Шпаргалка по "Английскому языку"

        This aquatic progress brings us to the culminating point of Impressionism, the simultaneous painting by Monet and Renoir of La Grenouillere. It could be said that at that time the two friends were not only on water but also on dry bread. Their material situation was hardly brilliant and according to Renoir: “I am almost always at Monet’s and, by the way, we are getting old. We don’t get a bite to eat everyday. But I’m really quite happy because Monet is such a good painting companion.” We know the result of this painting in partership, the two famous Grenouilleres, which the two masters executed elbow to elbow. This marked an important stage in the evolution of their art, at the same time as it bore witness to that extraordinary world of boating-parties and girls which Maupassant would celebrate in his stories. Of the two friends,  Monet was the more creative, according to the evidence. He had arrived at the threshold of Impressionism, having learned the greater part of his new tricks of technique. The water was what mattered most to Monet. “With him,” noted Zola, “water is a living thing, profound, and above all, genuine. It laps around the boats.” His people are extremely simplified, almost abstract. Renoir, on the contrary, tends to lose himself in detail. The brushstrokes of Monet are firmer. Cleaner, and the contrast of colour and tone is more accentuated. Renoir’s representation is more delicate, less energetic, less well composed. Monet’s canvas is witness to his complete mastery.

        What Monet would see all his life through water, was the world as a reflection, the image of an image, the mirror and sheen of a magic prism that led, inexorably, to the liquid grays of the Water Lilies at the end. An inside-out world, unstable distorted or effaced by any movement of the water. And, as noted by Jean Clay, he dared to treat the fluid as the solid, and movement by thick rectangular strokes.

        Ever since the myth of Orpheus, artists have tried to enter the mirror. What better means than water to give the world an image of itself? Reflections are a constant and fundamental theme of Impressionists. Through reflections, the painter can take all kinds of liberties with nature, all with the air of simultaneously submitting himself to it. Reflections free artists from the necessity of contour and can break up the most static mass. Finally, reflections can permit the most unexpected combinations of colour: in the foreground of La Grenouillere, the browns, blues, and yellows, are juxtaposed with a freedom and ease almost unknown in European art up to that time.

        But what impudence, to dare to paint a popular scene of water and boats when the museums are full of the exploits of the gods, thanks to the efforts of conventional artists! It was this kind of picture, however, which enabled the Impressionists to make landscape the most important genre.

        La Grenouillere was a restaurant and a bathing place, situated on a small branch of the Seine, between Chatou and Bougival. It was chiefly frequented by artists, students, boating parties, and pretty girls, who met for dancing and bathing on Sundays and holidays. Maupassant often took this environment as a setting for his stories. “It was like perpetual fiesta, and what a mixture of people there was!” Renoir would later tell his dealer, Ambroise Vollard. “People still knew how to laugh then. The machine hadn’t taken over our lives, we had time to live and we didn’t spare it.” For the common people, care, misery, and grief stopped at the door of the ballroom and the water’s edge. People drank white wine and ate fried food, they boated and lost their hats in the undergrowth near the landing places. According to Renoir, La Grenouillere was so named not because the place in fact resembled a swamp, but because in the slang of the period, “Grenouilles” (little frogs) was the term used to designate the young women, the little working girls, who came to pass the summer Sundays there with their stalwart companions. “It was at La Grenouillere,” Kenneth Clark was to say, “that Impressionism was truly born”.

        The Impressionist palette lightened and its forms were broken up. Light pulverized mass. Trees became a single indistinct and shifting blob and shadow acted as punctuation. Landscape became the most important genre, and people became part of the landscape. True creators, they asserted a new vision of the world. They established phenomena which obliged them to paint in a new manner, to invent a way of expressing themselves, for what they had to say did not resemble anything that had gone before. The example of Renoir, in this regard, is significant in the evolution of painting. In the beginning, in his most  Impressionist period, as in Madame Choquet Reading or Summe, the title of which is a good indication of where the artist's quest was taking him, the figure melts into the vagueness of an undefined reality. The third dimension is abolished. The young women do not come forward from the composition in the classical manner. In the middle distance, the flowers are somewhat blurred, obeying the photographic law which does not allow different distances to be simultaneously in focus, and thus the scenery and the model blend into the same light - that of summer. So Renoir, like his friends, replaced the conventions of the studio by lessons of actual experience, fusing science and freedom in a discordant blend.

