28. Read the sentences below and fill in the gaps with the necessary word from the box.

texture colours space shapes composition lines

1) There is some outlining in the face, like the eye, the far side of the nose, the ear, and the mouth. The ______ are mostly curved, and even those that are expected to be straight are wavy. 2) The _____ are mainly organic, except for the paintbrushes and the palette. 3) The actual ______ is probably somewhat rough. 4) The dominance of the cool _____, especially around the perimeter of the painting, helps to unify the composition. 5) There is no real sense of _____ in this painting, since the background is a field of blue that has no defined objects. This conveys a feeling of isolation and emptiness. 6) It is not a complex ______, rather it puts emphasis on the emotional aspect of the painting.

29. Read the text below. There are 13 mistakes in the text. Find and correct the mistakes.

I was strolling around a gallery in London when I first came up a portrait by Mary Beale, Britain’s first professional woman-painter. I was struck by the clarity, texture and warmth of colours used, though the fact that it was a seventeenth-century painting. I promised myself that I would look up the painter on the Your Paintings website to see what other portraits this artist produced, and to find out more about her background.

It turned out that in her day, feminists and women-artists applauded Beale because she succeeded at the male world of portrait painting. She was born Mary Cradock, in Barrow, Suffolk, the eldest child of John Cradock, a Puritan rector, and married Charles Beale in 1652 at the age of 18. Her father was a notable amateur painter, and probably her first teacher. By 1660 she gained recognition as an artist and her reputation started to take off. However, due to the insecurity of her husband’s job and the plague in London, the family moved to Allbrook, Otterbourne, Hampshire. The Allbrook Farmhouse still exists and was recently renovating and restored as a family home.

Mary not only painted but she wrote as well, and whilst living in Hampshire she wrote Essay on Friendship, in it she expressed her radical thoughts, for that period, of equality between men and women, both in friendship and marriage. This philosophy was later put into practice, as in 1670 she established a studio in Pall Mall, with her husband to work as her assistant, mixing her paints and keeping her accounts. Her work attracted a wide clientele with commissions from amongst the gentry and aristocracy, and from their own distinguished circle of friends. A portrait of Gilbert Burnet is the example with excellent use of light and shade. Beale introduced a range of styles in her work, particularly in her portraits of women, and used many informal poses, with it’s delightful colour tones and the expressive face. Her immediate family is well represented and the portrait of Charles Beale, oil on bed ticking, illustrates her use of alternatives to the artists’ canvas. Beale also painted numerous self portraits: the National Portrait Gallery’s example is particular striking. Her prices were competitive, and when her sons were old enough they assisted for the painting of draperies. Later she practised what she preached by training and employing female studio assistants. Her husband took responsibility for organizing the commissions and payments, preparing artists’ colours and maintaining her notebooks. Mary Beale died in 1699 in Pall Mall, and was buried at St James’s Piccadilly, London.