, pink, and
periwinkle. The reflections in the glass of the window
are blue-green and lavender. The walls are a vivid
shade of fuchsia. No wonder the art critics were
confused. No one had ever painted boats, skies, and
waves in such bizarre colors.
During its brief flourishing, Fauvism had some
notable adherents, including Rouault, Dufy, and Braque. Vlaminck had a touch of his
internal moods: even if The River (c. 1910; 60 x 73 cm (23 1/2 x 28 3/4 in)) looks at
peace, we feel a storm is coming. A self-professed “primitive”, he ignored the wealth
of art in the Louvre, preferring to collect the African masks that became so important
to early 20th-century art.
Derain also showed a primitive wildness in his Fauve
period- Charing Cross Bridge (1906; 80 x 100 cm (32 x 39
in)) bestrides a strangely tropical London-- though as he
aged he quenched (=put out) his fire to a classic calm. He
shared a studio with Vlaminck for a while and The River
and Charing Cross Bridge seem to share a vibrant power:
both reveal an unselfconscious use of color and shape, a
delight in the sheer patterning of things. This may not be
profound (=deep) art but it does give visual pleasure.
Although Fauvism was a short-lived movement, it was
influential; the German expressionists, particularly Wassily Kandinsky and Alexey
von Jawlensky in Munich, and the Die Brucke group in Dresden were heavily
indebted (обязанный, признательный) to it.
The Fauves represented the first break with the artistic traditions of the past. The
movement's emphasis on formal values and expressive use of color, line, and
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brushwork helped liberate painting from the representational expectations that had
dominated Western art since the Renaissance. Fauvism was the first explosive 20thcentury art movement.
http://www.discoverfrance.net/France/Art/fauvism.shtml
http://wwar.com/masters/movements/fauvism.
htmlhttp://www.towson.edu/~sisaacs/docs/StudyGuide.pdf,
http://www.ibiblio.org/wm/paint/tl/20th/fauvism.html,
http://arts.enotes.com/oxford-art-encyclopedia/fauvism
b) Make up true of false sentences to the text
c)Vocabulary 2. Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
adherent
verb
adjective
dominate
explosive
influential
emphasis
4.Watch the documentary by Alistair Sooke
about the titans of modern art that have
influenced the world we live in
now & discuss the questions in
class “Modern Art Panters –
Henri Matisse”.
http://www.youtube.com/watch?v=CIq-m_-clJw
1.
2.
3.
4.
5.
6.
What does the documentary start with?
What does the author of the documentary do?
What are the titans he was writing about? Why?
What was the first picture by Matisse he saw? What fascinated him?
How did Matisse begin his career? What provoked his interest in painting?
What was the question the author asked himself when he truly started talking
about Matisse’ background?
7. What were those words said by Matisse about: “Someone who is stumbling
about in the dark wood without the clear idea where he was heading“?
8. What did Collier (the town in the south of France) have to do with his work?
9. What does the color wheel have to do with Matisse?
10. Who started buying his pictures? Why?
11.Who were these words about “One madman paints them, another madman
buys them”?
12.How did his picture turn out to be housed at the Hermitage now? What are the
pictures there?
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13.Who called his pictures decadent then? What happened to the pictures then?
14. What broke out that time? Where did he want to enlist? Why was he rejected?
15.Why does the author of the documentary made parallel talking about
“concubines and odalisques”?
16.Where did he go in 1940& why?
17.How did NewYork affect his works or ideas? What was he commissioned to
do in New York?
18.What was he diagnosed by? Where did he move? What was his art like there?
What style did he pioneer?
19.What is Miffi? Why is its making related to Matisse?
20.Stop the video & write down what the author said about his picture “Snail”
(47.50-48.58) . How did fashion desighner (Paul …) comment Matisse’s
works?
21.Why did Matisse set up a chapel?
22.Comment the documentary: was it unusual to watch? what makes it different
from other documentaries about art? What were the effects the author used to
make it interesting to watch?
b) Make a 2-minute speech “Matisse pioneered the modern
look”
Main representatives
5. Make a report about representatives of this
art movement. Mention a few details of his
biography, then comment on his paintings, after
that select one painting &analyze it profoundly
(=thoroughly) based on the appreciation
painting plan.
Henri Mattisse Andre Derain Raoul Dufy George Braque
Maurice de Vlaminck Albert Marque George Rou
6. a) A Forger’s Master class (ep-2). Watch the video &
express your opinion on the pictures the students were trying
to “forge”. Which one you liked or dislike most? Why?
http://www.youtube.com/watch?v=C9wI-qoI6b8
b) Just for fun follow the steps &create your own painting or
picture in the style of the Fauves. Use crayons or paint or oil
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sticks. Don’t use the actual color of what you see but be sure
to exaggerate the color. If the sky is light blue you might want
to use bright purple or green. Keep choosing bright colors and
use strong thick brush strokes or movements with your
crayon. Go Wild like the Fauves.
How to paint like a Wild Beast:
1.
Start with Thumbnail Sketches: Using the plain sheet of paper , draw a grid
using the ruler and your pencil . Try to make even boxes (this can be prepared
for the child ahead of time, and even photocopied if you have multiple children
doing this project). I liketohaveatleast 20 squarestotal
2. Give a time limit to make all thumbnail sketches with a pencil . An example I
use: 90 seconds a box - so no sketch is over thought. Thumbnail sketches should
be based on any kind of landscape that the imagination can come up with
including, outerspace, parks, homes, farms, cities, another planet, etc.
3. Choose the most interesting thumbnail sketch and with a pencil , lightly sketch
the thumbnail sketch onto the Watercolor paper, filling the entire page with what
was in the thumbnail sketch box. (Depending on the size of the paper vs. the
box, you may have to make slight adjustments.)
4. Chooseyourpaintpalette.
5. After painting in your landscape, let it dry a bit and go back in with a small
brush and outline everything in black paint. This will help to tidy up the painting
and give it a consistant look.
Tips:

Look for colors that are the opposite of
what you would normally choose. So, if
your grass is green, try painting it pink
instead. Clouds no longer have to be white,
try orange or green! Turn your landscape
upside down and wild with color !

Consider using lots of pinks, purples and
oranges - colors found in a vibrant sunset
Clean Up: Make sure to wash your brushes out
immediately after use so they'll last for many
more paintings to come. A moist rag with mild
detergent will clean up paint and pencil. Window
cleaner also cleans paint off of many surfaces. If you're making this project on nice
furniture, make sure to cover it first with plastic or newspaper.
And, remember: Art, like any other skill is a practice which gets better each time you
do it!
http://lauraspector.hubpages.com/hub/Childrens-Fauvist-Paintings-Bring-Out-Their-Wild-Beast
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7.Your vocabulary bank. Think up exercises & fun activities
to practice using the following vocabulary units in their
contexts
1. accessible (access –n/v)
2. color ruled supreme.
3. revolutionize the concept of
color
4. earn their name
5. beasts
6. compared smth to smth
(comparison)
7. violent color (violence)
8. bold distortions (distort –v)
9. admire (admiration)
10. arbitrary way
11. to express oneself
12. rough
13. clumsy style.
14. be a dominant figure
15. the peak of Fauvism was
over.
16. form a cohesive group
(cohesion)
17. form a movement (v)
18. strict (adj)
19. ambition (ambitious)
20. secede to (v)
21. issue a theoretical
manifesto
22. exuberant (adj)
23. comprehensive exhibitions
24. the achievements of great
artists (achieve-v)
25. liberation (liberate-v)
26. experiment with radical
new styles (v/n)
27. The advent of Modernism
28. grow out of
29. affect smth
30. appearance (appear)
31. be exploited by
(exploitation-n)
32. hostile critics (hostility-n)
33. pure colors (purity)
34. palette of soft, shimmering
tones
35. render smth (v)
36. carry this idea further
37. translating their feelings
into color with a rough,
almost clumsy style.
38. be characterized by
39. run acourse
40. move on to other styles
8. Render the ideas
1. Первым в нашем столетии течением модернистского искусства считают ф о в и з м .
2. Неукротимо яркие краски Ван Гога дали решающий толчок образованию нового
течения во французском искусстве.
3. Группа молодых живописцев во главе с Анри Матиссом стала употреблять чистые,
звучные цвета, сильные и размашистые мазки, порывисто брошенные на холст пятна
краски, смелые для своего времени искажения форм.
4. Такой способ письма и трактовка цвета были для публики столь чужды и
непривычны, что художников этой группировки стали называть «фовистами» (от
французского слова «fauve», что значит «хищник»). Отсюда и название течения
«фовизм».
5. Однако фовисты вовсе не ставили перед собой цель точно изображать природу. Они
хотели сделать видимыми для глаза и такие вещи, которых на самом деле увидеть
нельзя, например, те чувства и настроения, которые возникают у художника при
созерцании природы. Главным средством выражения они избрали цвет.
6. Хотя в момент своего появления фовизм был встречен холодно, теперь, спустя
десятилетия, мы научились видеть те положительные качества, которые он нёс в себе
— поиски своеобразной красоты и гармонии, стремление доставить зрителю радость
и художественное наслаждение.
7. Подлинное пиршество красок представляет собою живопись Андре Дерена (1880—
1954) и Мориса де Вламинка (1876—1958). Они не стремились к точной передаче
деталей или верности цвета. Нежно-зеленые стволы и ярко-красные кроны деревьев,
жёлтая речная вода, ядовито зелёные мостовые — обычное дело в их картинах.
8. Рауль Дюфи (1877— 1953) писал лёгкими и беспокойными мазками; изображения
концертов и завораживающе голубые виды Средиземного моря исполнены им с
неповторимой элегантностью.
9. Картины Альбера Марке (1875—1947) легко узнать по сдержанной красочной гамме и
чётким очертаниям предметов, нанесённым уверенной рукой. Марке любил корабли
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и матово поблескивающие поверхности воды. Он часто писал гавани под хмурыми
небесами или утопающие в густом
зимнем тумане парижские набережные.
10. Вождём группировки фовистовбыл Анри
Матисс (1869—1954), впоследствии
видный общественный деятель и борец
за мир. Хотя в молодые годы он был
непрочьподразнить публику
неожиданными выходками, в ходе
своего долгого творческого пути он
развивался в совсем другом
направлении.
11. Матисс был многогранным художником,
который сказал своё слово и в других
областях искусства, например, в
оформлении интерьера,
Анри Матисс"Десерт.Гармония в красном"
иллюстрировании книги и даже в
скульптуре.
http://sv-modernizm.narod.ru/fovism.html
6. Follow-up Make up the Quiz-Test about
this art movement
The questions to be answered
…………………………….……………………………………………………………
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…………………………………………………………………………………………
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Cubism
Module 3 Part 1
Cubism
George Braque
1. a) Look at the pictures below. Can you
recognize the style? What are the striking
differences?
Philip Absolon. Cassie Thinking About
Cubism
Picasso, theweeping woman (femme en
pleurs)
b) Vocabulary. Match the words from column a with their
parts in Column B
Column A
1. fractured
2. hard to
3. relate
4. display
5. take the idea
Column B
Column A
Visualize
6. begin the move
further
7. geometric
the approach to
8. flatten
multiple shots of
9. tangible
movement
10.musical
pieces
11.to the point of
Column B
collages
angles and shapes
the picture
two-dimensionality
to look at
sense of movement
c) Transcribe the following words in the space aside. Pay
attention to the way the stress is placed.
dimensionality ………………………… collage ………………………… guitar
……………………… cube ………………tangible …………………..
Egyptians…………………….. extremely …………….. multiple …………………
visualize …………………. geometric……………………. image ……………….
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What is Cubism?
Cubism was the first 'abstract' art style. In the early 1900s, some artists became
interested in African and Native American art. The styles
of those cultures inspired cubism.
The Cubists tried to create a new way of seeing
things in art. Many of their subjects, be they people or
landscapes, were represented as combinations of basic
geometric shapes - sometimes showing multiple
viewpoints of a particular image. This approach was
related more to the way we
see images in our 'mindseye' rather than in real life,
that is if we close our eyes
and try to see an image,
perhaps of a friend or a
family member, it is often
hard to visualise the
'whole' image - we usually see parts or fractured
pieces. Cubist pictures are therefore often described as
looking like pieces of fractured glass.
The cubists were influenced most by the art of the
Post Impressionist painter Paul Cézanne. Picasso
described Cézanne as 'the father of us all'. It was Cézanne who began the move to
look at the basic shapes in nature.
Cubism is full of geometric angles and shapes, and the picture itself it
flattened almost to the point of two-dimensionality. The piece will usually have a
tangible sense of movement. The artwork is not meant to be realistic; it displays
multiple shots of movement or viewpoints in one
painting.
And that’s exactly what the cubists had in
mind. Just like the ancient Egyptians, cubists
wanted to show the most important parts of the
things they painted. Look at the face in Juan Gris'
Portrait of Picasso (aside). Gris shows you every
detail of Picasso's face even though you would
never be able to see all sides of his face at the same
time. The cubists took this idea much further than
the ancient Egyptians, of course. Cubists wanted to
show all the sides of an object in the same picture.
Some cubist paintings were extremely
abstract. In Picasso’s The Guitar Player (above), it
is difficult to see the person in the painting.
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At first, cubists used very little color in their paintings. They used mostly
browns, greys, and blues. In 1912, color re-entered the picture and some
artists, like Picasso, began using more than just paint and canvas in their art.
You may remember reading about Picasso’s musical collages in which he used
paper and cloth in his paintings.
http://artsmarts4kids.blogspot.com/2008/09/cubism.html
d) Make up questions to the text.
1. What inspired this art movement?
2. What was the cubist was related to?
3. What are artist are the dominant figures here?
4. Who was Picasso influenced by & why? (presuppose)
5. How was the cubist idea to paint compared with Egyptian techniques?
6. Did they use much color in there painting?
f) Vocabulary2. Look through the text again & explain the
meaning of the words in bold.
Vocabulary3. Match the word with its definition
word
1. tangible
2. dimension
3. collage
4. multiple
5. viewpoint
6. approach
definition
a) a way of dealing with something;
b) a form of art in which various materials such as photographs and pieces of
paper or fabric are arranged and stuck to a backing;
c) having or involving several parts, elements, or members;
d) perceptible by touch;
e) a measurable extent of some kind, such as length, breadth, depth, or
height;
f) a particular attitude or way of considering a matter.
2. a) Look at the picture of George Braque. Express your
opinion of the picture.
b) Watch the video file & compare your idea with the idea of
an art expert(Michal Taylor, the curator of avant-garde
exhibition in Paris).
3. Watch another video about a collage by Juan Gris ( a
Spanish cubist artist) & say as much as you can about it
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4.Write out of the text the vocabulary that strongly related to
this art movement, bring in a cubist picture & act out a
lecture of an ‘arrogant’ art expert where he /she explains how
to understand & appreciate this art style.
5.4.Watch the
documentary by
Alistair Sooke called
‘Modern MastersPablo Picasso’
&about the titans of modern art that
have influenced the world we live in now
& discuss the questions in class.
b) Watch the conversation at the art gallery at the Picasso
show where Andrew and Lauren are discussing his works.
What ideas did they speculate about?
6. Main representatives
Make a report about representatives of this art
movement. Mention a few details of the artist’s
biography, then comment on his paintings, after
that select one painting &analyze it profoundly
(=thoroughly) based on the appreciation
painting plan.
Juan Gris George Braque Rober Delore, etc.
7. a) A Forger’s Master class (ep-6).
Watch the video & express your opinion
on the pictures the students were trying
to “forge”. Which one did you liked or
dislike most? Why?
http://www.youtube.com/watch?v=C9wI-qoI6b8
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b) How to Make Cubism Art. Let’s draw a cubist portrait.
Read the instruction & make the picture of your own in this art
style.
Many 3rd graders in California learn that Picasso’s cubism was about seeing two
sides of something at the same time. Here is a breakdown of steps that I use, which I
hope are helpful.
1. Take a 9" x 12" piece of black construction paper. Fold the paper in half vertically
so you have a middle line. Then you are to make a light pencil mark in the middle,
and then in the middle of each of those sections as in Diagram 1.
2. A profile line is drawn down the middle, with the top of the nose hitting the top
quarter mark, the bottom of the nose hitting the middle mark, and the bottom of the
chin hitting the bottom quarter mark. The chin ends as a curve up and the neck line is
added as in Diagram 2.