        Renoir began to question his freedom. The spirit of the system might be dangerous, he said to himself. In doubt, a return to the classical tradition could only be beneficial. A trip to Italy allowed him to visit Venice, Rome, the Raphael frescoes at the Villa Farnese, and to go as far as Naples, where he became ecstatic over the Pompeian paintings. "Then there was a break in my work," he would say, "I was at the end of Impressionism and I found that I didn't know how to paint or draw. I was at an impasse." In a period which has been called Ingresesque and which he more correctly called his "sharp style," he stopped suggesting forms by touches of color and outlined them with a firm, clear line, polishing them with a smoother, more pearly finish. But this period which left us such masterpieces as Dance in the City and Dance in the Country lasted only a short time. Renoir now outlined his forms firmly and gave them a glossy finish. He made many preparatory drawings the same size as the proposed picture and traced them carefully. He no longer concerned himself with evoking the subject by the use of colour; it was the line that mattered. His backgrounds remained the same as before, built up with tiny touches of colour, and the strongly outlined figures in the foreground stood out all the more. It is this period of pearly flesh and delicate materials that is most sought after by collectors.

      For Renoir, “the painter of happiness”, life is never artificial. With Dance in the City and Dance in the Country, as Jean-Louis Vaudoyer has noted, “It’s not a question of two models passively posing, but rather of two human beings who live one memorable moment of their existence.” It is what separates, among other things, academic art from that of the Impressionists. In Dance in the Country, he has posed his future wife, Aline Charigot, and his friend the painter, Paul Lhote. For Dance in the City he used a young acrobat, Maria Clementine, who later became known under the pseudonym of Suzanne Valadon. These two superb and inseparable works, owned for a long time by the Durand-Ruel family, have just been added to the Louvre collections.

       In quest of his freedom, Renoir came nearer and nearer to Boucher, whom he had always admired. He didn't want to hear any more about Impressionism, but rather about tradition. His young women themselves became landscapes. With the charm and naturalness which are his own he began similarly to evoke them in ripe ears of corn or fruit matured under a summer sun. His personality invaded the canvas. With Woman in a Straw Hat he attained the living image of a moment’s happiness.

        This he wanted to make his chief artistic preoccupation. However, he kept the shimmering luminous strokes of Impressionism, and took from his classical period the lush flesh and the diaphanous robes in a play of pearly transparencies. At the end of his life he alternated bunches of roses with the sinuous and ample body of Venus. Landscapes totally disappeared. They were replaced by roses, which became something of an obsession. When Vollard expressed his astonishment, Renoir replied that they came from his investigation of flesh tones made for his nudes. With Gabrielle with a Rose the final stage of his evolution, he seems to revive, under the Provencal sky which so resembles that of Greece, the ancient myths of the Golden Age. He brings to the laundresses of Cagnes, to his beloved servant Gabrielle, the grace and nobility of the divinities of Olympus, and he wrote, “How admirable are the Greeks! Their life was so happy that they imagined that in order to find love and paradise the gods had to descend to the earth. Yes, earth was the paradise of the gods… That’s what I want to paint!”

      Gauguin went to find his paradise in Tahiti. Leaving Brittany and Impressionism at the same time, he departed for the land of dreams. In Brittany, like his Impressionist friends, he at first wanted to affirm his independence, his break with the bourgeoisie, his desire to recover in a simple and natural setting those elementary truths through which the artist can let whatever he feels blossom and find the most suitable means of expression for himself. His technique is therefore that of Impressionism, but he already wanted to escape from a revolution which was not his own, for the first and hardest battles were over when he joined it. He decided to accept the break and to try his chances away from the civilized world. There he introduced into his technique his own means, and began to cultivate more systematically certain procedures such as the use of color, not only in little, glittering, juxtaposed strokes as the Impressionists had done, but also in long parallel hatching, like Van Gogh. The most important thing is the appearance of a line around the form, which is totally opposite to the ideas of Impressionism. His palette became modified, simplified, and adopted warmer and harsher tones in contrast. It was the first step in the transcribing of feeling.

