МІНІСТЕРСТВО ОСВІТИ І НАУКИ, МОЛОДІ ТА СПОРТУ УРКАЇНИ

Черкаський національний університет

імені Богдана Хмельницького

Навчально-науковий інститут іноземних мов

Навчально-методичний посібник

“AMERICAN PAINTING”

З дисципліни «практика англійської мови»

для студентів ІІІ курсу стаціонарної та заочної форм навчання

напрям підготовки 6.020303 Філологія

(мова і література (англійська))

Галузь знань 0203 Гуманітарні науки

Черкаси – 2012

Навчально-методичний посібник «American Painting» для студентів ІІІ курсу з дисципліни «Практика англійської мови» напрям підготовки 6.020303 Філологія (мова і література (англійська)) Галузь знань 0203 Гуманітарні науки / Уклад. С. В. Лєвочкіна, О. Ю. Чернуха. – Черкаси : видавець Чабаненко Ю., 2011. – 53с.

Рекомендовано до друку

Вченою Радою Черкаського національного університету

імені Богдана Хмельницького

(протокол № 1 від 28 серпня 2012 року)

Рецензенти

С.С. Данилюк – кандидат філологічних наук, доцент кафедри практики англійської мови ННІІМ Черкаського національного університету імені Богдана Хмельницького

Л. О. Гречуха – кандидат філологічних наук, доцент кафедри прикладної лінгвістики Черкаського державного технологічного університету

ISBN

Table of Contents

Introduction / Передмова…………………………………………………………4

Part 1. The History of American Painting……………………………………….5

Part 2. Legends of American painting…………………………………………..13

Part 3. Genres of Painting.………………………………………………………28

Part 4. Art Galleries. Museums…………………………………………………38

Part 5. Consolidation…………………………………………………………….45

Appendix………….………………………………………………………………51

References………………………………………………………………………53

Introduction

Цей навчально-методичний посібник укладено для студентів третіх курсів університетів та педагогічних інститутів філологічних спеціальностей денної та заочної форми навчання для розвитку навичок усного та писемного мовлення з теми “AmericanPainting”. Навчально-методичний посібник має 5 розділів: історія розвитку Американського мистецтва, легенди Американського живопису, жанри живопису, мистецькі галереї та музеї Америки, узагальнення та закріплення вивченого матеріалу. Кожна частина включає текстовий матеріал, що супроводжується тематичним словником та різноманітними комунікативно-спрямованими вправами, направленими на закріплення лексики, контроль розуміння прочитаного, удосконалення навичок читання та писемного мовлення, розвиток діалогічного та монологічного мовлення, творчих та аналітичних вмінь. Застосування ілюстративного матеріалу у завданнях та текстах сприяє полегшенню сприйняття та кращому розумінню нового матеріалу. Остання частина навчально-методичного посібника містить у собі вправи на повторення та закріплення вивченого матеріалу, а Додатки включають репродукції картин Американських митців для їх опису студентами.

Part I. The history of american painting

After the Declaration of Independence in 1776, which marked the official beginning of the American national identity, the new nation needed a history, and part of that history would be expressed visually. Most of early American art (from the late 18th century through the early 19th century) consists of history painting and portraits created since colonization.

George Washington (Lansdowne portrait) by Gilbert Stuart, 1796.

Most Americans have fixed their eyes so exclusively on European painting that they are unaware of their own; they do not realize that we are the inheritors of a tradition of which we may well be proud. Flourishing on these shores for almost three centuries, our painters have expressed with brilliance the life and the dreams of the thirteen Colonies and the expanding United States. They may face the future with confidence based on strength.

Colonial Period and The Eighteenth-Nineteenth Century

William Vans Murray by Mather Brown, 1787.

Painting in American colonial period consisted mainly of portraits. John Smibert, America's first well-trained artist, landed at Newport in 1729. Robert Feke painted the beauty of the aristocratic yearnings of Colonial society. Benjamin West (1738 - 1820) was a Neoclassical painter; West painted scenes of American life. He had an important leadership and influence on later artists (he had a long list of American students that later became famous painters).

Charles Willson Peale was the patriarch of The Peale Family, the First Family of American art; portrait painter, Charles Willson Peale exerted a major influence on American painting through his own work and that of his sons, brothers and nieces; Rembrandt Peale, his son, was also a remarkable painter; they contributed in a large way to the growth of American artistic interests and institutions.

Gilbert Stuart made portraits of the newly elected government officials while John Singleton Copley painted emblematic portraits for the increasingly prosperous merchant class. John Trumbull is known as the artist who was making large battle scenes of the Revolutionary War.

The Nineteenth Century

Portraiture was also important but landscapes and folk customs began to express in this period. The first painting school of American art was the Hudson River of landscape painters, 1820 (The Hudson River School style involved carefully detailed paintings with romantic, almost glowing lighting); Asher B. Durand (1796-1886) and Thomas Cole (1801-1848) were prominent artists of this School. Frederic Edwin Church (1826 – 1900) was also a landscape painter. He was a central figure in this Hudson River School. Albert Bierstadt was also part of the Hudson River School (not an institution but rather an informal group of like-minded painters).

The Hudson River painters' directness and simplicity of vision influenced and inspired such later artists as John Kennset and the Luminists; as well as George Inness and the tonalists (which included Albert Pinkham Ryder, Ralph Blakelock among others), and Winslow Homer (1836–1910), who depicted rural America—the sea, the mountains, and the people who lived near them. Middle-class city life found its painter in Thomas Eakins (1844–1916), an uncompromising realist whose unflinching honesty undercut the genteel preference for romantic sentimentalism. The Hudson River School landscape painter Robert S. Duncanson, and Henry Ossava Tanner who studied with Thomas Eakins were two of the first important African American painters.

Ruined Tower by Thomas Cole, 1832-36

By the 1830s, landscape painting had become the vehicle for depicting a national identity. Throughout the rest of the century, the depiction of the American land took a variety of forms - as mysterious and sublime wilderness, a new territory requiring scientific documentation, the pioneers' territorial and natural destiny, or as the individual's private retreat.

In the late 1880s, Impressionism appeared in America. Theodore Robinson, Mary Cassatt and Childe Hassam are examples of this School. James Abbot McNeill Whistler worked mainly in Europe; he was a precursor of abstract art.

History painting was also a popular genre in American art during the 19th century. William B. T. Trego a war artist was one of the last of the genre. During his lifetime, Trego painted over 200 historical and military paintings.

Landscape Scene from the Last of the Mohicans by Thomas Cole, 1827.

Rocks and Western Shore of Gloucester Outer Harbor by Fitz Hugh Lane, 1857.

The Coast of Labrador by William Bratford, 1866.

The Twentieth Century

American Gothic by Grant Wood, 1930.

Controversy soon became a way of life for American artists. In fact, much of American painting and sculpture since 1900 has been a series of revolts against tradition. "To hell with the artistic values," announced Robert Henry (1865–1929). He was the leader of what critics called the Ashcan school of painting, after the group's portrayals of the squalid aspects of city life. American realism became the new direction for American visual artists at the turn of the 20th century. Soon the Ashcan school artists gave way to modernists arriving from Europe—the cubists and abstract painters promoted by the photographer Alfred Stieglitz (1864–1946) at his 291 Gallery in New York City. John Marin, Marsden Hartley, Alfred Henry Maurer, Arthur Dove, Henrietta Shore, Stuart Davis, Stanton MacDonald-Wright, Morgan Russel, Patric Henry Bruce, and Gerald Murphy were some important early American modernist painters.