3. Profile features are added as shown in Diagram 3.
4. The face is completed with frontal view features. The chin and neck lines are
added to symmetrically match the right side as in Diagram 4.
5. After the pencil drawing is complete, the lines are traced with a black oil pastel,
making the lines very fat. All the shapes are then filled in. Encourage the use of
unusual colors.
http://www.ehow.com/how_5214911_make-cubism-art.html
7. Your vocabulary bank. Think up exercises & fun activities
to practice using the following vocabulary units in their
contexts
1. fractured pieces (to
fracture smth into pieces)
2. hard to visualize the
‘whole’ image
3. relate the approach to
4. display multiple shots of
movement
5. geometric angles and
shapes
6. to flatten the picture
7. see a tangible sense of
movement
8. musical collages
9. Guitar
10. became interested in
11. inspire cubism (inspiration
–n)
12. create a new way of seeing
things in art (creative -adj/
creation -n)
13. approach (smth) (v / n approach to smth)
14. we see images in our
'minds-eye'
15. two-dimensionality
(dimension –n /
dimentional –adj).
16. Be meant to be realistic;
17. the ancient Egyptians
18. begin the move to look at
the basic shapes in the
nature
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19. The cubists took this idea
much further
20. Be extremely abstract
21. See all sides of the face at
the same time
22. Be represented as
combination of geometric
shapes
23. Re-enter the picture
24. 3-graders
25. show multiple viewpoints
of
26. particular
27. image
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8. Render the ideas below.
9. Follow-up
movement.
2.
3.
4.
5.
6.
Do the Quiz-Test on this art
1. Cubism was ……………………………… a) founded by
Pablo Picasso; b) founded by George Braque; c) the joint
invention of two men, Pablo Picasso and Georges Braque;
What year was it founded? a) 1909; b) 1907; c) 1912;
How many phases are there in cubism?
a) 3 ; b) 2 ; c) 4;
What is considered to be a proto cubist work? a) Dream City by Paul Klee;
b) Les Demaoiselles d’Avignon; c) Gernica by Pablo Picasso; d) Houses at
L’Etaque by Georges Braque in 1908;
What were Pablo Picasso & other artist intrigued and inspired by? a) ancient
Egyptian art ; b) the stark power and simplicity of styles of African & native
American cultures; c) ancient Greek and Roman philosophy ;
Who did Picasso mean when he said: “He is the father of us all”? a) Gaugin ;
b) Braque ; c) Cezanne;
Add your own questions for futurist art quiz
7. ………………………………………………………………………………
………………………………………………………………………………
8. ………………………………………………………………………………
…………………………………………………………………………
9. ………………………………………………………………………………
…………………………………………………………………………
10.………………………………………………………………………………
…………………………………………………………………………
Module 4 Part 1
Futurism
Futurism
1. a) Look at the pictures below. Can you
recognize the style? What are the striking
differences?
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Elasticity1912by Umberto Boccioni
Marinetti
Depero 1919
b) Vocabulary. Match the words from column a with their
parts in Column B
Column A
1. be launched
2. the reason is not
3.
4.
5.
6.
7.
8.
dynamism of
major
aesthetic
cosign (v)
destroy (v)
emerge (v)
Column B
exponents
in Italy
force
the manifesto
the modern world
the boundaries
to move
from
9. push the spectator taken seriously
Column A
10. factors contributed to
11.be politically
12.be viewed as a
13.be plain
14.become
15.initial spark
16.flout (v)
17.be marked by
Column B
the rise of futurism
second arte
travesty, incongruity
off-shoot of cubism
was gone
values
commonplace
backwards
b2) Transcribe the following the words and phrases
cosign …………………… initial ………….. aesthetic ………………………..
occur ………………… automobile ……………..
с) Read the text & express your attitude to the this style of
painting. Make up the questions after the text.
What is Futurism?
Futurism was developed as an avant-garde art movement in the early 20th
century in Italy, where artists sought to infuse modern art with the vitality, energy,
violence and motion of the machine world.
Futurism was an avant-garde movement which was launched in Italy, in 1909,
although parallel movements arose in Russia and elsewhere. It was one of the first
important modern art movements not centred in Paris - one reason why it is not taken
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seriously in France. Futurism exalted the dynamism of the modern world, especially
its science and technology. Futurist ideology influenced all types of art. It began in
literature but spread to every medium, including painting, sculpture, industrial design,
architecture, cinema and music. However, most of its major exponents were painters.
It ceased (=stop) to be an aesthetic force in 1915, shortly after the start of the First
World War, but lingered in Italy until the 1930s.
Futurism as an Italian movement came to the forefront of European art in 1909
when Filippo Tommaso Marinetti published the Founding and Manifesto of
Futurism. At the Time, Marinetti was the only member of the movement, but within a
year artists such as Giocomo Balla, Umberto Boccioni, and Gino Severini had joined
when they cosigned The Manifesto of Futurist Painting.
Several factors contributed to the rise of Futurism. Having formed barely more
than fifty years prior, Italy was politically and socially backwards when compared
with the rest of Europe. The Futurists desperately wanted to bring Italy into the 20th
century, no matter what it took.
Artistically, Futurism is often viewed as an offshoot of Cubism. Balla's,
Boccioni's, and Severini's use of hard lines and geometric shapes that characterized
early Futurism is closely related to the Cubist movement. How the Futurists explored
speed, light, and movement, however, was very original.
Futurism can be divided into two phases, and five areas of experimentation.
The first phase occurred during the early 1910s, and is considered the "analytical"
phase. This phase was based in artistic experimentation. The second phase occurred
during the latter half of the 1910s and was dubbed the "synthetic" phase. It is during
this phase that some of the most innovative Futurist work was done.
Almost as soon as futurism was born, it began to die. With the onset of World War
One, many Futurists joined the Italian Army. Many, including Boccioni, were killed.
After the war, many "Futurists" joined the movement. However, "many were copyists
or just plain second rate." (www.futurism.org.uk). The movement's initial spark was
gone. Much of what was new during the beginning of the century, such as
automobiles and airplanes, had become commonplace.
A few new movements emerged from the ashes of Futurism. A so-called
"Second Futurism," again with Marinetti at the forefront. Dada was a reaction against
the war and the Futurists and flouted conventional aesthetic and cultural values by
producing works marked by nonsense, travesty, and incongruity.
to sum it up, let’s say: The Futurist painters were searching for new visual
approaches to express the typical character of modern time, especially in the modern
city. The movements and speed of trams, cars and the people in the cities was for
them the challenge to visualize in a way that the spectator on his turn could
experience this.
They went even further than that. Futurist painters wanted to pull the
spectator in the painting, you could say. They didn't accept the distance between the
art and the spectator any more, and this was their vivid critic on Cubism. the Futurist
wanted to push the spectator to move.
Another important aspect of Futurism was the new sensing that everything in
the world is connected and mixed. They wanted to destroy the boundaries between
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things which kept them too separated. Here a quote of Boccioni and other painters:
"The sixteen people around you in a rolling omnibus are in turn and at the
same time one, ten, four, three; they are motionless and they change places; they
come and go, bound into the street, are suddenly swallowed up by the sunshine, then
come back and sit before you., like persistent symbols of universal vibration. How
often have we not seen upon the cheek of the person with whom we are talking the
horse which we passes at the end of the street.
from 'Manifesto of Futurist Painters', Boccioni, Carrà, Russolo, 1912;
as quoted in "Futurism", ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan,
2008, p. 146
http://wiki.answers.com/Q/What_is_Futurism_art
http://www.cartage.org.lb/en/themes/arts/scultpureplastic/SculptureHistory/European20thCentury/Futuristsculpture/WhatisFuturism/WhatisFuturism.
htm
d) Make up questions:
1. Where was the art movement launched? Why?
2. Why was it taken seriously?
3. What was the idea of this art movement?
4. What were the two phases?
5. How long was it burning? Why did cease to be an aesthetic force?
6. What new movements emerged from Futurism?
e) Vocabulary 2. Look through the text again & explain the
meaning of the words in bold.
Vocabulary 3. Match the word with its definition
definition
word
a) come to an end;
1. commonplace
b) stay in a place longer than necessary, typically because of a reluctance to
2. cease
leave;
3. spark
c) happen; take place;
4. travesty
d) a light produced by a sudden disruptive electrical discharge through the
5. incongruent
air;
6. explore
e) raise to a higher rank or a position of greater power;
f) a false, absurd, or distorted representation of something;
7. occur
g) incongruous; incompatible;
8. linger
h) openly disregard (a rule, law or convention);
9. exalt
i) a distinct period or stage in a process of change or forming part of
10.flout
something's development;
11.phase
j) inquire into or discuss (a subject or issue) in detail;
k) not unusual; ordinary, not interesting or original; trite;
Vocabulary 4. Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
verb
adjective
cease
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cosign
challenge
incongruity
emerge
2. Watch the Video file 1 The idea of futurism & do the
exercises below.
http://www.youtube.com/watch?v=NZHpmJvU7sM
a) Vocabulary 1. Get familiar with vocabulary taken from the
video. Match the English words with their equivalents in
Russian.
politically-charged rejuvenation
abandon (doing) lack of
menswear glorify war cure (n/v)
revolt (v) in demolish (v) be solely
confined to be reminiscent of dog
on a leash be judged by anarchist
scorn (n) (for women) be badly
wounded traumatize esteem n chaotic
vulnerable winged advent of
armored bullet obscurity
уязвимый, прославлять войну, собака
на поводке, презирать (женщин), быть
сильно раненным, судить, недостаток,
омоложение, лечение, разрушить,
мужская одежда, анархист, наступление
(периода), напоминать, оценка, бунт
(восстание), политический, перестать
делать , ограничиваться чем-то,
травмировать
Vocabulary 2.
anarchist ............................... vulnerable ………………. wounded ………………
chaos ………………….. chaotic …………………….. solely ………………..
advent …………………. trauma …………………. traumatize ……………….
obscurity ………………..
Vocabulary 3. Match the words & definitions.
a) complete disorder and confusion;
1. traumatize
b) pull or knock down (a building);
2. chaos
c) susceptible to physical or emotional attack or harm;
3. vulnerable
d) tending to remind one of something;
4. scorn
e) the feeling or belief that someone or something is worthless;
5. demolish
f) relieve (a person or animal) of the symptoms of a disease or condition;
6. reminiscent
g) give up completely (a course of action, a practice, or a way of thinking);
h) a strap or cord for restraining and guiding a dog or other animal;
7. leash
i) rise in rebellion;
8. revolt
j) (describe or represent as admirable, esp. unjustifiably or undeservedly)
9. cure
(or reveal or make clearer the glory of (God) by one's actions);
10.abandon
k) cause physical injury to;
11.glorify
l) (of a space) restricted in area or volume; cramped.
Make up sentences with the words.
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b) Watch the video & answer the questions:
1. How can futurism be seen? When & how did it start? What did the futurist
fight for?
2. Was it solely confined to visual arts? What idea did the futurist cook book
manifest?
3. What was the main point of the Marinetti’s Manifesto? Quote the idea.
4. What was Marinetti awarded in the war?
5. Why didn’t Gino Severini take part in the war? Comment on the idea of his
picture “Armored train in action”. What was Severini’s fighting symbol for?
Gino Severini Armored Train in
Action 1915
Umberto Boccioni The City Rises 1910
Luigi Russolo revolt
6. Comment on the picture by Boccioni “The city rises”. What color is dominant
? Why?
7. Who is Luidgi Russolo? Why was he mentioned in the video?
8. What was the Louvre center of? What does it praise? What did it have to do
with futurists?Why did they mention Winged Victory of Samothrace, one of
the best-known ancient Greek statues?
Abstract Speed - The Car Has Passed
Giacomo Balla, 1913
Giacomo Balla, Dynamism_of_dog 1912
Umberto Boccioni, Unique Forms
of Continuity in Space (1913)
9. Comment on the pictures by Giacomo Balla “The car has passed” and
“Dynamism of the dog”
10.To sum it up “what were the futurist concerned with in comparison with
impressionists, expressionists and cubists?”
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11.What made the group unpopular? What happened to most active futurists?
c) Watch again & restore the context for the vocabulary taken
from the video.
Vocabulary 4. Part 1 Match the beginning & ending of the
phrases
Politically charged
through radical progression
The movement sought for the
the only cure for the world
rejuvenation of Italy
with exception of Marinetti
It wasn’t solely confined
train
Eating Italian pasta
caused a lack of passion
We want to glorify war
to visual arts
They were killed or traumatized
museums and libraries
Armored
classical depiction of heaven
Esteem of disorder was reminiscent of victory of Samothrace
The winged
aggressive art movement
Demolish
Part 2 Restore the context for the rest of the vocabulary
(Additional activity: 1) Video file 1.2. Bernstein -- Marinetti's
Futurist Manifesto (http://www.youtube.com/watch?v=EJNlaDkCXZA)
3. Video file 3. Futurism
exhibition at Tate Modern
http://www.youtube.com/watch?v=EswQIW_Qfgs
Main Representatives
4. Bring in any futurist painting & analyze the technique / the
idea proving the message carried in the text above. Comment
on the biographies of the artists.
Umberto Boccioni Gino Severini
Giacomo Balla Luidgi Russolo, etc
5. Videofile 3. Go to you YouTube & Watch the
artistic performance called “Футуродрама Маринетти”
and express your opinion of it.
http://www.youtube.com/watch?v=qNFQACrBi-Q
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6. Videofile 4. a) Russian futurism in literature” (Pусский
футуризм в литературе).
http://www.youtube.com/watch?v=S89DFWUGtGM
b) Футуристы
http://www.youtube.com/watch?v=mIZCaW8jPvI
Go to you YouTube & Watch the videos. Make a report on:
What was futurism like in Russia? And Who are the
representatives?”
9. Your vocabulary bank. Think up exercises & fun activities
to practice using the following vocabulary units in their
contexts.
1. be launched
2. be centered
3. be not taken seriously
4. exalt the dynamism of
the modern world
5. spread to every
medium
6. exponents
7. cease to be an aesthetic
force
8. shortly
9. linger
10. come to the forefront
of European art
11. cosign
12. contribute to the rise
of Futurism
13. this was their vivid
critic on
14. push the spectator to
move
15. sense that
16. be separated
17. vitality
18. barely
19. be politically and
socially backwards
20. be compared with the
rest of Europe
21. desperately want
22. Artistically,
23. Be viewed as an
offshoot of Cubism
24. be closely related to
25. explore smth
26. be divided into two
phases
27. occur
28. be dubbed
29. With the onset of
World War One
30. join the Army
31. be copyists
32. challenge (challenging)
33. be just plain second
rate
34. to infuse art with
35. initial
36. spark was gone
37. automobiles
38. become commonplace.
39. emerge from the ashes
of
40. with smb at the
forefront
41. flout conventional
aesthetic and cultural
values
42. be marked by
43. nonsense / travesty
44. incongruity.
45. to express the typical
character of modern
time
46. pull the spectator in the
painting
47. accept the distance
between the art and the
spectator
48. a quote
49. motion (motionless)
9. demolish (v)
10. be solely confined to
be reminiscent of
11. dog on a leash
12. be judged by
13. chaotic
14. vulnerable
15. winged
16. anarchist
17. scorn (n) (for women)
18. be badly wounded
19. traumatize
20. esteem n
21. advent of
22. armored bullet
23. obscurity
Video 1
1.
2.
3.
4.
5.
6.
7.
8.
politically-charged
rejuvenation
abandon (doing)
lack of
menswear
glorify war
cure (n/v)
revolt (v) in
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8. a) Read the ideas how to create the futurist painting. Can
you add something?
How to Make a Picture Look Futuristic
By Andre Zollars,
eHow Contributor| updated June 08, 2011
Creating a futuristic scene means paying attention to
the details.
There are many different mediums that artists use when
creating pictures. Watercolors, oils, charcoals and pastels
are some of the more traditional forms. Many artists now,
also create pictures on the computer using image editing
programs. No matter which medium is used, however, the
clue to the picture's setting can always be found in the
details.
Instructions
1. Add color to your scene that gives it a futuristic
feel. If it is a space scene you can use deep blues, and if it is a scene on another planet
you can give the sky a red or greenish hue. Just about any color can be futuristic if
used in an unexpected way or when given an unusual intensity.