      For Toulouse-Lautrec, beauty was movement, life the absence of moral or physical constraints. It was the same movement which attracted Degas, the transformation that accompanies motion. Both invented a technique for themselves, the one to enable him to retain on paper the magic of the image, the other to enable him to draw faster. Degas tried distemper or paste, egg or gouache, one after the other, to try to rediscover the matte finish of Italian frescoes. He even tried adding highlights of gold or silver to the gouache or watercolour in order to paint fans directly on the silk. He tried pastel, spraying it with boiling water, and thus obtaining a paste which he worked with his brush or a wash which he spread, according to the thickness or thinness. Lautrec invented his personal technique for going more quickly, diluting his colours with gasoline so that they would dry more rapidly. He chose tinted papers which would serve as already prepared grounds and have colour value. No need how to waste time in the application of several coats of colour. The chosen ground showed between the brushstrokes. In order to translate the magical effects of the light projectors on the veils of Loie Fuller, which seemed to give them multicoloured movement, he made a print which he touched up with watercolour and dusted with gold power. Watchful, perched on a bar stool or leaning on a marble-topped table, Lautrec awaited his prey: a woman, a dog, a glove, a stocking, a couple, a dress, a ribbon, everything or anything that might belong to a man or a woman.

Импрессионизм

 

       Импрессионизм,  направление, возникшее во Франции  в 1860-х, знаменует рождение  современной живописи в собственном  смысле слова. Это утверждение  может показаться странным, ибо  живопись импрессионистов, легкая  для восприятия, получила всеобщее признание, чего нельзя сказать обо всех течениях современного искусства. У посетителей парижской выставки, организованной молодыми художниками в 1874, полотна, столь ценимые сегодня, вызвали настоящий шок. Картина Клода Моне «Впечатление. Восход солнца» (1874) надоумила одного возмущенного критика изобрести термин «импрессионизм», которым он хотел выразить свое пренебрежительное отношение к живописи Моне и его друзей Писсарро, Ренуара, Дега и Сислея. Импрессионисты были революционерами, выступившими против официальной живописи, создававшейся целиком в стенах мастерской. Наперекор многовековой традиции они писали на открытом воздухе и отказались от исторических, религиозных и мифологических сюжетов; они изображали «повседневность»: простых горожан, танцовщиц из парижской Оперы, гребцов, «впечатления» от природы. И именно потому, что они писали на пленэре, а не в ателье при холодном северном свете, их краски были более светлыми и яркими, и даже тени стали цветными. На лицах персонажей, изображенных на картинах, заиграли солнечные рефлексы, а контуры утратили определенность. Эта новая жизнь света и цвета, составляющая красоту полотен импрессионистов, давалась нелегко. Она предполагала глубокое знание теории цвета и неустанные наблюдения, имевшие целью передать как можно более правдиво и естественно то, что воспринимает глаз художника. Импрессионисты знали, что существуют три основных цвета: красный, синий и желтый, дополняющие друг друга и дающие при смешении дополнительные цвета: зеленый, оранжевый и фиолетовый. Весь цветовой спектр есть результат разложения белого света, что мы иногда и наблюдаем на примере радуги. Поскольку импрессионисты стремились передать солнечный свет максимально правдиво, они применяли эти чистые цвета. Так возникло «чудо импрессионизма» - живопись, сотканная из света и воздуха. Наивысшего расцвета импрессионизм достиг в 1870-е.

Пуантилизм

 

        Живописная техника неоимпрессионистов, появившаяся около 1883 года: краски  кладутся на холст не мазками,  а точками и штрихами (point – точка). Используются только основные цвета. Каждая цветовая зона разлагается, таким образом, на бесконечное число красочных частиц, которые в контрастных сочетаниях фокусируются затем на глазной сетчатке зрителя, создавая впечатление тонкой нюансировки цвета. Пуантилисты продолжили живописные поиски импрессионистов в передаче световоздушной атмосферы, обогатив их использованием достижений науки в области оптики, теории цвета и физиологии восприятия. Наиболее яркими и последовательными представителями пуантилизма были Жорж Сера и Поль Синьяк.

