Западноевропейское искусство от Хогарта до Сальвадора Дали

The Studio: A Real Allegory Concerning Seven Years of My Artistic Life – «Ателье: реальная аллегория, определяющая семилетний период моей художественной жизни»

The Pavilion of Realism – «Павильон реализма»

The Universal Exposition – Всемирная выставка

Office for the Dead – заупокойная служба

I. Read the text. Make sure you understand it. Mark the following statements true or false.

1. Courbet favoured Neo-classicism.

2. Courbet's art embodied the High Renaissance ideals.

3. Courbet's pictures dealt with historical events.

4. Goya had a strong impact on Courbet's works of art.

5. A special shed for a large exhibition of Courbet's paintings was called The Pavilion of Realism.

6. Courbet set forth the principles of his art in a special monograph.

II. How well have you read? Can you answer the following questions?

1. How was Gustav Courbet characterised? What did he determine to create when he came to Paris? What were Courbet's ideas concerning art? What paintings did the Parisian public favour at that time?

2. What subjects did Courbet prefer to paint? Did the public understand The Stone Breakers . What is depicted in this painting? What does its objectivity betray? What methods did Courbet use to achieve the effect? How did Proudhon call this work of art?

3. What Courbet's work of art fulfilled his requirements for true history painting? What does it represent? What does the arrangement of the figures recall? What did Courbet want to express by placing the figures within these landscape limits? How did Courbet paint the faces? What makes this canvas one of the strongest and noblest works of all French painting?

4. What happened in 1855? What is depicted in The Studio Why did Courbet show the relationship between the artist and the sitters in such an unconventional way? What does the nude model symbolise? How did Courbet group the figures? What did Delacroix say about this painting?

5. What did Courbet do during and after the revolution of 1870? Why was Courbet imprisoned? What did Courbet do when he was in prison?

6. What happened to Courbet later in life?

III. i. Give Russian equivalents of tlie following phrases:

to remain obscure; the representation of objects; a champion of working-class rights; to embody the ideas; to reject history painting; the paintings are concerned with events of; to practise as an amateur; dehumanising labour; to lay paint on with a palette knife; the inescapable end; an ordinary inhabitant; altar boys; pallbearers; the parish priest; simple dignity; sculptural density recalling the prophets; in exile; the rocky escarpment; a parable from the Gospels.

ii. Give English equivalents of the following phrases:

оставаться в тени; отвергать историческую живопись; изложить принципы реализма; скалистая стена; в ссылке; скульптурная масса, напоминающая пророков; неизбежный конец; приходской священник; евангельская притча; защитник прав рабочего класса; простой деревенский житель; изображение предметов; поддерживающий концы покрова (на похоронной процессии); мальчик, прислуживающий в алтаре; наносить краску шпателем; воплотить идеалы реализма.

iii. Make up sentences of your own with the given phrases.

iv. Arrange the following in the pairs of synonyms:

a) escarpment; extraordinary; amateur; betray; destiny; to decree; dismantle;

b) non-professional; fate; exceptional; wall; reveal; break down; to announce.

IV. Here are descriptions of some of Courbet's works of art. Match them up to the titles given below.

1. The artist placed himself in the centre, at work on a completely visible landscape.

2. The inescapable end of an ordinary inhabitant of the village is represented with sober realism.

3. The simplicity of this relief-like composition is deeply classical.

a. The Stone Breakers

b. The Studio: A Real Allegory Concerning Seven Years of My Artistic Life

c. A Burial at Ornans

V. Translate the text into English.

Становление критического реализма связано с именем Гюстава Курбе. Он приехал в Париж в 1840, чтобы «завоевать его». В 1842 г. художник дебютировал в Салоне. Курбе обращался к темам труда и нищеты. В картине «Каменотесы» выражено сочувствие к доле смирившихся со своей судьбой людей.

Во время революции 1848 г. Курбе подружился с некоторыми будущими участниками Парижской Коммуны. После разгрома революции Курбе уехал в родные места, в Орнан, где создал прекрасные живописные произведения.

Самая крупная работа Курбе – «Похороны в Орнане» Это монументальное произведение на современный сюжет. Курбе передал типичное через индивидуальное. Картина «Похороны в Орнане» считается одним из лучших произведений классического европейского искусства.

В 1855 г., когда Курбе не был принят на Всемирную выставку, он открыл свою экспозицию в деревянном бараке, названном «Павильоном Реализма» и предпослал ей каталог, в котором изложил свои принципы реализма. Декларация Курбе вошла в искусство как программа реализма. В этом же году Курбе создал программное произведение «Ателье», посвященное проблеме места художника в обществе.

Курбе принимал активное участие в Парижской Коммуне. Последние годы художник жил в изгнании, в Швейцарии.

VI. Summarize the text.

VII. Topics for discussion.

1. Realism in art.

2. Courbet's mode of life and work.

3. Courbet's revolutionary art.

Edouard Manet came from a well-to-do Parisian family. The young Manet was trained for a naval career, but then permitted to enter the studio of the conservative painter Thomas Couture, where he received thorough training. Trips to Italy, the Netherlands, Germany and Austria in the 1850s brought him into contact with the work of the Old Masters, through careful coping. He was particularly impressed by the optical art and brilliant brushwork of Velazquez, whose work he saw during a brief visit to Spain in 1865. He also admired Goya and Courbet.

In 1863 Manet exhibited at the Salon des Refuses a canvas entitled Luncheon on the Grass which created an uproar. The grouping of a nude female figure and two fully clothed men in a public park shocked the Parisians as flagrant immorality. In actuality Manet had wittily adapted the composition and the poses from a sixteenth century engraving after a design by Raphael. Manet simply modernised the clothing, surroundings and accessories. Courbet found the painting formless and flat. This flatness was just what Manet was striving for. Illumination seems to come from the direction of the observer, and eliminates mass. By this painting Manet pointed out his belief that the important thing about a picture is not what it represents but how it is painted. The erasure of form allows him to concentrate on the luminosity of the green grass and foliage, the sparkling remains of the picnic, and the glowing flesh of the nude. By posing an insoluble enigma of subject, he has transformed a group of figures into a still life.