2. Create unexpected texture to elements of the picture. Make a night sky
futuristic by adding swirls of black and silver, copper or deep blue. Create a
landscape that could only be found on another planet or another time by making it
unseemingly smooth or unbelievably course, like nothing seen on earth.
3. Use lighting to give a futuristic aura to the picture. Use natural elements to
project the light in the picture, like stars, moons or suns. Contrast adds to the intrigue
when you add sunlight with a visible moon, include two suns or backlight several
unexpected planets. Indoor scenes can also have unusual lighting which can create a
somber or cheerful tone.
4. Add objects that are not from the present. These can range from small details in
interior scenes to larger, more obvious objects in larger outdoor scenes. Include
building designs that are not seen in present times. Features such as spacecraft or
unique clothing on the individuals in your scenes will highlight that the scene is set in
the future.
5. Review your picture when you're done and have a friend critique it as well.
Make a list of the things you've added which you feel have given it a futuristic feel.
Ask your friend to do the same. Also, try to spot anything that detracts from the
futuristic feel and get rid of it.
http://www.ehow.com/how_8561442_make-picture-look-futuristic.html
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b) Try to produce a piece of art after some painters you liked
from futurist art style. Watch the videos about futurist artists
(on the YouTube). Take it into account that your work is not
supposed to be skillful & professional. Try your best & have
fun with the paints & the brush and the idea.





Italian Futurism Tribute (video file 6.1) : http://www.youtube.com/watch?v=_GLFnexueIg
Painting Movements- Part XII Futurism.wmv (video file 6.2) :
http://www.youtube.com/watch?v=6h46uxivLQo
Gino Severini (video file 6.3) : http://www.youtube.com/watch?v=JNpezchRqJU
Umberto Boccioni (video file 6.4) : http://www.youtube.com/watch?v=mVSwPysbpn8
Fortunato Depero (video file 6.5.) : http://www.youtube.com/watch?v=ebtXAKl4J6I
9. Render the ideas below.
1. Футуризм как течение в отечественной поэзии возник отнюдь не в России. Это
явление целиком привнесенное с Запада, где оно зародилось и было теоретически
обосновано.
2. Родиной нового модернистского движения была Италия, а главным идеологом
итальянского и мирового футуризма стал известный литератор Филиппо Томмазо
Маринетти (1876-1944), выступивший 20 февраля 1909 года с первым «Манифестом
футуризма», в котором была заявлена «антикультурная, антиэстетическая и
антифилософская» его направленность.
3. В принципе, любое модернистское течение в искусстве утверждало себя путем отказа
от старых норм, канонов, традиций.
4. Однако футуризм отличался в этом плане крайне экстремистской направленностью.
5. Это течение претендовало на построение нового искусства — «искусства будущего»,
выступая под лозунгом нигилистического отрицания всего предшествующего
художественного опыта.
6. Маринетти провозгласил «всемирно историческую задачу футуризма», которая
заключалась в том, чтобы «ежедневно плевать на алтарь искусства».
7. Футуристы проповедовали разрушение форм и условностей искусства ради слияния
его с ускоренным жизненным процессом XX века. Для них характерно преклонение
перед действием, движением, скоростью, силой и агрессией; возвеличивание себя и
презрение к слабому; утверждался приоритет силы, упоение войной и разрушением.
8. В этом плане футуризм по своей идеологии был очень близок как правым, так и
левым радикалам: анархистам, фашистам, коммунистам, ориентированным на
революционное ниспровержение прошлого.
9. Слова футуристических произведений полностью освобождались от жестких рамок
синтаксических периодов, от пут логических связей. Они свободно располагались в
пространстве страницы, отвергая нормативы линейного письма и образуя
декоративные арабески или разыгрывая целые драматические сцены, построенные по
аналогии между формой буквы и какой-либо фигурой реальности: гор, людей, птиц и
т. д. Таким образом, слова превращались в визуальные знаки.
10. Заключительный, одиннадцатый пункт «Технического манифеста итальянской
литературы» провозглашал один из важнейших постулатов новой поэтической
концепции: «уничтожить Я в литературе».
11. «Человек, совершенно испорченный библиотекой и музеем <...> не представляет
больше абсолютно никакого интереса… Нас интересует твердость стальной
пластинки сама по себе, то есть непонятный и нечеловеческий союз ее молекул и
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электронов… Теплота куска железа или дерева отныне более волнует нас, чем улыбка
или слеза женщины».
12. Текст манифеста вызвал бурную реакцию и положил начало новому «жанру», внеся в
художественную жизнь возбуждающий элемент — кулачный удар. Теперь
поднимающийся на сцену поэт стал всеми возможными способами эпатировать
публику: оскорблять, провоцировать, призывать к
мятежу и насилию.
http://slova.org.ru/n/futurizm/
Follow-up Quiz-Test
Make up your own quiz of this art
movement
The questions to be answered
…………………………………………………………………………………………
…………………………………………………………………………………………
…………………………………………………………………………………………
………………………………………………………………………………
…………………………………………………………………………………………
…………………………………………………………………………………………
…………………………………………………………………………………………
………………………………………………………………………………
…………………………………………………………………………………………
…………………………………………………………………………………………
…………………………………………………………………………………………
………………………………………………………………………………
…………………………………………………………………………………………
…………………………………………………………………………………………
…………………………………………………………………………………………
………………………………………………………………………………
Module 5 Part 1
Expressionism
Expressionism movement
1. a) Look at the pictures below. What do they
have in common? Do the pictures look
appealing to you?
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Edvard Munch The scream
1892
EMILE NOLDE (1867-1956)
'Crucifixion', 1912 (oil on canvas)
ERNST LUDWIG KIRCHNER (1880-1938) 'Davos
under Snow', 1923 (oil on canvas)
b1) Vocabulary. Match the words from column a with their
parts in Column B
Column A
1. emphazise
2. emotional
3. distort
4. events arouse
5. impose artist's
6. achieve
Column B
subjective emotions
reality
emotions in smb
sensibility to the world's
representation
expression
intensity
angst
Column A
7. profoundly
8. culturally
9. revelation of
10.express intense
11.sense of
12.gain
13.heightened
Column B
turbulent era of
isolation
emotional state
significance
problematic
feelings to the world
problems
*Consult the dictionary how these words are pronounced.
Transcribe the words in the space aside. Pay attention to the
way the stress is placed
angst …………………… heighten ………….. profound……………………..
turbulent …………………… accomplish ……………… jarring …………….
c1) Watch the video file 1 called “Expressionism” to get preknowledge of this art movement
c2) Read the text & express your understanding & your
attitude to the this style of painting. Answer the questions
after the texts. Explain the meaning of the words in bold.
The spirit of expressionism movement
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Expressionism developed during the late
19th and early 20th centuries. Expressionism
was opposed to academic standards that had
prevailed in Europe and emphasized artist's
subjective emotion.
Expressionist artist
distorted&exaggerated reality for an emotional
effect. The term often implies emotional angst.
In a general sense, painters such as Matthias
Grunwald and El Greco can be called
expressionist, though in practice, the term is
applied mainly to 20th century works.
Expressionist tries to depict not objective
reality but rather the subjective emotions and
responses that objects and events arouse in him.
He accomplishes his aim through distortion,
exaggeration, primitivism, and fantasy and
through the vivid, jarring, violent, or dynamic
application of formal elements.
Unlike Impressionism, its goals were not
to reproduce the impression suggested by the
surrounding world, but to strongly impose the
artist's own sensibility to the world's
representation. The expressionist artist
substitutes to the visual object reality his own image of this object, which he feels as
an accurate representation of its real meaning. The search of harmony and forms is
not as important as trying to achieve the highest expression intensity, both from the
aesthetic point of view and according to idea and human critics.
Expressionism assessed itself mostly in Germany, in 1910. As an international
movement, expressionism has also been thought of as inheriting from certain
medieval artforms and, more directly, Cezanne, Gauguin, Van Gogh and the fauvism
movement.
The most well known German expressionists are Max Beckmann, Otto Dix,
Lionel Feininger, George Grosz, Ernst Ludwig Kirchner, August Macke, Emil Nolde,
Max Pechstein; the Austrian Oskar Kokoschka, the Czech Alfred Kubin and the
Norvegian Edvard Munch are also related to this movement. During his stay in
Germany, the Russian Kandinsky was also an expressionism addict.
The expressionistic tradition was significantly rose to the emergence with a
series of paintings of Dutch painter Vincent van
Gogh from the last year and a half of his life.
There was recorded his heightened emotional
state. One of the earliest and most famous
examples of Expressionism is Gogh's "The Starry
Night." Whatever was cause, it cannot be denied
that a great many artists of this period assumed
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that the chief function of art was to express their intense feelings to the world.
The Belgian painter and printmaker James Ensor was such an artist - with his
sense of isolation. The Norwegian painter and printmaker Edvard Munch dealt - with
different fears.
The Vienesse painters Oskar Kokoschka and EgonSchiele first started with
their expressionistic styles within Klimt's circle of the Vienna Secession. Vienesse
Expressionism later gained significance between years 1905 and 1918 during a
politically and culturally turbulent era of revelation of the profoundly problematic
conditions of the turn-of-the-century Europe.
In the years just around 1910 the expressionistic approach pioneered by Ensor,
Munch, and van Gogh, in particular, was developed in the work of three artists'
groups: the Fauves, Die Brucke (The Bridge) , Der Blaue Reiter (The Blue Rider).
http://www.huntfor.com/arthistory/C20th/expressionism.htm
d) Answer the questions:
1. Why can Matthias Grunwald and El Greco be called expressionist?
2. Why did the expressionist distort & exaggerate reality?
3. How did they accomplish their aim?
4. How did Dutch painter Vincent van Gogh influence this art movement?
5. Where did expressionism assessed itself?
6. What is the chief function of this art?
7. When did it gain significance?
e) Vocabulary2. Look through the text again & explain the
meaning of the words in bold.
Vocabulary3. Write out the definitions of the words aside
from a reference book & put them in the chart at random. Let
your groupmates match the words with their definition.
definition
word
l)
1. jarring
2. angst
3. impose (v)
4. substitute
(v)
5. inherit
6. isolation
Vocabulary4.Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
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noun
verb
exaggerate
adjective
revelation
emphasize
intensity
assess
3. a) Watch the video lecture (video file
1.2) on what expressionism is by BBL
Ep4 “German Expressionism”.
https://www.youtube.com/watch?v=m20td2mb_Ww
Get familiar with the vocabulary from
the video. Matcht he English phrases with their equivalents in
Russian.
tackle snorky be a culture vulture guttural feelings (gut) be an apple pie
Answer the questions:
1. Why did she say it was hard to talk about it ( from the historical viewpoint)?
2. What was Die Brucke? What was the meaning?
3. What were the paintings she was talking about? How did she illustrate the key
moments of expressionism/
b) Watch the video file 1 called “Expressionism” in c1) and
the fill in the chart about the leading figures of expressionism
Aleksei von
Jawlensky
James Ensor
Edvard
Munch
August
Macke
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Max
Pechstein
Alfred
Kubin
Oskar
Kokoshka
4. Watch two BBC art documentary series “Private life of a
master piece” to get more understanding of this kind of artand
somefavorites Gustave Klimt & Edvard Munch
a) Gustave Klimt
“The kiss”
http://www.youtube.com/w
atch?v=fY_T3vrGpgU
b) Edward Munch
“Scream”
http://www.youtube.com/w
atch?v=OtOUg1gyanw
c) Post-Impressionist Edvard Munch
http://www.youtube.com/watch?v=4B_grbP514k
d) Edward Munch
“Scream”
http://www.youtube.com/w
atch?v=OtOUg1gyanw
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5.“Degenerate Art” (Entartete Kunst)
a) Watch the documentary “Degenerate Art” - 1993, The Nazis
vs. Expressionism”
http://www.youtube.com/watch?v=1QE4Ld1mkoM
The years 1927-37 were critical for artists in
Germany. In 1927, the National Socialist Society for
German Culture was formed. The aim of this
organization was to halt the "corruption of art" and
inform the people about the relationship between race
and art. By 1933, the terms "Jewish," "Degenerate” and
"Bolshevik" were in common use to describe almost all
modern art.
In 1937, Nazi officials purged German museums of works the Party considered
to be degenerate. From the thousands of works removed, 650 were chosen for a
special exhibit of Entartete Kunst. The exhibit opened in Munich and then traveled to
eleven other cities in Germany and Austria. In each installation, the works were
poorly hung and surrounded by graffiti and hand written labels mocking the artists
and their creations. Over three million visitors attended making it the first
"blockbuster" exhibition.
http://fcit.usf.edu/holocaust/arts/artdegen.htm
b) Read about the artists who were considered degenerate.
Many of the artists included in the Entartete Kunst exhibition are now
considered masters of the twentieth century. The following are some of the better
known artists whose works were ridiculed in the exhibit.
Marc Chagall was born in Russia in
1887. His life was deeply rooted in Jewish
tradition and religion. His paintings are filled
with a child-like glee, using crayon colors and
joyous renderings, which appear to be seen
through the eyes of a child. He believed that the
spirituality of Art had to be universal and
timeless. "It always seemed to me, and it still
does, that the Bible is the greatest source of
poetry that has ever existed. Since that time, I have been seeking to express this
philosophy in life and art."
The German painter-poet Max Ernst was a member of the dada movement
and a founder of surrealism. He was a self-taught artist. He pioneered a method called
frottage, in which a sheet of paper is placed on the surface of an object and then
penciled over until the texture of the surface is transferred. In 1925, he showed his
work at the first surrealist painting exhibition in Paris.
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Born in Moscow in 1866, Wassily Kandinsky played the piano and cello at an
early age. The influence of music in his art was profound; many of his paintings had
musical connotations: "Improvisations," "Impressions," and "Compositions." In 1895
Kandinsky attended a French Impressionist exhibition where he saw Monet's
"Haystacks at Giverny." He was upset he had not recognized it as a haystack, and
also thought the painter had no right to paint in such an vague way. Yet he was
intrigued by the picture. A short time later he left Moscow for Germany to study
sketching and drawing. He is considered to be one of the founders of abstract art.
Paul Klee is ranked as one of the most original masters of contemporary art.
He was born in Bern, Switzerland and lived for many years in Germany. He was one
of the instructors at the Bauhaus. In 1931 he began teaching at Dusseldorf Academy,
but he was dismissed by the Nazis, who termed his work "degenerate." In 1933, Klee
went back to his native Switzerland. He died on June 29, 1940.
The Brücke, or the "Bridge," was a very important group of young artists who
worked together in Germany during the years 1905-1912. Among those included in
the Brücke were Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff, and
Emil Nolde. These artists produced an intense body of work that was to drastically
alter the direction of twentieth-century art.
During World War I Ernst Ludwig Kirchner was a volunteer in the army, but
he could not stand the discipline and constant subordination. He suffered a nervous
breakdown and was moved to a sanatorium, where he became dependent on Veronal
(sleeping pills), morphine and alcohol. The addictions did not hinder him from
painting. He slowly recovered, and worked on paintings and woodcuts. His art was
exhibited in Switzerland and Germany. The Germans banned his work, and he
became increasingly depressed. On June 15, 1938, he took his own life.
Emile Nolde was an expressionist painter and graphic artist known for his
religious works. His distortion and violent use of color attracted the attention of Die
Brücke resulting in an invitation in 1906 to join the group. Nolde's temperament was
not suited for collective work and he left Die Brücke in 1907 after learning the
technique of woodcut. Nolde was able to remain in Germany during the Nazi regime,
but over one thousand of his works were confiscated.
Franz Marc died before Hitler's rise
to
power, but his work influenced and helped
lay
the foundations for the abstract art
movement. With Kandinsky, he founded
the
artist's group Der Blaue Reiter in 1911 and
organized exhibitions with this name. The
Blaue Reiter group exhibited a new art
style based on exuberant color and on
strong emotional and spiritual feelings. He
volunteered for military service during
W.W.I. and died near Verdun, France, on
March 4, 1916.
Edvard Munch is probably best
known for his painting The Scream. His
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preoccupation with the more sorrowful aspects of life was perhaps a result of loosing
both parents, a brother, and a sister when he was young. Munch was a painter and
printmaker.
Max Beckman was influenced by Edvard Munch. Beckman served in the
medical corps during World War I, an experience that led to extreme pessimism in
his artwork. Many of his paintings were sold by the Third
Reich after the Entartete Kunst exhibition. Beckman was able
to escape to Amsterdam and then eventually made his way to
the United States.
