ii. Give English equivalents of the following phrases:
Королевская Академия искусств; готовить холст для к-л; торжественные позы; великолепные портреты; авторитетная фигура; два предшествующих века; стать мишенью для к-л.
iii. Make up sentences of your own with the given phrases
IV. Here are names of the English painters and the titles of their works of art. Match them up. Describe the paintings.
1. Reynolds
2. Hogarth
3. Gainsborough
a. A Rake's Progress
b. Lady Sarah Bunbury
c. Market Cart
d. Mary Countess Howe
V. Translate the text into English.
Первым президентом Королевской Академии искусства, открытой в 1768, был Джошуа Рейнольдсс. Теоретически он выступал как сторонник классицизма, однако практически выходил за рамки этого направления. В молодости Рейнольдсс посетил Италию, в старости – Голландию и Фландрию. Он восхищался колоритом Тициана и Рубенса и многому научился как у них, так и у Рембрандта. После переезда в Лондон в 1753 г. Рейнольдсс стал самым знаменитым портретистом Британии. Иногда он писал до 150 портретов в год. В форме парадного портрета Рейнольдсс сумел выразить веру в человека. С появлением Рейнольдсса английская живопись получила всеобщее признание.
VI. Summarize the text.
VII. Topics for discussion.
1. Reynolds's portraits.
2. Reynolds's Enlightenment activity.
Unit IV Ingres (1780-1867)
Jean-Auguste-Dominique Ingres remained faithful to Neo-classic ideals to the end of his life, he formed the centre of the conservative group that utilised the Principles of Neo-classicism, forged in the Revolution (1789-1799) as a weapon for reaction. Ingres was an infant prodigy, attending art school at eleven, and a capable performer on the violin. He entered the studio of David at seventeen, but as long as he lived he never accepted the cubic mass of David's mature style preferring curving forms flowing like violin melody. Winner of the Grand Prix de Rome, he remained in that city from 1806 until 1820, and returned there from 1835 to 1841, absorbing not only ancient but also Renaissance art, especially that of Raphael. Ingres stayed four years in Florence (1820-24) where he was one of the first to appreciate the Florentine Mannerists. The first pictures he exhibited at the Salon were almost uniformly ridiculed, accused of being everything from Gothic to Chinese, and his special non-political Neo-classicism was worked out in isolation.
In 1808 Ingres did one of his finest paintings, whose pose he revived again and again in later works, the Valpincon Bather, named after the collection it first adorned. This lovely nude is drawn with a subtle contour line delicately flowing over shoulders, back and legs. The surface is modelled to porcelain smoothness, but is never hard; Ingres was always at his best with delicate flesh and soft fabrics.