iii. Make up sentences ofyour own with the given phrases.
iv. Arrange the following in the pairs of synonyms:
a) influential; occasional; exquisitely; environment; artificial;
b) unnatural; surroundings; infrequent; perfectly; important.
IV. Translate the text into English.
На формирование Томаса Гейнсборо – великого английского портретиста XVIII века, значительное влияние оказали работы Ван Дейка.
Пейзаж в портретах Гейнсборо имеет большое значение. В зрелом возрасте, когда Гейнсборо переселился в Лондон, он начал писать портреты во весь рост на фоне пейзажа. Модели Гейнсборо поэтичны. Художник придает особую хрупкость и изящество несколько удлиненным женским фигурам. Светлая колористическая гамма становится отличительной чертой его живописи. В портретах Гейнсборо отсутствуют аллегории. Гейнсборо прошел творческую эволюцию от детальной манеры, близкой «малым голландцам» к живописи широкой и свободной.
V. Summarize the text.
VI. Topics for discussion.
1. Gainsborough's portraits.
2. Gainsborough's style.
Unit III Reynolds (1723-1792)
Sir Joshua Reynolds was in his own day a commanding figure, whose authority outlived him and who eventually became a target for Romantic attacks. In Reynolds's day society portraiture had become a monotonous repetition of the same theme. According to the formula, the sitter was to be posed centrally, with the background (curtain, pillar, chair, perhaps a hint of landscape) disposed like a back-drop behind; normally the head was done by the master, the body by a pupil or «drapery assistant», who might serve several painters. Pose and expression tended to be regulated to a standard of polite and inexpressive elegance; the portrait told little about their subjects other than that they were that sort of people who had their portraits painted. They were effigies; life departed.
It was Reynolds who insisted in his practice that a portrait could and should be also full, complex work of art on many levels; he conceived his portraits in terms of history-painting. Each fresh sitter was not just a physical fact to be recorded, but rather a story to be told. His people are no longer static, but caught between one moment and the next. Reynolds was indeed a consummate producer of character, and his production methods reward investigation. For them he called upon the full repertoire of the Old Masters.
Reynolds did the Grand Tour and remained in Rome spellbound by the grandeur of Michelangelo, Raphael, Tintoretto and Titian. He acquired a respectable knowledge of European painting of the preceding two centuries, and gave at the Royal Academy of Arts -which he helped to found in 1768 – the famous