Otto Dix was another expressionist painter whose
work was influenced by the experience of World War I. He
was appointed professor at the Dresden State Academy, but
was dismissed in 1933 when the Nazis came to power. Two
hundred sixty of Dix's paintings were removed from German
museums in 1937. Many of these were burnt on Goebbels's
order. Dix survived on a remote farm until 1945 when he was
drafted by the Nazis and then captured by the French and
made a prisoner of war. After the war, Dix returned to teaching.
http://fcit.usf.edu/holocaust/arts/artdegen.htm
C) Write an essay challenging or support the idea in the
documentary.
6. Credit activity. Bring in any expressionist painting &
analyze the technique / the idea proving the message carried
in the text.
 Make reports on works of painters mentioned in the text
or some other representatives of this art movement
MainRepresentatives
Ernst Ludwig Kirchner, August Macke, Franz Marc, Emile Nolde, Oskar
Kokoshka, Georges Rouault and Otto Dix, etc.
7. Your vocabulary bank. Think up exercises & fun activities
to practice using the following vocabulary units in their
contexts
1. be opposed to
2. (standards) prevail in
Europe
3. emphasize artist's
subjective emotion
10. accomplish one’s aim
through
11. vivid
12. jarring
13. Unlike
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22. be an expressionism
addict.
23. heightened emotional state
24. assume
25. chief function
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14. impose smth on / to smth /
smb
15. substitute
16. accurate
17. intensity
18. intense feelings
19. assess itself mostly in
20. inherit
21. emergence (n) (emerge (v)
4. distort (reality)
(distortion)
5. exaggerate (reality)
(exaggeration)
6. imply
7. implies
8. emotional angst
9. (emotions) arise insmb
26.
27.
28.
29.
30.
printmaker
sense of isolation.
Vienesse
gain significance
politically and culturally
turbulent era of
31. revelation
32. profound
33. be pioneered by
8. Rendertheideasbelow
1. Экспрессионизм (от лат. expressio - выражение), направление, развивавшееся в
европейском искусстве и литературе с 1905 по 1920-е гг.
2. Экспрессионизм стал выражением протеста против уродств современной буржуазной
цивилизации. Социально-критический пафос отличает многие произведения
экспрессионизма от искусства авангардистских течений, развивавшихся параллельно
с ним или сразу после него (кубизма, сюрреализма).
3. Предтечей экспрессионизма в западноевропейской живописи справедливо считают
французского художника голландского происхождения Винсента Ван Гога (1853—
1890); см. постимпрессионизм).
4. "Пылающие краски" картин Ван Гога арльского периода (1888—1889) выдают его
неуравновешенную психику, а принцип форсирования цветовых отношений,
открытость красок и напряженность, экспрессивность контуров свидетельствует о
стремлении придать изобразительной форме предельную выразительность.
5. Термин "экспрессионизм" в 1911 г. использовал Х. Вальден, издатель журнала
"Штурм". Наряду с этим термином употребляли немецкое слово Ausdruck
("выражение").
6. В 1905 г. молодые немецкие художники создали объединение "Мост". В грубых,
примитивных, "экспрессивных" формах они выражали свое несогласие с окружающей
действительностью и "гладким" академическим искусством.
7. Другие живописцы и скульпторы, не входившие в это объединение, но близкие по
духу, именовали себя "независимыми экспрессионистами".
8. В протесте "против всего" немецкие экспрессионисты демонстрировали
"инстинктивное преувеличение формы в чувственном восприятии, импульсивно
переносимое на плоскость
Follow-up
Quiz-Test
Make up the quiz – the questions with
multiply choice about the concept ideas of
this art movement.
The questions to be answered
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Module 6 Part 1
Abstract art
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Abstract movement
1. a) Look at the pictures below. What do they have in
common? Do the pictures look appealing to you?
Marten Jansen, 2008
"Midnight Jazz" Original Art ,
Carl (CAKUart)
Jackson Pollock
a2) Watch video file 1 there are some abstarct paintings. Say
what you think of them.
b1) Vocabulary. Match the words from column a with their
parts in Column B
Column A
1. relate to
2. abstract art is
3. encourage (v)
4. assign some
5. it takes
6. harmony of
7. rhythms of
Column B
non-objective
smth external
patterns
color, form & lines
free association
meaning to the work
heightened sensitivity
to do smth
Column A
8. make a
9. simplification of
10.abstract art is
11. apparent spontaneity
12.the essence of
13.break from
14. the color & design
15.the melodies
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Column B
the notion
from harmony
distinction between
more fluid
belies planning
resonate off the canvas
recognizable form
reality
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*Consult the dictionary how these words are pronounced.
Transcribe the words in the space aside. Pay attention to the
way the stress is placed
c1) Watch the video file 2 “What is abstract art” & sum up the
ideas.
c2) Read the text & express your attitude to the this style
painting. Answer the questions after the texts. Explain the
meaning of the words in bold.
Abstract art movement
"Of all the arts, abstract painting is the most difficult. It demands that you
know how to draw well, that you have a heightened sensitivity for composition and
for colours, and that you be a true poet. This last is essential." -- Wassily Kandinsky.
In its purest form in Western art, an abstract art is one without a recognisable
subject, one which doesn't relate to
anything external or try to "look like"
something. Instead the colour and form
(and often the materials and support) are
the subject of the abstract painting. It's
completely non-objective or nonrepresentational.
By its very nature, abstraction
encourages free association, which means
you can assign your own meaning to the
artwork. It won't tell you what it's about... you must experience the artwork for
yourself, and understand it in your own way. Because of this, it takes a heightened
sensitivity to both create and appreciate abstract artwork. Just like music is patterns
of sound, abstract art is a harmony of patterns and rhythms of color, form andor line.
A further distinction tends to be made between abstract art which is geometric,
such as the work of Mondrian, and abstract art that is more fluid (and where the
apparent spontaneity often belies careful planning and execution), such as the
abstract art of Kandinsky or Pollock.
Also generally classified with abstract art are figurative abstractions and
paintings which represent things that aren't visual, such an emotion, sound, or
spiritual experience. Figurative abstractions are abstractions or simplifications of
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reality, where detail is eliminated from recognisable objects leaving only the essence
or some degree of recognisable form.
In Western art history, the break from the notion that a painting had to
represent something happened in the early 20th century. Impressionsim, Fauvism,
Cubism and other art movements of the time all contributed by breaking the "rules"
of art followed since The Renaissance. Impressionism saw painters not "finishing"
their paintings. The Fauvists used colour in a non-realistic way. Cubism introduced
the idea of painting an object from more than one view point. From all of these the
idea developed that colour, line, form, and texture could be the "subject" of the
painting.
Abstract Expressionism, which emerged in the 1940s, applied the principles of
Expressionism to abstract painting. The action painting of Jackson Pollock, in which
paint was dripped, dropped, smeared, spattered, or thrown on the canvas, is a
good example.
In 1864 the critic Ernest Chesneau wrote that if the trend the Impressionists
were setting continued, paintings would eventually consist of nothing but "two
broadly brushed areas of colour". What would he have thought of the art being
produced 100 years later?
Abstract art is visual music. The colors and designs form harmonies and
melodies that resonate off the canvas and reverberate in the mind and heart of the
viewer. Many of the first abstract artists were influenced by music, such as Paul Klee
and Wassily Kandinsky.
Abstract art expresses things that are beyond what we can see with our eyes.
Instead of portraying images that we can easily grasp or understand, abstract art
focuses on the non-linear world of emotions and the subconscious. It is a language of
color. Through colors, shapes and designs, abstract artwork explores inner worlds and
essences, corresponding to an inner reality. It is the perfect platform for exploring the
nature of consciousness, and the contemplative and timeless questions of
transcendence and spirituality.
http://painting.about.com/od/abstractart/a/abstract_art.htm
http://abstractart.20m.com/
d) Make up the questions:
e) Vocabulary 2. Look through the text again & explain the
meaning of the words in bold.
Vocabulary3. Write out the definitions of the words aside
from a reference book & put them in the chart at random. Let
your groupmates match the words with their definition.
word
1. grasp
definition
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2. contemplative
3. smear
4. resonate
5. consciousness
6.transcedence
7. reverberate
Vocabulary 4. Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
verb
adjective
grasp
spirituality
recognisable
consciousness
eventual
3.Watch the art documentary
called ‘Jackson Pollock’
&about the titans of modern
art that have influenced the
world we live in now &
discuss the questions in class.
http://www.youtube.com/watch?v=lfwUxQrDGqw
4. Bring in any abstract painting & analyze the technique /
the idea proving the message carried in the text
 Make reports on works of French painters in the texts
MainRepresentatives
Paul Klee
Wassili Kandinskii
4. Write an essay challenging or support the idea in the
following opinion:
We aren't just eyes; we have memories,
feelings. Emotional content is what makes life
whole, and a lot of abstraction has no
connection with people... (Mark Adams)
http://3514.blogspot.com/2010/12/dadaism-images.html
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2. Understanding Abstract Art
a) Gist-Read the text& express your attitude to the issue in it.
Understanding abstract art is easy: all it requires is an open mind and a big
imagination. When you look at the painting on the left, what do you see?
Swirling shapes, an array of colorful patterns... The path of a flowing river
cutting through fields of lush vegetation... or maybe you see pure energy and cosmic
flow?
There is no right or wrong answer to this question. Abstract art is open to
interpretation, and that is one of the beautiful things about it. Abstract art doesn't
jump out and declare "THIS is what I'm all about." Instead, abstract art requires you
to have an open, inquiring mind; you must enter the painting and see where it takes
you. Abstract art gives you the freedom to explore the artwork and assign your own
meaning to the piece. This intensely personal process
enriches a viewer's experience of an artwork.
Understanding abstract art does not come
naturally for everyone. It is the kind of art that makes
some people scratch their heads and say, "My 5-year
old could do that." What people don't realize is that
the best abstract artists have excellent drawing skills,
a finely honed sense of composition, and a deep
understanding of the workings of color. Most abstract
artists have the ability to draw a perfectly rendered
rose or a realistic portrait, but they choose not to.
Instead they choose to express their creativity by
creating a visual experience that is more free and
unencumbered by the weight of objects.
Abstract art can also make people uneasy
because they don't automatically know what the art is
"about" just by a cursory glance. Or they assume that
because it doesn't look like anything, then it is not
"about" anything. Abstract art doesn't contain
recognizeable objects, so there is nothing to grasp or hold onto. This can be very
confusing, even threatening, to some who are not used to assigning their own
meaning to what they see before them.
The truth is, abstract art is not "about nothing". At its basis, it is about form,
color, line, texture, pattern, composition and process. These are the formal qualities
of artwork, because they describe what the art looks like and how it is created.
Abstract art is an exploration of these formal qualities. Meaning is derived from how
these formal qualities are used to create a visual (and/or visceral, cerebral, emotional,
etc) experience.
How do you begin understanding abstract art?
"Everyone wants to understand art. Why not try to understand the song of a
bird? …people who try to explain pictures are usually barking up the wrong tree."
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-Pablo Picasso
Picasso has a point. Art can't be explained adequately in words, because it's
influence on people is so personal and speaks to the nonverbal parts of our existence.
Therefore, art is an experience. You must let go of your need to put things into words,
and let the artwork take you somewhere... even lift you into higher spheres.
You have to 'understand' abstract art
with a different part of you, one that you
may not normally use or be familiar with.
Essentially, you must:
Accept that it is what it is. Don't try
to pinpoint an exact meaning for an image.
Look at abstract art in the same way
that you would listen to a symphony. When
you listen to music, you don't try to hold on
to the notes - you let them wash over you.
Let your eyes wander over the painting the
way the notes of a symphony wash over
your soul. Let your eyes play with the
painting, slipping around corners,
following the twirls, twists and turns,
dipping in and out of the surface. Let your
eyes dance around the piece.
Rather than trying to figure out what the painting looks like, just allow yourself
to be taken in by the painting. See what emotions, sensations or memories emerge.
Let your eyes relax and travel around the piece without expectation. Examine the
colors, forms, materials, surface, and how they interact with each other. Take your
time. Let the painting "speak" to you.
Notice how the various elements like shape, color and form
affect you. An intricately detailed, vibrant painting will affect you
differently than a calm, cool Malevich.
Take a look at the two artworks below. What are the
differences in how they make you feel?
It is best to see abstract art in person to truly get the full
effect. This will help you immeasurably with understanding
abstract art. You can't get the full impact of a piece of art from a
small photo in a book or pixelated image online. In person, you
can see up close the texture, size, stroke of the paintbrush, shine or
matte of the surface. You can feel the strength of the painting
from across the room. You can stand in the space the artist once
occupied, and try to imagine his or her thoughts upon each stroke
of the brush.
Understanding abstract art requires an inventiveness that invites you to
discover for yourself the meaning behind the work. It is not easy to grasp, like still
lifes, portraits, or other form of representational art, because it is open to
interpretation in a way that representational art is not.
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http://www.art-is-fun.com/how-to-understand-abstract-art.html
b) Watch the video called “Kazimir Malevich: A
Visionary's Tragic Journey” & sum up the ideas in
writing. Express your understanding of this art.
http://www.youtube.com/watch?v=kfNS0qtMxXs
c) Watch the Russian program “Культурная
Революция - "Чёрный квадрат" Малевича”. Say
whose point of view you agree with & why.
6.1. Watch the art documentary about Wassily
Kandinsky . Make up a quiz about his biography.
http://www.youtube.com/watch?v=Y_q0h903-Kc
6.2. Watch the art documentary about Piet
Mondrian . Make up a quiz about his
biography.
http://www.youtube.com/watch?v=gd-vS1bPVF4
7. Your vocabulary bank. Think up exercises & fun activities
to practice using the following vocabulary units in their
contexts.
50. recognisable subject,
51. non-objective
52. non-representational.
53. encourages free
association
54. assign your own
meaning to the artwork
55. it takes a heightened
sensitivity
56. appreciate abstract
artwork
57. distinction
58. apparent
59. bely
60. spiritual experience
61. be dripped
62. be dropped
63. be smeared
64. be spattered
65. be thrown
66. eventually
67. resonate off the canvas
68. easily grasp
8. Try to produce a piece of art after
some painters you liked from abstract
art style. Watch the videos about futurist
artists (on the YouTube). Take it into
account that your work is not supposed
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69. reverberate in the mind
and heart of the
viewer.
70. be beyond what we can
see with our eyes
71. non-linear world
72. consciousness
73. contemplative
74. timeless questions of
transcendence and
spirituality.
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to be skillful & professional. Try your best & have fun with the
paints & the brush and the idea.
9. Render the ideas below.
1. Абстрактное искусство - одна из разновидностей живописи, отличающаяся
предельной упрощенностью формы и линий. Поэтому нелегко понять то, что
изображено на картинах.
2. Под абстрактным искусством понимают те произведения, которые были созданы
после 1910 года. Не ищите в них конкретного содержания. Если вы и найдете какиелибо элементы формы, припишите это дело случаю. Иначе то, что вы видите, не будет
относиться к абстрактному искусству.
3. Абстрактное искусство просто представляет линии, мазки или капли краски. Цветовой
спектр небольшой, немногочисленны и используемые формы. Нет перспективы.
4. Объяснить значение картины может только его создатель. Без этой информации у
зрителя нет точки опоры для понимания картины.
5. Иногда происходит и так, что художник-абстракционист даже и не смотрит на какойлибо предмет, служащий для другого художника натурой. Он просто вдохновляется
какой-то идеей. Однако и здесь будет весьма безосновательно искать какие-либо
конкретные детали.
6. Подобные абстрактные картины часто вместо названия имеют номер и называются
«композициями».
7. Практически, когда вы находитесь на выставке абстрактного искусства, вы можете
представить себе все, что вам захочется.
10. Follow-upQuiz-Test
The questions to be answered
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Module 7 Part 1
Dada art movement
Dada art movement
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1. a) Look at the pictures below. What do they have in
common? Do the pictures look appealing to you?
Alfred Stieglitz. Fountain, photograph
of sculpture by Marcel Duchamp,
1917.