 

 

 

 

 

 

 

VOCABULARY NOTES

 

1. art – искусство, ремесло, умение, знание

black art – черная магия

art is long, life is short – (посл.) жизнь коротка, искусство вечно

a work of art – произведение искусства

art-lover – ценитель, любитель искусства

art critic – художественный критик

genuine art – подлинное, настоящее искусство

pretence of art – подделка, фальшивка

graphic art – графическое искусство

applied art – прикладное искусство

folk art – народное искусство

the Fine Arts (painting, music, sculpture) – изящные искусства

artist – художник, артист, мастер своего дела

а professional artist – профессиональный художник

an amateur artist – художник - любитель

a prominent artist of one’s day – выдающийся художник своего времени

artistic – артистический, художественный

artistic skill – артистическое мастерство

artistic taste – художественный вкус

artistic person – артистический человек

artificial - искусственный

artificial respiration – искусственное дыхание

artificial smile – притворная, ненастоящая улыбка

arty – (разг.) с претензией на художественность (о вещах), претендующий на тонкий (художественный) вкус (о людях)

2. to draw – тащить, волочит, тянуть; вытаскивать; привлекать; получать:; чертить, рисовать, проводить линию

to draw smb. out – разговорить к-л, букв. вытягивать слова

to draw one’s inspiration from nature – черпать вдохновение в природе

to draw a conclusion – делать выводы

to draw in pencil – рисовать карандашом

to draw a bunch of flowers – нарисовать букет цветов

to draw to a close – приближаться к окончанию, закрытию

draw – то, что привлекает, нравиться, приманка

drawing – рисование, черчение, рисунок.

oil painting – картина, написанная масляными красками, живопись масляными красками

water-colour - акварель

3. picture – картина, изображение, рисунок, портрет

to be a picture of smb. – быть вылитым

sketch – эскиз, набросок

picture gallery – картинная галерея

in the' foreground (background) of the picture – на переднем (заднем) плане картины

the subject matter of the picture – тема, содержание, предмет, сюжет картины

syn. piece - картина

a piece of art – художественное произведение

a flower piece – картина, на которой изображены цветы

the picture of health – воплощение, олицетворение здоровья

to picture – изображать на картине, описывать, живописать; представлять себе

syn. to depict – рисовать, изображать, описывать, обрисовывать

to depict the scenes common life – изображать сцены из жизни простых людей

syn. to represent - изображать

syn. to portray – рисовать портрет, изображать, описывать

ceremonial portraits – официальный, церемониальный портрет

picturesque – живописный, колоритный, яркий

4. to paint – писать красками, заниматься живописью; красить

to paint smth. white (ret, etc) – покрасить ч-л. в белый цвет

to paint from nature – рисовать с натуры

to paint smth. in bright colours - описывать яркими красками, (перен) представить в розовом свете, приукрасить

paint – краска, краски (pl)

a box of paints – набор красок

painter – живописец, художник; маляр

painter of battle-pieces - баталист

genre painter – жанровый художник

landscape painter - пейзажист

seascape painter - маринист

portrait painter - портретист

painting – живопись, роспись, картина, окраска

a still life painting - натюрморт

a collection of paintings – коллекция картин

an exquisite piece of painting – изысканная картина

syn. canvas – холст, картина

5. colour – цвет, оттенок, тон;

primary (simple, fundamental) colours – основные цвета

all colours of the rainbow – все цвета радуги

out of colour – выцветший, выгоревший

to paint smth. in (dark) bright colours – рисовать яркими (мрачными) красками

bright (dark, rich, cool, warm, dull, faded) colours – яркие (темные, насыщенные, холодные, теплые, тусклые, блеклые) тона

colour scheme – колор, цветовая гамма

off colour – чувствовать себя не слишком хорошо, быть не в настроении

to colour - красить, окрашивать, раскрашивать

coloured  - цветной, раскрашенный, окрашенный, красочный

a coloured print – цветной оттиск, отпечаток, гравюра

multicoloured – цветной, многоцветный, разноцветный

colourless – бесцветный, бледный

a colourless story (person) – скучный рассказ, заурядный человек

colourful – красочный, яркий

colouring – красящее вещество, колорит, окраска, краски (художника), манера (художника)

gaudy colouring – яркий, кричащий, безвкусный, колорит; цветистый, витиеватый (о стиле)

subtle colouring – тонкий, нежный, искусный колорит

poor colouring – бедный, блеклый колорит

colourist - колорист

7. Word Combinations and Phrases

to be in good (bad) shape – быть в отличной (плохой) форме

to do smth. at a great sacrifice to one's health – пожертвовать ради ч-л. здоровьем

to take up art (painting) – заняться живописью

to avert a disaster – предотвратить несчастье

to look at smb./smth. appraisingly – посмотреть на к-л./ч-л. оценивающе

a box of water-colours – коробка акварелей

a tube of oils – тюбик масляных красок