Задание 2 курс озо

Задание по методическому пособию для 2 курса ОЗО должно быть выполнено в полном объёме в течение года и завершено к весенней сессии.

1. «Favorsky’s art». Прочитать текст на стр. 3. Все незнакомые слова должны быть выписаны с транскрипцией и переведены со словарём.

2. Выполните упражнения на стр. 4-5 письменно. Все незнакомые слова должны быть выписаны с транскрипцией и переведены со словарём.

3. “Natalia Goncharova”. Прочитать текст на стр. 5-7. Все незнакомые слова должны быть выписаны с транскрипцией и переведены со словарём.

4. Выполните упражнения на стр. 7- 9 письменно. Все незнакомые слова должны быть выписаны с транскрипцией и переведены со словарём.

5. “The Neo-classical movement”. Прочитать текст на стр. 9-10. Все незнакомые слова должны быть выписаны с транскрипцией и переведены со словарём.

6. Выполните упражнения на стр. 10 письменно.

7. “St. Petersburg”. Прочитать текст на стр. 10-11. Все незнакомые слова должны быть выписаны с транскрипцией и переведены со словарём.

8. Ответьте на вопросы на стр. 11 письменно.

9. Грамматика.

Этот раздел курса должен быть самостоятельно проработан по учебнику «Практическая грамматика английского языка» К. Н. Качаловой, Е. Е. Израилевича (СПб: изд. Каро, 2006, или издание другого города).

Прочитайте теорию.

Прочитайте тексты.

Выполните все задания письменно.

Все незнакомые слова должны быть выписаны с транскрипцией и переведены со словарём.

10. Выучите текст «Saint-Petersburg»(«Санкт–Петербург»). Стр. 10-11

Работа, выполненная в полном объёме, является допуском к зачёту. На зачёте студент должен рассказать устную тему «Saint-Petersburg»(«Санкт–Петербург»).

Favorsky’s art

Favorsky earned the right to be considered an exponent of modern art not only because he accepted the achievements of modern art, but because he responded to the problems agitating modern men. However, he never blindly followed fleeting artistic fashions, but always tried to find his own, original solution to current problems.

His work possess the vitality and optimism, which has characterised Russian art and literature since Pushkin’s day.

For Favorsky truth in art was inseparably linked with beauty, and for this reason any dissonance or ugliness repelled him. With him ingenuousness of perception and poetic spontaneity went hand in hand with a wise balance of artistic devices. Burst of individual and subjective did not break the immutable laws of art.

In speaking of his attitude to art of the past, Favorsky could well quote the words of Poussin: “My eye has missed nothing.” The experience of the past centuries was undoubtedly influenced the artist. He was indebted to the masterpieces of ancient art, in particular ancient Greek sculpture - an influence clearly discernible in his treatment of the human body. Similarly, ancient coins and cameos appealed to Favorsky by the clear-cut perfection of their form. Ancient decorated vases taught him the art of line and outline, highlight and rhythmic composition. He admired the Italian classic school of art mostly for its monumental painting from Giotto to Raphael and its majesty and restrained drama. In old German art he was inspired mainly by 15^th - century xylography and by the works of the graphic artist Dürer. He was likewise attracted by the best there was in French art, in particular the classical school of painting from Poussin to Cézanne.

Naturally, the Russian school of art considerably influenced the development of Favorsky as an artist. He reverently studied ancient Russian painting, the icons of the Novgorod school and of the great master Andrei Rublyov - a realm of noble simplicity and lofty spirit. Amongst the 19^th - century Russian painters he was most attracted by Venetsianov’s lyricism, the austere classicism of Alexander Ivanov and Vrubel’s experiments in reviving the mosaic. Whilst tracing Favorsky’s artistic genealogy, we should not forget to mention the role of Russian literature from Pushkin to Chekhov, not simply because Favorsky was eager to illustrate many of these Russian classicists, but primarily because the whole of his work is pervaded by the humanitarian spirit of Russian literature from which he learnt moral awareness, aesthetic views and artistic taste.

His first experiments came before the Revolution, but it was only later, in the stormy post-revolutionary years, that Favorsky developed as the brilliant artist whom we know and value today. Throughout his long artistic career he always honestly fulfilled his civic duty. In summing up his artistic development it would be wrong to say nothing of the beneficial influence of the successes scored by the art of socialist realism, of which he was a leading exponent.

Mikhail Alpatov