Marcel Dushamp
b1) Vocabulary. Match the words from column a with their
parts in Column B
Column A
1. indicate
2. turn
3. prevailing
4. degeneration
5. have
6. be dependent
on
Column B
upside down
standards
an implicit
in the society
the loss of
meaning
the viewer
Column A
7. concentrate
smth
8. was
considered
9. aesthetic form
10.according to
11. latent
Column B
through a rejection
of
message
to be
of expression
its proponents
*Consult the dictionary how these words are pronounced.
Transcribe the words in the space aside. Pay attention to the
way the stress is placed
aesthetic ………………….. exist………………nihilistic ………………….
implicit ………………….influence…………………influential …………….
latent …………………. rigid …………………… ignore…………………
deliberate ……………………neutral ……………..primarily ……………….
passionate…………………. cynical ………………. ironic ……………………
c) Read thetext & express your attitude to the this style of
painting. Answer the questions after the texts. Explain the
meaning of the words in bold.
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Text 1 Dada art movement
Dada or Dadaism is a cultural movement that began in neutral Zürich,
Switzerland, during World War I and peaked from
1916 to 1920. The movement primarily involved
visual arts, literature (poetry, art manifestoes, art
theory), theatre, and graphic design, and
concentrated its anti war politics through a rejection
of the prevailing standards in art through anti-art
cultural works.
Dadaism was founded by Hans Arp in
Zurich. Dadaism was an expression against the
degeneration in the society and war. The term Dada
(from French ‘dada’- baby talk horsie), indicated
the loss of meaning in the existing culture.
Dada activities included public gatherings,
demonstrations, and publication of art/literary
journals. Passionate coverage of art, politics, and
culture filled their publications. Generally, Dadaism
stood for the opposite of what the society in general
stood for. Where art was considered to be aesthetic form of expression, Dadaism
ignored aesthetics.
Also The movement was, among other things, a protest against the barbarism
of the War and what Dadaists believed was an oppressive intellectual rigidity in both
art and everyday society; its works were characterized by a deliberate irrationality
and the rejection of the prevailing standards of art. It influenced later movements
including Surrealism.
Many of the artists in the Dada period felt that European art was corrupted,
and sought to purify it by mocking it. Thus, many Dada pieces are extremely playful
and teasing, such as Marcel Duchamp's famous portrait of the Mona Lisa with a
mustache. Almost all Dada artwork inspires a reaction, which was the intended goal.
The movement was very short lived, being essentially over by 1923, but Dada left a
lasting legacy to modern art, advertising, and society. Without Dadaism, it is unlikely
that Surrealism and other modern art movements would have occurred.
According to its proponents, Dada was not art; it was anti-art. For everything
that art stood for, Dada was to represent the opposite. Where art was concerned with
aesthetics, Dada ignored them. If art is to have at least an implicit or latent message,
Dada strives to have no meaning--interpretation of Dada is dependent entirely on the
viewer. If art is to appeal to sensibilities, Dada offends. Perhaps it is then ironic that
Dada is an influential movement in Modern art. Dada became a commentary on art
and the world, thus becoming art itself.
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The artists of the Dada movement had become disillusioned by art, art history
and history in general. Many of them were veterans of World War I and had grown
cynical of humanity after seeing what men were capable of doing to each other on the
battlefields of Europe. Thus they became attracted to a nihilistic view of the world
(they thought that nothing mankind had achieved was worthwhile, not even art), and
created art in which chance and randomness
formed the basis of creation. The basis of Dada is
nonsense. With the order of the world destroyed
by World War I, Dada was a way to express the
confusion that was felt by many people as their
world was turned upside down.
The existence of this movement was not
stable. By 1925, this movement gave way to
surrealism and later other movements took its
place.
The movement influenced later styles,
Avant-garde and Downtown music movements,
and groups including Surrealism, Nouveau
Réalisme, Pop Art and Fluxus
http://wiki.answers.com/Q/What_is_dadaism
http://www.blurtit.co
d) Answer the questions:
1. Who was the Dada movement founded by? & When & Where?
2. What does the term ‘dada’ mean?
3. What activities does it include? What does it stand for?
4. What were the dada works characterized by? (use at 6 vocabulary units from
the text)
5. Comment on: 1) ‘If art is to have at least an implicit or latent message, Dada
strives to have no meaning’; 2) ‘If art is to appeal to sensibilities, Dada
offends’.
6. What way was this movement influential?
e) Vocabulary2. Look through the text again & explain the
meaning of the words in bold.
Vocabulary3. Match the word with its definition
definition
word
o) the rejection of all religious and moral principles, often in the belief
1. oppression
that life is meaningless ;
2. nihilism
p) prolonged cruel or unjust treatment or control.
3. implicit
q) disappointed in someone or something that one discovers to be less
4. random
good than one had believed ;
5. latent
r) (of a quality or state) existing but not yet developed or manifest;
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6. be
disillusioned
7. rigid
8. cynical
hidden; concealed ;
s) contemptuous; mocking ; believing that people are motivated by selfinterest; distrustful of human sincerity or integrity;
t) implied though not plainly expressed;
u) unable to bend or be forced out of shape; not flexible;
v) made, done, happening, or chosen without method or conscious
decision.
Vocabulary 4. Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
verb
adjective
rejection
oppressive
indicate
influence
Europe
offend
3.Watch video file “The ABC of Dada’.
Discuss its issues
4. Bring in any dada painting & analyze
the technique / the idea proving the
message carried in the text
 Make reports on works of French
painters in the texts
MainRepresentatives
Hans Arp Marcel Duchamp Francis Picabia Hugo Ball
Max Ernst Raoul Hausmann Man Ray John Heartfield
Marcel Janco Kurt Schwitters Sophie Taeuber-Arp
5. Write an essay challenging or support the idea in the
following opinion:
Dadaism is against traditional painting and sculpture. And it can be an “anti-art”
ideas as it is stated by anonymity. It is a kind of joke that deconstructs the art work
and it looks strange and ridiculous. But in my opinion, It is another part of stream of
art.
http://3514.blogspot.com/2010/12/dadaism-images.html
Text 2 How to Create Dada Art
By KathleenLake, eHow Contributor
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Salvador Dali, a force in the Dada movement, incorporated yin and
yang in this painting.
1. a) Discuss:
 Can you presuppose how to create an art
work in the style?
b) Read the text & find out
Instructions How to Create Dada Art:
1. Stop making sense. Put a pineapple next to
an Eskimo, or a dog house on top of a trailer. In an effort to challenge the
prevailing opinions about art in the early 1900s, members of the Dada
movement cultivated irrationality, deliberately placing incongruent images
together and combining the mundane with the spiritual. Some of what they
made poked fun at serious ideas and institutions, while some of it made no
sense whatsoever. At least part of what Dada heightened in the art world were
the senses of humor, anarchy and irony.
2. Glue many pieces of small paper together, overlapping on one background to
form an image or just an abstract shape. Collage in its most basic form uses
many different pieces of paper. But collage may also use pastels, paper,
feathers, crayons, clay and other textures and media.
3. Shoot some photos, then chop them up and reconfigure them, combine them
with other media, or display them out of order. Photo-montage takes the
distinctive attributes of photography, particularly its journalistic aspect, and
plays with them. Experiment with jumbling up your photographs or
photoshopping them to create original photographs, made up but seemingly
real. Dadaists probably would have loved Photoshop. A strong element of
Dadaism is asking the viewer to question his assumptions about the legitimacy
of what he sees.
4. Stick things together that
shouldn't be together.
Assemblage is like collage, but
three-dimensional, so it has the
capacity to fill up spaces with
objects that confuse and
confound audiences. Dada
liked to put an object that had
sacred symbolism next to
something ordinary or even
debased.
5. Pick up a random object, sign it
and call it art. This is found or
ready-made Art. Artist Marcel Duchamp shocked the art world in 1917 by
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signing R. Mutt to a urinal, titling it "Fountain," and entering it in an art show.
He offended them on multiple levels -- by the seeming laziness of throwing
something together with no effort, instead of months of painstaking work; by
evoking the process of excretion; and by not creating something original, just
to name a few. Choose an object related to body function, or as far from the
world of beautiful and uplifting art as you can get, if you want to incorporate
the Dadaist thread into your own ready-made artwork.
6. Re-purpose things. In other words, create a hat made out of a cellphone, or a
house made entirely of cookies. Challenge people's ideas about functionality.
Today, with multimedia, multimovement art, it is hard to realize how
disturbing and confrontational Dada was in its time. If you want to get a sense
of it, read a little of Plato on art to see the then still-ruling ideas of purity and
idealism that Dada assaulted. To create your own new media, combine all of
the above.
http://www.ehow.com/how_7345064_create-dada-art.html
4. Listening (7.1 & 7.2) Listen to the talk of two people who
are discussing what modern art is?
Answer the questions:
 What kind of art did they see? What did look like?
 What is their attitude to the art like this?
5. Watch video file “Kunsbar’. Discuss its issues
 While watching write down the titiles of the things (works
of art) you’ve recognized in the file.
6. Render the ideas below
1. Дадаизм (фр. dadaisme, от dada — конек, деревянная
лошадка; бессвязный детский детский лепет) авангардистское литературно-художественное
течение в 1916 — 1922 гг.
2. Зародился дадаизм в Швейцарии, в Цюрихе.
3. Дадаизм возник как реакция на последствия Первой
мировой войны.
4. Выражался дадаизм в скандальных выходках —
заборных каракулях, псевдорисунках, комбинациях
случайных предметов.
5. Главной идеей дадаизма было последовательное
разрушение какой бы то ни было эстетики.
6. Несмотря на то, что дадаизм в сущности, уже в
прошлом, — он останавливает внимание не столько в
силу своей художественной значимости, сколько, как
чрезвычайно яркий показатель мироощущения писательской группы (правда,
незначительной), в эпоху великой войны.
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7. К «Дада» примкнули те, кои оказались немощными в «большой серьез» поднять
вопрос о смысле происходящих социальных потрясений; и тем более дадаисты не
могли сделать никаких выводов
8. К «Дада» примкнули те, кто нуждался в дурмане более сильном, чем кокаин и
морфий, ибо наркозы вес же не могли заставить забыть то, что происходило на
фронтах.
9. Едва ли есть нужда вскрывать далее противоречия в предпосылках дадаизма. Его
основной нерв — живи сегодня, забудь о вчера и не думай о завтра: «Дада против
будущего. Наплюем на человечество» (Тзара).
10. Этот идеологический принцип заквасил поэзию и прозу дадаизма, который, поскольку
коснемся чисто художественной стороны «Дада» использовал все приемы крайнего
футуризма, словарно обогатив последний огромным количеством неологизмов, явно
непристойного характера.
Евгений Ланн.
http://literary_terms.academic.ru/133/
6. Do the quiz about this art
movement
1. What does the word ‘dada’ mean from
French?
……………………………………………………………………..
2. When was it founded & where? How long was at its peak?
a)…………………b) …………………………c) ………………………..
3. What provoked the art movement? ………………………………
4. Who was the founder? ………………………………. ……………
5. What were the ideas they promoted?
……………………………………………………………………..
Module 7 Part 2
Performance art
1. a) Discuss:
 What have you
heard of this
kind of modern
art?
b) Look at the
picture & say where the girls are what they are doing; why
they were dressed like this?
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 This is notorious punk rock Group ‘Pussy Riot’. Go to
YouTube & watch the video file?
c) You are going to read about that prank in the church.
But before you read do the vocabulary exercise
d) Vocabulary1a. Match the words from column
parts in Column B
Column A
Column B
Column A
to
seven
years
in
prison
1. this pranks should be
1. be charged
mercifully
2. These examples
2. result in up
the prank
3. pass a real prison
3. cause
a wide response
4. mock at
4. split
in custody
5. repent
5. remain
intense discussion
6. appeals for
6. feature
as a crime
7. gravity of
7. treat smb
with hooliganism
8. the charges
8. condemn
9. call on the society
9. brand the prank public opinion
spokespeople
10.appeal to
10.official
a with their
Column B
highlight……
sentence on them at
shrines & churches
in public
are unfounded
the offense
leniency
the European Court of
pardoned/encouraged
to condemn the prank
Vocabulary1b.
*Consult the dictionary how these words are pronounced.
Transcribe the words in the space aside. Pay attention to the
way the stress is placed
altar ………………….. mosque………………synagogue ………………….
Patriarch ………………….condemn…………………trial …………………
leniency ……………………
Pussy Riot prank in cathedral
has Russians divided in their assessments
March 30, 2012
Russia Beyond the Headlines
The Pussy Riots feminist rock band provoked
a scandal within Russia's community. Source: ITAR-TASS
Part 1
On Feb. 21, 2012, five young women in masks tried to stage an improvised
performance at the Cathedral of Christ the Savior in Moscow, chanting: “Virgin
Mary, Mother of God, Expel Putin!” The song lasted for less than a minute and was
stopped by the cathedral’s security service. The act had taken place in the closed area
behind the icon screen where the altar is located and only priests and other church
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officials – all men – are
allowed.The prank by Pussy Riot
caused a wide response and split
public opinion, both secular and
religious.
A criminal case against the
members of the group, known as
Pussy Riot, was opened by the
Moscow police on March 2.
They are being charged with hooliganism, which could result in up to seven years
in prison and put the women on the wanted list. On March 4, two Pussy Riot
members, Nadezhda Tolokonnikova and Maria Alyokhina, were arrested, and a bit
later Yekaterina Samutsevich was detained (=arrested). The three women will remain
in custody (взять подстражу) for 60 days pending the results of the investigation.
Typically of contemporary Russia, Internet blogs featured the most intense
discussion. “I won’t be asking whether pranks of this kind should be pardoned /
encouraged in mosques and synagogues, not just in Orthodox churches. But
hooliganism remains what it is even in a library, doesn’t it?” writes blogger pioneerlj.
“You shouldn’t beat Pussy, although you can, if necessary. But if you are
Christians, give them pancakes, or better still suggest a fast (пост). Troublemakers
are always embarrassed when you treat them mercifully,” noted blogger Maksim
Petrenchuk.
These examples highlight the two main trends in the Runet blogosphere: calls
for “understanding and forgiving” and demands for “punishment and justice.”
The administration of the Russian Orthodox Church and a considerable number
of believers demanded that the feminists be punished and called on society to
condemn the prank and brand it as a crime. Official spokespeople for the Russian
Orthodox Church said that they saw no need to keep Tolokonnikova, Alyokhina and
Samutsevich in custody or to pass a real prison sentence on them, and pointed to the
fact that the investigation was working independently of the Church. But Patriarch
Kirill of Moscow and All Russia considered the attempts to excuse the activists to
inadmissible. “We have no future if we start mocking at great shrines and if some
people consider this mockery to be a kind of bravery, a proper expression of political
protest, an appropriate action, or innocent joke,” the patriarch said.
Part 2
For its part, the Interfaith Council of Russia (which unites Orthodox, Islamic,
Buddhist and Jewish organizations) called on Pussy Riot to repent in public.
However, supporters of the band disagreed, causing an even more radical response by
Orthodox Church officials. In some Moscow churches, appeals were read out
encouraging believers to support the demand of a criminal penalty (=punishment) for
the feminists.
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There have also been appeals for leniency, though. Vladimir Legoida,
chairman of the Synodal information department of the Russian Orthodox Church,
sees no reason for the women to be kept in custody and insists that everything should
remain within the bounds of the law: “The Church has called for mercy at all times.
This situation is not an exception. A part of society has formed a false opinion that
the guilty women are kept in custody at the insistence of the Church, which is not
true. Furthermore, the media and the public are emphasizing that some of these
women have little children. Those who took part in that action seem to be unaware
of the gravity of their offense and are attracting sympathy. It is good that our society
is still capable of sympathy and forgiveness, even when its feelings have been so
hurt.”
Sergei Smirnov, an attorney with Yukov, Khrenov and Partners Law Office,
does not believe that criminal charges are applicable to the actions of the Pussy Riot
activists: “There are material elements of an administrative crime, subject to
‘disorderly conduct (поведение)’ charges. Therefore I believe that keeping them in
custody as a pre-trial restriction (ограничение) and bringing criminal charges of
hooliganism is ungrounded and fails to correspond to the gravity of the offense.
However, the 60-day restriction term is normal practice; there is nothing too severe
here. When the investigation insists on custody as a pre-trial restriction, the court
normally opts for two months. It is hard to say what will happen later. Unfortunately,
judging from our practice of criminal law administration, if a case comes to trial, and
it is not a trial by jury (as in this case), then it will likely end in a guilty verdict.”
Pussy Riot’s lawyer Violetta Volkova said that in the event of an guilty verdict,
she would appeal to the European Court of Human Rights in Strasbourg.“No cases of
this sort have ever been qualified as criminal offences before,”she said.
http://rbth.ru/articles/2012/03/27/for_what_should_pussy_riot_be_responsible_and_how_15183.html
e) 1. Answer the questions?
1. What is Pussy Riot? What did they protest?
2. What kind of performance did they stage at the Cathedral of Christ the Saviour
in Moscow? How long did the performance last? What place was that where
they sing their ‘song’?
3. What were they charged with?
4. What public opinion did that prank cause?
5. What did Patriach Kirill of Moscow consider? Do you support him here?
Translate & comment on his position?
6. What did the church call on Pussy Riot to do ?
2. Discuss:
 What point do you keep to & why? Should they be
pardoned/ (encouraged) or put on trial? Do you condemn
the is prank & brand it as a crime or treat as innocent
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joke?Do you consider this mockery to be a kind of
bravery?
 What is hooloiganism? What are the limits when
hooloiganism turns into a ‘crime’?
 if everybody is free to express their positions where are
the limits of the freedom?
f) Vocabulary2. Look through the text again & explain the
meaning of the words in bold.
Vocabulary3. Write out the definitions of the words aside from
a reference book & put them in the chart at random. Let your
groupmates match the words with their definition.
definition
word
a)
1. innocent
2. prank
3. be charged
with
4. mockery
5. trial
6. encourage
7. repent
Vocabulary 4. Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
verb
adjective
mockery
innocent
charge
appeal
leniency
repent
unaware
trial
encourage
Performance art
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3. a) Consult Wikipedia& discuss:
What "exactly" is performance art? And, what makes a
performance artist be one, think and act like one?
b) Challenge or support the following ideas
about the ‘performance art’ definitions:
Question:"Excuse me, can you define performance art?”
Answers: -“A bunch of weirdoes who love to get naked and
scream about leftist politics.” (said by Yuppie in a bar)
-“Performance artists are…bad actors.”( said by A
“good” actor)
-“You mean, those decadent and elitist liberals who hide behind the art thing to beg
for government money?” (said by Politician)
-“It’s…just…very, very cool stuff. Makes you… think and shit.”( said by My nephew)
-"Performance is both the anti-thesis of and the antidote to high culture." (said by
Performance Artist)
-“I’ll answer you with a joke: What do you get when you mix a comedian with a
performance artist?…A joke that no one understands” (said by A friend)
c)
Salvador Dali & performance art
Additional ideas. Surf the net & make a report on Performance
art history
Surrealist art
Module 8 Part 1
Surrealism
1. a) Look at the pictures below. Do the
pictures look appealing to you? Express
your way you see them. “React” to the
paintings with descriptive words in your active vocabulary
Oscar Wilde`s Homeland
Salvador Dhali
Max ernst, The elephant Celebs
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Igor Lysenko
(1921), Tate, London
b1) Vocabulary1. Match the words from column
parts in Column B
Column A
Column B
Column A
a
new
mode
of
expression
1. experiment with
7. major
Dada
movement
8. be inspired by
2. incongruous
juxtaposition
9. the wellspring of
3. be allied to
defied reason
10.the functioning of
4. flourish (v)
in Europe
11.be attained by
5. culminate
in the horrors ofWorld War I
12.seek access to
6. They deliberately
a with their
Column B
spokesman
poets
the unconscious
the imagination
thought
realm of experience
b2) Transcribe the following
the subconscious ..................................ally .................. flourish..........................
deliberate .............................. ambivalent ............................. perpetuate .............
cohesion ............................... collapse ……………… automatic ………………
ballet…………….. authoritarian ……………………….. parade ………………….
c) Read the text & express your attitude to the this style of
modern art. Answer the questions below the text.
Surrealist art
Surrealism originated in the late 1910s and early
'20s as a literary movement that experimented with a
new mode of expression called automatic writing, or
automatism. It attempted to express the workings
of the subconscious by fantastic imagery and
incongruous juxtaposition of subject matter.
Though the Surrealist movement was officially
founded in 1924, the term was first coined in 1917,
when Guillaume Apollinaire used it in program notes for the ballet Parade, written
by Pablo Picasso, Leonide Massine, Jean Cocteau, and Erik Satie. It began as a
literary group strongly allied to the Dada movement, and emerged in the wake of the
collapse of the group in Paris, when André Breton's eagerness to bring purpose to the
group clashed withTristan Tzara's anti-authoritarianism. Breton - who is occasionally
described as the 'Pope' of Surrealism - would go on to be the most important figure
in the movement, the impresario whose strong leadership gave it cohesion through
its many reincarnations until his death in 1966.
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Surrealism, movement in visual art and literature, flourishing in Europe between
World Wars I and II. Surrealism grew principally out of the earlier dada movement,
which before World War I produced works of anti-art that deliberately defied reason;
but Surrealism's emphasis was not on negation but on positive expression. The
movement represented a reaction against what its members saw as the destruction
wrought by the "rationalism" that had guided European culture and politics in the past
and that had culminated in the horrors of World
War I. According to the major spokesman of the
movement, the poet and critic Andre Breton, who
published "The Surrealist Manifesto" in 1924. In
it, he defined Surrealism as "Psychic automatism
in its pure state, by which one proposes to
express - verbally, by means of the written word,
or in any other manner - the actual functioning of
thought." In this, he proposed that artists should
seek access to their unconscious mind in order to
make art inspired by this realm. Initially a
literary movement, many Surrealists were
ambivalent about the possibilities of painting,
however, the group's leader, André Breton, later
embraced and promoted painting. The work of
Surrealist painters such as Joan Miró would be an important influence on the Abstract
Expressionists in the 1940s.
Surrealism was a means of reuniting conscious and unconscious realms of
experience so completely that the world of dream and fantasy would be joined to
the everyday rational world in "an absolute reality, a surreality." Drawing heavily
on theories adapted from Sigmund Freud, Breton saw the unconscious as the
wellspring of the imagination. He defined genius in terms of accessibility to this
normally untapped realm, which, he believed, could be attained by poets and
painters alike.
The major Surrealist painters were Jean Arp, Max Ernst, Andre Masson, Rene
Magritte, Yves Tanguy, Salvador Dali, Pierre Roy, Paul Delvaux, and Joan Miro.
With its emphasis on content and free form, Surrealism provided a major alternative
to the contemporary, highly formalistic Cubist movement and was largely
responsible for perpetuating in modern painting the traditional emphasis on content.
Summing up the main idea, let’s formulate the
key idea of surrealist art. Surrealism has come to be
seen as the most influential movement in twentieth
century art. Figures like Salvador Dalí and Man Ray
not only had an important influence on avant-garde
art, but through their commercial work - in fashion
photography, advertising and film - they brought the
style to a huge popular audience. Following the
demise of Minimalism in the 1960s, the movement's
influence also returned to art, and since the 1970s it
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has attracted considerable attention from art historians.
http://www.huntfor.com/absoluteig/matisse.htm
http://www.ibiblio.org/wm/paint/glo/surrealism/
http://www.theartstory.org/movement-surrealism.htm
d) Make up the questions:
e) Talking point. Comment on:
"Although the dream is a very strange phenomenon and an inexplicable mystery, far
more inexplicable is the mystery and aspect our minds confer on certain objects and
aspects of life."
http://www.theartstory.org/movement-surrealism.htm
f) Vocabulary2. Look through the text again & explain the
meaning of the words in bold.
Vocabulary3. Write out the definitions of the words aside from
a reference book & put them in the chart at random. Let your
groupmates match the words with their definition.
definition
word
1. manifesto
2. verbally
3. demise
4. considerable
5. pope
6. reincarnation
7. perpetuate
8. wellspring
9. ally
10.clashed with
Vocabulary 4. Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
verb
adjective
access
imagination
incongruous
perpetuate
collapse
cohesion
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2. Watch the videofile 1 “Art History Surrealism” by Andre
Knott (Host of Blank Canvas TV.com)
 Discuss what ideas in the file were new to you.
Text 2Surreal Images and Ideas for a Painting
3. a) Vocabulary 1. Take the phrases out of the texts below &
jumble them in the columns below. Then make your
groupmates match the words from column a with their parts in
Column B
Column A
Column B
Column A
Column B
1.
2.
Surreal Images and Ideas for a Painting
By Buffy Naillon, eHow Contributor
Surrealism combines realistic images together in a new
way. According to Surrealism.org, in the 1920s the surrealist
movement in art captured the images from the subconscious.
While Salvador Dali’s melting clocks in his painting “The
Persistence of Memory” may be one of the most famous
surrealist pieces, other surrealist artists also made their mark on the movement. Many
artists today still create works in the surrealist vein. If you count yourself among
them, many sources of inspiration exist to inspire your surrealist paintings.
Match the titles with texts below
Dream Imagery
Inspired Collages Variation on a Theme Fool the Eye
The history of surrealism is all about recording
the goings on of the unconscious, according to
the Surrealism website. Dreams have their own
logic and their own imagery. These images offer
you many opportunities to create some very
personal artwork, since all the images come
from you. To capture the images from your
dreams, keep a notebook by your bed. When you
Surrealist art maintains a certain amount of
realism in it, which is subsequently twisted into
something not real. Rene Magritte’s painting
“The Blank Cheque” is an example of this, as is
MC Escher’s “Bond.” These images play a lot
with positive and negative space. They also
deconstruct readily recognizable images and
turn them into something unreal. If you’d like to
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wake up, record your dreams. Naturally, you can
write them down in journal format, but you may
want to make some sketches as well since it’s
the images you want to capture. Once you have
a few sketches, you can begin creating paintings
based upon them.
take this route for your surrealist art, study the
work of surrealists who use this technique to get
an idea of what types of images they use. Then
create images of your own based on these or
similar concepts.
Surrealist Rene Magritte was famous for
putting common images together in a
different way than they were ever seen
before. For example, his mermaid consisted
of human legs and a fish head. Ask yourself
what kind of images could you put together
in a different way. Make some sketches of
your ideas to get them down on paper.
Create paintings of the ideas that go in a
promising direction
If you’re at a loss for images to incorporate into
a surrealist painting, try starting a collage.
Gather magazines of different sorts—the more
different the better—and start cutting out images
in each that appeal to you. Because the
magazines are so different from one another,
you shouldn't be able to put the pictures together
in a logical way. For example, you might find a
picture of an escalator and combine it with
photos of a root cellar or clouds. Once you have
these images picked out, you can begin your
painting based upon them.
http://www.ehow.com/list_6748788_surreal-images-ideas-painting.html#ixzz2AqMpSiRQ
b) Make up true of false sentences to the text
c) Vocabulary 2. Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
verb
adjective
capture
maintain
able
promising
unconscious
inspired
4. Watch the videofile2 “Three Minute Film
Surrealism”
Discuss:
 Was it funny or stupid to you? Or did you
feel irritated?
 Did you see the surrealistic ideas in the
file? What were they?
 Make a review of the file
Videofile3
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5. Surrealist Exhibition. Analyses of 2 paintings: (1) Dalhi’s
painting “Geopolitical child watch the birth of a new man”(03.25); (2) Joan Miro “Dutch Interior 1”. Watch the videofile and
retell the analyses of these pictures as close to the original as
possible.
Main representatives
6. You are welcome to enjoy watching some movies &
documentaries of some favorites of this art movement
6.1. Watch art documentary called ‘Dirty Dahli’ & make up the
quiz about his biography & works.
6.2. Rene Magritte (1898-1967). Belgian Surrealist artist René Magritte
was a master not only of the obvious, but of the obscure as well. In his artwork,
Magritte toyed with everyday objects, human habits and emotions, placing them in
foreign contexts and questioning their familiar
meanings. He suggested new interpretations of old
things in his deceivingly simple paintings, making
the commonplace profound and the rational
irrational. Magritte made a quote about his
paintings, which he thought explained them all. “I
paint visible images that conceal nothing; they
evoke mystery, and indeed, when one sees my
pictures, one asks oneself this simple question.
‘What does it mean?’ It does not mean anything because mystery means nothing
either, it is unknowable.”
a) Surf the net & read about Rene Magritte’s paintings & his
story line. Do the following quiz.
1.
When he was a little boy On vacations with his
grandmother and Aunt Flora during the summer months,
Magritte frequented ………………… at Soignies. a) theatres;
b) an old cemetery c) cafes.
2.
In 1912, Régina Bertinchamp, Magritte's mother,
committed suicide by …… a) shooting herself; b) drowning
herself in the Sambre River; c) taking too many sleeping pills.
3.
Soon after getting married, Magritte supported Georgette and himself by
……a) copying old masters;b) painting wallpaper designs and designing
posters; c) doing construction work.
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4.
5.
6.
7.
8.
9.
When drawing motifs for wall-paper he was deeply affected by "Song of
love" by …….a) Klode Monet; b) Marcel Duchamp; c) Giorgio de Chirico.
His first surrealist work was…………a) "Le Jockey Perdu"; b) "The
treachery of Images"; c) “Black Magics”.
He was struck by a reproduction of ……………a) George Seurat’s “a
Sunday Afternoon on the iasland”; b) Pierre renoir’s Bathers; c) Van Gogh’s
Sunflowers … which leads to a decisive transformation in his work. Enticed
by the sensuality of the colors, he opts for a more luminous palette. While
continuing to draw objects and figures with the meticulousness for which he has
become known, he adds to them a touch clearly inspired byImpressionism,
unleashing colour in new, warmer and more cheerful tonalities.
What was his Sunlit period? a) being inspired by impressionists; b)
executing his pictures outdoors ; c) portraying sunrays on his canvases .
What was his “cow” period? a) the production of fake Picassos, Braques and Chiricos;
b) he painted in a provocative and crude Fauve style ; c) copying old masters .
a) umbrella; b) bowler-hatted figure; c) bird…… finally finds his true
dimension. He/it becomes Magritte's emblem par excellence.
b) Watch the documentary & sum up the distinguishing
features of Rene Magritte’s works that makes him different
from other painters.
6.3. Frida
Watch the movie & do the tasks:
a) Choose the adjectives or phrases first that generally suits the film &
then make a review of it
open up the passionate life of ……
&
do justice to her works.
A part documentary & part-performance
visually celebrates the life and art of….
……provides a captivating interpretation of an artist’s life. ….. It makes you think …..
The film covers the basic chronology of Kahlo's life.
more as an actual narratively-centered film than a cinematic jigsaw puzzle that has no chance of being
solved
bebedridden in a body cast for months
makes her Frida bubble with life and passion despite both mental anguish and excruciating pain.
the movie provides captivating interpretation of Frida’ best event.
b) Discuss the plot

Give a character sketch of
the protagonists & their acting
You may first fill in the table with the adjectives or phrases that suit the character descriptions of
the main heroes from the movie
Frida
Diego
complex and enduring relationship
Abilities
Views on life
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Character
 Make up summary of the movie
c) Discuss the movie messages
 What does the movie make you think of?
movie touches upon?
What field does the
 What are themes of the movie?
 What is it that's so resonant of both her life and work in the movie?
 Can you explain her dreams when Frida imagines Diego as King Kong on the Empire State
Building?
 If it hadn’t been for the accident do you think she’d have become a painter. Read the
proverbs & think over what message they carry: Every cloud has a silver lining. No great
loss without some small gain. What you lose on the swings you gain on the roundabouts. An
unfortunate event become a godsend.
b) Comment on Diego’s former wife’s words about the marriage
I don’t believe in marriage. Let me be clear about that. …….They have no idea how truly
miserable they are about to make each other. But when two people know about that & they decide
with wide eyes open to face each other & married anyway. Then I don’t think he is not
conservative, delusional & I think that radical & courageous & very romantic.
c) Final work. Make up an interview as if one of you is the producer /
director of the movie& the other is a protagonist or a journalist/
6.4.




Watch the art documentaries about:
Max Ernst(http://www.youtube.com/watch?v=6J87wdgp-QU)
Joan Miro(http://www.youtube.com/watch?v=PtXzmbQ4KKI)
Shagal(http://www.youtube.com/watch?v=w7yLyc2FA8I)
Yves Tanguy(http://www.youtube.com/watch?v=ZP_BvFY5saM)
Discuss their inheritance in art history
6.5. Videofile. Surrealism at its best. Salvador Dalhi on “What’s
on my line?”
Surf the net & study thoroughly the biography of other
surrealist painters & role play the programme ‘What’s on my
line?”
7. Rendertheideas
1. Сюрреалистысчитали, чтотворческаяэнергияисходитизсферыподсознания,
котораяпроявляетсебявовремясна, гипноза, болезненного бреда, внезапных озарений,
автоматических действий (случайное блуждание карандаша по бумаге и др.).
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2. Сюрреализм в живописи развивался по двум направлениям. Одни художники вводили
бессознательное начало в процесс создания живописных полотен, в которых
преобладали свободно текущие образы, произвольные формы,
3. переходящие в абстракцию (Макс Эрнст, А. Масон, Миро, Арп).
4. Другое направление, которое возглавлял Сальвадор Дали, основывалось на иллюзорной
точности воспроизведения ирреального образа, возникающего в подсознании.
5. Картины Дали отличаются тщательной манерой письма, точной передачей светотени,
перспективы, что характерно для академической живописи.
6. Зритель, поддаваясь убедительности иллюзорной живописи, втягивается в лабиринт
обманов и неразрешимых загадок: твердые предметы растекаются, плотные
приобретают прозрачность, несовместимые объекты скручиваются и выворачиваются,
массивные объемы приобретают невесомость, и все это создает образ невозможный в
реальности.
7. Общие особенности искусства сюрреализма фантастика абсурда, алогизм,
парадоксальные сочетания форм, зрительная неустойчивость, изменчивость образов.
8. Главной целью сюрреалистов было через бессознательное подняться над
ограниченностью как материального, так и идеального мира, продолжить бунтарство
против выхолощенных духовных ценностей буржуазной цивилизации.
9. Художники этого направления хотели создать на своих полотнах реальность, не
отражающую действительность, подсказанную подсознанием, но на практике это порой
выливалось в создание патологически отталкивающих образов, эклектику и китч.
10. Отдельные интересные находки сюрреалистов использовались в коммерческих
областях декоративного искусства, например оптические иллюзии, позволяющие
видеть на одной картине два различных изображения или сюжета в зависимости от
направления взгляда
8. Follow-up. Make up the Quiz-Test on this art
movement.
…………………………………………………………………………………………
……………………………………………………………………………………
…………………………………………………………………………………………
……………………………………………………………………………………
…………………………………………………………………………………………
……………………………………………………………………………………
…………………………………………………………………………………………
……………………………………………………………………………………
…………………………………………………………………………………………
……………………………………………………………………………………
…………………………………………………………………………………………
……………………………………………………………………………………
OP & POP art
Module 9
Op & Pop art
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Part 1 Op art
1. a) Look at the pictures below. Do the pictures look
appealing to you? Express your way you see them. “React” to
the paintings with descriptive words in your active vocabulary
Victor Vasarely, Zebra, 1987,
Maurits Cornelis Escher, Convex and
Concave, 1955
b) Vocabulary1. Match the words from column a with their
parts in Column B
Column A
Column B
Column A
Column B
1. they reel from
2. escalate
3. achieve
4.
5.
a new movement
the term referenced
6. be comprised of
7. be enraptured with
8. he pioneered
Civil rights movement
idyllic lifestyle
bust on the scene
illusion
the fact that
the movement
the movement
the assassination of
9. noteworthy
10. eliminate
11. be given
12. create smth
13. be of
14. be viewed with
15. represential
16. be ‘invaded’ by
17. employ
artist
a life-span of around
equal importance
steadfastly
bemusement
color, light , shape
pop music
matter
the subject matter
Transcribe
circumstances …………………….idyllic ……………. de-emphasized …………
enrapture ……………..oscillate ………………. pioneer…………
c1) Watch the video file 1 called “Op art” to get pre-knowledge
of this art movement
http://www.youtube.com/watch?v=Lk2j7lJcGCU
c2) Read the text & express your attitude to the this style of
modern art. Answer the questions below the text.
What is op art?
Flashback to 1964. In the United States, we were
still reeling from the assassination of our President,
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escalating the Civil Rights movement, being "invaded" by British pop/rock music
and, in general, pretty much done with notions of achieving idyllic lifestyles (despite
that which was touted in the 1950s). Given the circumstances, it was a perfect time
for a new artistic movement to burst on the scene.
In October of 1964, in an article describing this new style of art, Time
Magazine coined the phrase "Optical Art" (or "Op Art", as it's more commonly
known). The term referenced the fact that Op Art is comprised of illusion, and often
appears - to the human eye - to be moving or breathing due to its precise,
mathematically-based composition.
After (and because of) a major 1965 exhibition of Op Art entitled The
Responsive Eye, the public became enraptured with the movement. As a result, one
began to see Op Art showing up everywhere: in print and television advertising, as
LP album art and as a fashion motif in clothing and interior decoration.
Although the term was coined and the exhibition held in the mid-1960s, most
people who've studied these things agree that Victor Vasarely pioneered the
movement with his 1938 painting Zebra. M.C. Escher - whose style has sometimes
caused him to be listed as an Op artist - created works with amazing perspectives and
use of tessellations that certainly helped point the way for others. And it can be
argued that none of Op Art would've been possible - let alone embraced by the public
- without the prior Abstract and Expressionist movements that de-emphasized (or, in
many cases, eliminated) representational subject matter.
As an "official" movement, Op Art has been given a life-span of around three
years. This doesn't mean, though, that every artist ceased (=stop) employing Op Art
as their style by 1969. Bridget Riley is one noteworthy artist who has moved from
achromatic to chromatic pieces, but has steadfastly created Op Art from its beginning
to the present day. Additionally, anyone who has gone through a post-secondary fine
arts program probably has a tale or two of Op-ish projects created during color theory
studies.
It's also worth mentioning that, in the digital age, Op Art is sometimes viewed
with bemusement. Perhaps you, too, have heard the (rather snide, in my opinion)
comment: "A child with the proper graphic design software could produce this stuff."
Quite true, of a gifted child, with a computer and the proper software at his or her
disposal, in the 21st century. This certainly wasn't the case in the early 1960s, and the
1938 date of Vasarely's Zebra speaks for itself in this regard. Op Art represents a
great deal of math, planning and technical skill, as none of it came freshly-inked out
of a computer peripheral. Original, hand-created Op Art deserves respect, at the very
least.
What are the key characteristics of Op Art?
• First and foremost, Op Art exists to fool the eye. Op
compositions create a sort of visual tension, in the viewer's mind,
that gives works the illusion of movement. For example,
concentrate on Bridget Riley's Dominance Portfolio, Blue (1977)
- for even a few seconds - and it begins to dance and wave in
front of one's eyes. Realistically, you know any Op Art piece is
flat, static and two-dimensional. Your eye, however, begins
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sending your brain the message that what it's seeing has begun to oscillate, flicker,
throb and any other verb one can employ to mean: "Yikes! This painting is moving!".
• Because of its geometrically-based nature, Op Art is, almost without
exception, non-representational.
• The elements employed (color, line and shape) are carefully chosen to
achieve maximum effect.
• The critical techniques used in Op Art are perspective and careful
juxtaposition of color (whether chromatic [identifiable hues] or achromatic [black,
white or gray]).
• In Op Art, as in perhaps no other artistic school, positive and negative spaces
in a composition are of equal importance. Op Art could not be created without both.
http://www.huntfor.com/absoluteig/matisse.htm
http://arthistory.about.com/cs/arthistory10one/a/op_art.htm
Answer the questions
1. What was the background for the pop art movement? What was happening in
the world?
2. When was the term ‘pop art’ coined?
3. What was the way the public treated the movement?
4. What techniques did the pop artist employ ?
5. How long was the life-span of the movement?
6. Why was op-art viewed with bemusement?
7. Sum up the key characteristics of Op atr?
c) Comment on:
"A child with the proper graphic design software could produce this stuff."
d) Vocabulary2. Look through the text again & explain the
meaning of the words in bold.
Vocabulary3. Write out the definitions of the words aside from
a reference book & put them in the chart at random. Let your
groupmates match the words with their definition.
definition
word
1. assassination
2. pioneer
3. bemusement
4. escalate
5. enrapture
Vocabulary 4. Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
verb
adjective
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assassination
pioneer
escalate
bemusement
exception
enrapture
Part 2Pop art
Module 9Part 2
Op & Pop art
1. a) Look at the pictures below. Do the
pictures look appealing to you? Express
your way you see them. “React” to the
paintings with descriptive words in your active vocabulary
b) Vocabulary1. Match the words from column a with their
parts in Column B
Column A
Column B
Column A
Column B
1. have free
the results
9. celebrate
the psychology
2. the public loathed
from
10.defy
materialism
3. Art accorded
11. worship the
products
point
god
of
4. be diverged
a certain respect
figure
12.
the
cult
5. consumer
into less-academic art
Monroe
13.
it
is
a
moot
6. consumer boom took place
from TV , magazine,
14.
immortalize
comics
7. broaden the
with
15. derive pleasure subject matter
taste
rein to experiment
16.valid
postwar consumerism
8. coincide
Transcribe
quasi-photographic …………….. diverge……………… immortalize ………………
coincide ………….. anarchy……………..
c1) Watch the video file 1 called “Introduction to Pop art” to
get pre-knowledge of this art movement
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http://www.youtube.com/watch?v=-IxcJsXyWtQ
c2) Read the text & express your attitude to the this style of
modern art. Answer the questions below the text.
What is Pop Art?
The Impressionists changed everything when their art
was accepted. From this point on, artists had free rein to
experiment. Even if the public loathed the results, it was still
Art, and thus accorded a certain respect. Movements, schools
and styles - in dizzying number - came, went, diverged from
one another and sometimes melded.
"The term first appeared in
Britain during the 1950s and referred to the interest of a
number of artists in the images of mass media, advertising,
comics and consumer products. The term ``Pop Art'' was
first used by the English critic Lawrence Alloway in a 1958
issue of Architectural Digest to describe those paintings that
celebrate post-war consumerism, defy the psychology of
Abstract Expressionism, and worship the god of
materialism. The most famous of the Pop artists, the cult
figure Andy Warhol, recreated quasi-photographic paintings of people or everyday
objects.
The 1950s were a period of optimism in Britain following the end of war-time
rationing, and a consumer boom took place. Influenced by the art seen in Eduardo
Paolozzi's 1953 exhibition Parallel between Art and Life at the Institute for
Contemporary Arts, and by American artists such as Jasper Johns and Robert
Rauschenberg, British artists such as Richard Hamilton and the Independent Group
aimed at broadening taste into more popular, less academic art. Hamilton helped
organize the 'Man, Machine, and Motion' exhibition in 1955, and 'This is Tomorrow'
with its landmark image Just What is it that makes today's home so different, so
appealing? (1956). Pop Art therefore coincided with the youth and pop music
phenomenon of the 1950s and '60s, and became very much a part of the image of
fashionable, 'swinging' London. Peter Blake, for example, designed album covers for
Elvis Presley and the Beatles and placed film stars such as Brigitte Bardot in his
pictures in the same way that Warhol was immortalizing Marilyn Monroe in the
USA. Pop art came in a number of waves, but all its adherents - Joe Trilson, Richard
Smith, Peter Phillips, David Hockney and R.B. Kitaj - shared some interest in the
urban, consumer, modern experience."
It is a moot point as to whether the most extraordinary innovation of 20thcentury art was Cubism or Pop Art. Both arose from a rebellion against an accepted
style: the Cubists thought Post-Impressionist artists were too tame and limited, while
Pop Artists thought the Abstract Expressionist pretentious and over-intense. Pop
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Art brought art back to the material realities of everyday life, to popular culture
(hence ``pop''), in which ordinary people derived most of their visual pleasure from
television, magazines, or comics.
One of the main conceptual objectives of Pop Art was to blur the boundaries
between high art and low or popular culture. The concept behind Pop Art is not
limited to the art produced within this group of artists, it also referred to the attitudes
that surrounded and inspired them. Some experts interpret these attitudes as a
reaction to Abstract Expressionism, which was an American post WWII art
movement characterized by emotional intensity and associated with anarchy,
freedom, and rebellion.
Pop Art on the other hand is for the most part emotionally cold towards its
subject matter and is associated with mechanical means of reproduction such as
photography and printmaking.
Pop Art's World Wide Influence
In the United States Pop Art gained momentum in the 1960s and is now mostly
associated with the work of New York artists such as Andy Warhol, Roy
Lichtenstein, James Rosenquist, and Claes Oldenberg, however they were part of a
bigger phenomenon happening in various parts of the world. For example, the French
equivalent of pop art was called Nouveau Réalisme and although it shared the
concerns of its American counterparts in dealing with commercial culture, the French
artists focused their art production in the area of sculpture.
In Spain, Pop Art is associated with the new figurativism and among the best known
artists working in this style were Manolo Valdes and Rafael Solbes who made up the
artist duo EQUIPO CRONICA and worked in Valencia during the late 1960s and the
the 1970s.
The Pop Art movement still influences new generations of artists today. It
opened up a world of possibilities by allowing the use of everyday culture and its
symbols and objects to become valid subject matter in art, questioning the elitism
that was associated with art and bringing it closer to a broader audience.
Ошибка! Недопустимый объект гиперссылки.
Make up true or false questions
http://arthistory.about.com/cs/arthistory10one/a/op_art.htm
http://www.ibiblio.org/wm/paint/tl/20th/pop-art.html
http://video.about.com/arthistory/What-is-Pop-Art-.htm
c) Vocabulary2. Look through the text again & explain the
meaning of the words in bold.
Vocabulary3. Write out the definitions of the words aside from
a reference book & put them in the chart at random. Let your
groupmates match the words with their definition.
definition
word
1. intensity
2. pretentious
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3.
4.
5.
6.
7.
gain
derive
interpret
coincide
immortalize
Vocabulary 4. Word formation. Fill in the chart. Make up
sentences with the words used as different part of speech.
noun
verb
adjective
intensity
pretentious
print-making
derive
coincide
immortalize
2.Watch the documentary by Alistair Sooke called ‘Modern
Masters- Andy Warhol’
&about the titans of modern
art that have influenced the
world we live in now &
discuss the questions in
class.
http://www.youtube.com/watch?v=sWU7I6fGpMI
3.Watch the art documentary about Roy Lichtenstein
Documentary (1990) - POP ART Graphic Design. Discuss its
heritage in art history.
4. Render the ideas.
1. ПОП-АРТ (англ. popart, сокращение от popularart – популярное, общедоступное
искусство; второе значение слова связано со звукоподражательным англ. рop –
отрывистый удар, хлопок, шлепок, т.е. производящее шокирующий эффект) –
направление в искусстве конца 1950-х – начала 1970-х; возникает как оппозиция
беспредметному абстракционизму; знаменует переход к концепции нового
авангардизма.
2. Представители поп-арта провозгласили своей целью «возвращение к реальности», но
реальности, уже опосредованной масс-медиа: источником их вдохновения стали
глянцевые журналы, реклама, упаковка, телевидение, фотография.
3. Поп-арт вернул предмет в искусство, но это был предмет, не опоэтизированный
художественным видением, а предмет нарочито бытовой, связанный с современной
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индустриальной культурой и, в особенности, с современными формами информации
(печать, телевидение, кинематограф).
4. Новые технические приемы, позаимствованные из промышленного дизайна и
рекламы: фотопечать, использование диапроектора, включение реальных предметов,
способствовали как «обезличиванию» индивидуальной творческой манеры
художника, так и «раскрытию эстетической ценности» образцов массовой продукции.
5. Поп-арт зародился в Англии; наибольшей известности достигли американские и
французские художники. Сходные направления появились в Италии, Германии, и
даже в СССР, отделенном в то время от остального мира «железным занавесом».
6. Товарный фетишизм и идеология равных возможностей в США приводят к тому, что
с конца 1950-х поп-арт (здесь его вначале называют неодада) получает широкое
распространение в американском искусстве. Международную известность поп-арту в
его американском варианте принесли такие художники как Роберт Раушенберг, Рой
Лихтенштейн, Джэспер Джонс, Джеймс Розенквист, Том Весселман, Клаас
Олденбург, Энди Уорхол
7. Эти художники реабилитируют мир красоты банального, в их произведениях сквозит
гордость тем, что американская торговля изобрела такие товары, которые всегда
хороши, дешевы и равнодоступны.
8. Их искусство – в определенном смысле памятник таким товарам и социальному
равенству, ведь потребляя продукт, мы можем идентифицировать себя с любым
другим потребителем этого продукта: «Ты можешь смотреть телевизор и видеть кокаколу, и ты знаешь, что президент пьет кока-колу, Лиз Тейлор пьет кока-колу, ты тоже
можешь пить кока-колу…Все бутылки кока-колы одинаковы и все они хороши» –
говорил Э.Уорхол, прославляя потребление и делая потребление (чужих образов)
частью своего искусства.
9. Уорхол отмечал, что «поп-арт поменял внутреннее и внешнее местами. Поп-артисты
создавали образы, который любой человек, идущий по Бродвею, узнавал в ту же
секунду – комиксы, столы для пикника, мужские штаны, знаменитости, занавески для
душа, холодильники, бутылки кока-колы – все те великие вещи, которые абстрактные
экспрессионисты изо всех сил старались вовсе не замечать».
10. Поп-арт использовал то, что уже есть, и, более того, что набило оскомину, стало
привычным: готовое изделие (readymade – термин введенный в 1912 Марселем
Дюшаном, означал изделие массового производства, выставленное в качестве
произведения искусства) – настоящие консервные банки, бутылки, ящики, флаги,
которые вовлекались в комбинации или подборки (ассамблажи) с другими
настоящими предметами, рисованными или живописными элементами; фотографии;
газетные или журнальные иллюстрации; кинокадры.
5. Follow-up. Make up the Quiz-Test on this art
movement.
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Module 10
FINAL DISCUSSION
Modern
ART
Final discussion
1. To sum it up talking about modern art try to
match the pictures depicting ladle in all
modern art trends with the trends below. Render the ideas &
discuss what kind of trends appeals to you most.
КЛАССИЦИЗМ РОМАНТИЗМ РЕАЛИЗМ.. НАТУРАЛИЗМ - ДЕКОРАТИВИЗМ
РЕГИОНАЛИЗМ ИМПРЕССИОНИЗМ ПУАНТИЛИЗМ ЭКСПРЕССИОНИЗМ ФОВИЗМ
ДАДАИЗМ ПОП-АРТ Oп- APT КИНЕТИЗМ КУБИЗМ ФУТУРИЗМ ОРФИЗМ.
ПРИМИТИВИЗМ СЮРРЕАЛИЗМ КОНСТРУКТИВИЗМ ПУРИЗМ СИМВОЛИЗМ
АБСТРАКТНЫЕ КАРТИНЫ
3.
2.
4.
1.
5.
9.
6.
7.
10.
11.
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12.
15.
13.
14.
17.
16.
19.
18.
21.
22.
20.
2. Rendertheideas
НАПРАВЛЕНИЯ В ЖИВОПИСИ
Одно дождливое утро можно посвятить походу в городскую галерею. Попробуем
уяснить себе суть отдельных направлений в живописи на примере изображения
ковшика.
КЛАССИЦИЗМ - направление в искусстве XVIII века. Вдохновляется образами
минувшего (античности). Стремится к целесообразности, воплощенной в технически
совершенных формах. Пейзажисты эпохи классицизма придумывают и создают на своих
полотнах воображаемые ландшафты. Фигуры людей художники включают в театральные и
исторические сцены в античном стиле. На нашей иллюстрации показан кувшин в виде
амфоры без украшений.
РОМАНТИЗМ является антиподом классицизма и предшественником реализма. Он
также берет сюжеты из прошлого, но главным образом из средневековья. Пейзажисты
выбирают мрачноватые мотивы: развалины, лесную мельницу и т.п. Изображая людей,
художники выбирают сюжеты' из отечественной истории. На нашем примере представлено
изображение доисторической урны в виде ковша.
РЕАЛИЗМ. Художник обращается к современности. Он изображает ее так, как видит,
отбрасывая при этом мешающие ему частности.
НАТУРАЛИЗМ - это утрированный реализм. Художник изображает и случайные
детали, стремясь к крайней степени сходства. На иллюстрации -поврежденный ковш.
ДЕКОРАТИВИЗМ - приукрашенный реализм с искусственной компоновкой. На
нашем примере - плоское изображение ковша с украшениями.
РЕГИОНАЛИЗМ - реализм, детализирующий особенности национальной культуры,
свойственные какой-либо местности. На иллюстрации - народная керамика в форме ковша.
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ИМПРЕССИОНИЗМ запечатлевает переменчивые оттенки света и цвета в природе,
прозрачность и легкость атмосферы. В рисунке это - вихрь штрихов без четких линий,
ограничивающих предмет. Импрессионизм зародился во Франции во второй половине XIX
века (Мане, Моне, Ренуар).
ПУАНТИЛИЗМ - разновидность импрессионизма. Пуантилисты пишут свои картины
исключительно с помощью мелких цветных точек, достигая при этом особого ощущения
света при взгляде на картину издали (Сера, Синьяк).
ЭКСПРЕССИОНИЗМ - выражение взволнованного внутреннего мира художника. Его
состояние души, его чувства передаются с помощью красок. Поэтому цвета на картинах
экспрессионистов соответствуют не столько увиденному, сколько ощущаемому (Мунк,
Энсср).
ФОВИЗМ - французское направление в экспрессионизме (от французского fauves дикие). Картины фовистов играют яркими, резкими красками - голубым, розовым,
пурпурным, независимо от того, как изображаемые предметы выглядят в действительности
(Матисс, Дерен, Дюфи, Марке).
ДАДАИЗМ зародился в 1916-1922 годах. Он не стремился создавать вечную красоту
или порядок, а как раз наоборот, отражал пустоту идеалов, из-за которых тысячи людей
убивали друг друга во время первой мировой войны. Дадаисты показывали извращенную
логику бюрократизма и фальшь лицемерия {Дюшан, Арп, Эрнст). Ныне мы являемся
свидетелями новой волны дадаизма в так называемом искусстве „поп-арт".
ПОП-АРТ (от английского popular -народный). Поп-арт соединяет немыслимые в
сочетании вещи повседневного быта или их изображения (Р. Гамильтон). На нашей
иллюстрации представлен настоящий ковш с крышкой и прибором.
Oп- APT (оптическое) - направление в искусстве, раздражающее зрительный нерв
противоречивыми формами и ритмом плоскостей и линий (Альберс, Вазарели).
КИНЕТИЗМ (движение -от греческого kinein - двигаться) вызывает в глазах некое
ритмическое движение с помощью чередования белого и черного цвета. Возникает
впечатление движения, мелькания, искрения (Вазарели). Иная разновидность кинетизма
создает композиции картин, которые при осмотре с разных сторон открываются взгляду с
разных точек зрения.
КУБИЗМ отрицает изображение предметов в том виде, как мы их представляем. Он
стремится найти способ выражения их сути. Кубизм низводит формы до основных
геометрических схем, раскладывает предметы на составные части и объединяет их в
абстрактное целое плоского декоративного изображения (ранний Пикассо).
ФУТУРИЗМ зародился в Италии. Художники стремились путем разложения предмета
на отдельные изображения вызвать впечатление движения (Умберто Боччони, Джино
Северини, Карло Карро). Наша иллюстрация показывает вращающийся ковш.
ОРФИЗМ. Художественное направление, возникшее накануне первой мировой войны.
Картины выглядят как пучки красочных радуг и вызывают ощущение музыки и ритма
(Делоне, Купка).
ПРИМИТИВИЗМ имитирует рисунки нецивилизованных племен или детские
рисунки. Картины примитивистов характеризует неправильная перспектива, плоскостное
изображение предметов (Шагал), Сюда же мы относим „наивных художников", которые
никогда не учились рисовать или писать картины, но тем не менее ощутили потребность
отразить свои чувства и воспоминания в трогательных произведениях. Их картины
подкупают сильным чувством и искренностью, несмотря на детскую неловкость в технике
(Руссо, Пиросмани).
СЮРРЕАЛИЗМ погружает в мир мечты и фантастических сфер подсознания, где
нет логики и контроля разума (Дали).
КОНСТРУКТИВИЗМ стремится как можно подробнее отразить механизированный
характер эпохи. Его девиз - „Между искусством и изобретением нет границы". Он отрицает
рисунок и живопись, а работает непосредственно с материалом. Собственно, это
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продолжение кубизма, но уже в архитектуре (Татлин, Родченко, Лисицкий). На нашей
иллюстрации показана неоновая реклама.
ПУРИЗМ подчеркивает принципы простоты и целесообразности. Это - возрождение
классицизма в современном виде. Отрицает излишнюю орнаментальность. Форма красива
сама по себе, если она целесообразна. В рисунке это линейное изображение предмета без
теней.
СИМВОЛИЗМ зародился в конце восьмидесятых годов прошлого века как
отклонение от точного отображения природы. Художники боролись за свое право на
фантазию и свои особые представления о мире. Они изображали символические фигуры,
цвета и особые орнаментальные элементы (Гоген, Чюрленис).
АБСТРАКТНЫЕ КАРТИНЫ изображают вещи, которые мы не видим, как* например,
порыв ветра равновесие мира или собственные невысказанные чувства и мысли. С помощью
особых приемов художники переносят их на полотно. Таким образом, неконкретные вещи и
проблемы становятся конкретными (Кандинский, Малевич).
Passion debate about modern art
3. a) Read the following text. Find in
it arguments for including popular
arts in the art curriculum and
against it. Copy them out into two
columns (I — "for", II — "against"):
A new issue in aesthetic education today has to
do with the choice of art examples to use in the classroom, specifically, whether they
should be restricted to recognized works of fine art or allowed to include such art
forms as posters, album covers, billboards, and particularly cin ema and television.
Since the popular arts are a reflection and product of popular culture, exploring
the popular culture should be a valid method of inquiry. Popular arts are already a
part of the children's lives and they enable the teacher to "start where the kids are".
Further, they facilitate the responses the children are already having with their
preferred art forms rather than imposing adult middle class standards on them. We
know also that art which students encounter in schools — the official or high art
embodied in the official curriculum — stands in an adversary relation to the media of
popular entertainment. A critical analysis : of the forms reflected in popular art is
imperative if we want to elicit meaningful dialogue about art.
Not all writers in art education have taken a positive position in regard to the
popular arts. An opinion exists that fine art objects are the only objects with the
power to impart a markedly aesthetic aspect to human experi ence. Certain scholars
"refuse to cheapen art's magnificent and supreme excellence by comparing it to comic
strips and other essentially vulgar commodities", claiming that popular culture was
the result of the public's inability to appreciate high art. Even those who recognize
popular arts as art forms suggest that the schools should go beyond them, because
"serious art" makes more demands on the viewer.
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Some art educators argue that concepts of fine art and popular art are relative and
that the distinction between the two is slight if not illusory. What we see in art museums and art galleries includes a lot of different things from all over the world, from
cultures and periods of time
in which the concept of art, as we know it, did not exist. In their original
contexts, such objects often served a variety of functions, such as magical,
ritualistic, narrative, or utilitarian but almost never aesthetic. .
It is well known that many of the things we regard so highly today, such as
Gothic cathedrals, El Grecos, Rembrandts, Goyas or Cezannes, were ignored or
scorned at different periods of time. Many things we ignore or scorn today, such
as the work of the French or Royal Academies in the 19th century, were at one
time highly regarded. A work's reputation can be affected precipitously by the accident of reattribution. A highly regarded Rembrandt, subsequently discovered to
be not by Rembrandt drops in value immediately. The same thing can happen in
reverse. Finally, there are cases in which objects have lost not only their
monetary and intrinsic value, but also their status as art objects because they
are fakes.
B) Discuss the text in pairs. One partner will take the
optimistic view and insist that popular arts should be
included in the art curriculum. The other will defend the
opposite point of view.
Consider the following:
FOR
1. The differences between
popular and fine art are often
matters of classification.
2. Popular art facilitates the
aesthetic experience and
therefore is appropriate for
study in the field of art
education.
3. The content of the popular
arts is of relevance to the
students and, through
art criticism, can lead to a
more penetrating analysis of
these and other art forms.
4. The popular arts allow
students to talk about
emotionally meaningful ex-
AGAINST
1 Fine arts in each epoch supplied the
models from which the rules and
principles were derived.
2 Fine arts are more noble, more
worthy than all the other
opportunities
available for visual aesthetic experience
around us.
3 Tastes should be developed through
images of high artistic culture, whereas
works of popular culture as a rule
meet consumer's tastes.
4 Excellent, or fine art. is better than
poor art for providing students with a
strong personal and cultural
awareness.
5. A lot of popular art is debased and
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periences.
5. They can aid the student's
understanding of his culture
as well as the cultures of
other peoples.
meretricious.
6. We have no right to "condemn"
students to the easily comprehensible
forms of popular art. Any student can
develop an appreciation of the fine arts.
7. The habit of looking at good pictures
is in itself a means by which taste can be
formed.
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References
All videos taken from Youtube.com
All images & reproductions of paintings taken from google.com
1. Richards, C. Interchange 3 [Text]/ C.Richards, J.Hull, S Proctor. Cambridge University Press - 2003
2. Кабакчи, В.В. Практика англоязычной межкультурной коммуникации [Текст]/ В.В.Кабакчи. Издательство: Союз, 2007
3. Impressionism. Info [Electronic resource] / http://www.impressionism.info/info.html
4. http://wiki.answers.com/Q/What_is_impressionist_art
5. Advanced listening
6. Neo-Impressionism - Art History 101 Basics [Electronic resource] /
http://arthistory.about.com/od/modernarthistory/a/Neo-Impressionism-Art-History-101-Basics.htm
7. http://www.ehow.com/about_6569030_post-impressionism-art_.html#ixzz1l0VUc6Le
8. http://www.ehow.com/about_6569030_post-impressionism-art_.html
9. Post-Impressionism - Art History 101 Basics http://arthistory.about.com/od/modernarthistory/a/PostImpressionism-Art-History-101-Basics.htm
10. Doff, A. Listening 3 [Text] / F.Doff
11. New English File. Pre-intermediate
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
33.
34.
35.
36.
37.
http://www.discoverfrance.net/France/Art/fauvism.shtml
http://wwar.com/masters/movements/fauvism.
htmlhttp://www.towson.edu/~sisaacs/docs/StudyGuide.pdf,
http://www.ibiblio.org/wm/paint/tl/20th/fauvism.html,
http://arts.enotes.com/oxford-art-encyclopedia/fauvism
http://www.discoverfrance.net/France/Art/fauvism.shtml
How to paint like a Wild Beast: http://lauraspector.hubpages.com/hub/Childrens-Fauvist-Paintings-BringOut-Their-Wild-Beast
Cubism ttp://artsmarts4kids.blogspot.com/2008/09/cubism.html
How to Make Cubism Art. ttp://www.ehow.com/how_5214911_make-cubism-art.html
Futurism
Futurism http://wiki.answers.com/Q/What_is_Futurism_art
what is futurism
http://www.cartage.org.lb/en/themes/arts/scultpureplastic/SculptureHistory/European20thCentury/Futuristscul
pture/WhatisFuturism/WhatisFuturism.htm
Футуризм. О поэтическом течении. http://slova.org.ru/n/futurizm/
Expressionism movements http://www.huntfor.com/arthistory/C20th/expressionism.htmAbstract art
movement http://painting.about.com/od/abstractart/a/abstract_art.htm
Abstract Art http://abstractart.20m.com/
Understanding Abstract art http://www.blurtit.co
Dada art movement http://wiki.answers.com/Q/What_is_dadaism
http://3514.blogspot.com/2010/12/dadaism-images.html
How to Create Dada Art http://www.ehow.com/how_7345064_create-dada-art.html
Даадаизм http://literary_terms.academic.ru/133/
Pussy Riot prank in cathedral
has Russians divided in their assessments
http://rbth.ru/articles/2012/03/27/for_what_should_pussy_riot_be_responsible_and_how_15183.html
Аракин 4 курс
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Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
Учебное издание
Войткова Анастасия Николаевна
A CRASH COURSE IN THE
20TH CENTURY ART:
(a guide to understanding
&enjoyingmodernart)
Учебное пособие
Печатается в авторской редакции
Подписано в печать 25.04.2013. Формат 60х90/16.
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Иркутский государственный лингвистический университет
664025, г. Иркутск, ул. Ленина, 8
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