1. Read the text and translate it into Ukrainian.

2. Answer the following questions:

1. What technique did artists of the Edo period in Japan elevate?

2. When did printmaking develop in Japan?

3. What was the procedure of woodblock printing?

4. What were the favoured subjects in Japanese art in the eighteenth century?

5. What does the term “pictures of the floating world” refer to?

6. What led to a craze for prints of actors and scenes?

7. What is Kitagawa Utamara famous for?

8. What was Suzuki Harunobu noted for?

9. What style did Suzuki Harunobu use?

10. What was the influence of Japanese art to the Western art?

3. Give Ukrainian equivalents of the following words and phrases:

woodblock print

to exert a profound influence

transparent paper

robust type of paper

bark

pinnacle of excellence

to take pleasure

to float

bustling city

to lead to a craze

to heighten the glamour of prints

to be accused of

nocturnal images

strong velvety background

frail and graceful

dramatic treatment of space and form

to ignore the laws of perspective

sure stroke

4. Give English equivalents of the following words and phrases:

підносити техніку гравюри по дереву до вершини розвитку

прозорий та міцний папір

кора дерева шовковиці

зображення мінливого світу

швидкоплинні радощі повсякденного життя

порошкоподібний перламутровий пил

суперечка

використовувати контраст світла та тіні

ліхтар

тендітний та витончений

чіткі контури

використання пласких площ кольору та шаблонів

5. Make up sentences of your own with the given words and phrases.

6. Match a line in A with a line in B.

A	B
to elevate	to succeed in representing or describing
to exert	to move to a higher place, to raise in rank or status
robust	dispute, argument, or debate
transient	strong in constitution, hardy, vigorous
to capture	to use(influence, authority etc.) forcefully or effectively
glamour	a preliminary or schematic plan, draft, account etc.
controversy	intensified or increased in quality, value, power, improved
enhanced	for a short time only, temporary
outline	a mark, flourish, or line made by writing implement
stroke	charm and allure, fascination

7. Summarize the text in English. Unit 38 text

The invention of photography changes the role of the artist

The invention of photography challenged artists to find new ways of expressing their ideas and offered them both assistance and inspiration.

By the 1830s, early daguerreotype photographs were demonstrating the potential of this amazing new invention. Some artists believed it would fundamentally undermine painting. J.M.W. Turner declared, "This is the end of Art. I am glad I have had my day." Paul Delaroche echoed this remark, saying, "From today, painting is dead!" Yet, from the outset, artists derived positive benefits from the invention. It could be more effective and cheaper to work from a photograph, rather than a model. Artists such as Eugene Delacroix, Gustave Courbet, and John Millais began using photographs from as early as the 1850s.

Painters were also fascinated by what a photograph could capture. Early cameras required a long exposure, so anything that moved would appear blurred, or would leave a ghost image on the photograph. The crowds in Claude Monet's bustling street scenes are indistinct, while the foliage in Camille Corot's romantic landscapes is slightly out of focus, as if gently stirring in the breeze. These effects were inspired by "halation," in which a bright light blurs the forms of surrounding, darker shapes, as happens in photographs of sunlight filtering through leaves.

The length of exposure time reduced as photographic technology advanced and this enabled artists to see things that were not visible to the naked eye. For generations, artists had conveyed the speed of a racehorse running at full tilt by showing it with all four legs off the ground. This "flying gallop," shown vividly in the Theodore Gericault's painting of the Epsom Derby, became a cliché of racing and hunting pictures. However, Eadweard Muybridge's pioneering, frame-by-frame studies of moving animals, A Horse in Motion (1878) and Animal Locomotion (1887), proved that this was a fallacy, and artists were able to paint animals with new insight and naturalism. The same was true

20 Epsom Derby

Théodore Céricault, 1821

of the movement of the human figure, which was studied in photographic sequences of athletes by Eadweard Muybridge and Thomas Eakins, among others.

Photography also altered the way that painters constructed their compositions. Previously, artists had treated their pictures as self-contained units, in which the subject was presented in a clear and balanced manner. As instant photographic images became available, however, some painters adopted a more informal approach. Edgar Degas's figures are often cropped at the painting's edge, their heads are hidden behind posts, or they gaze at something unseen, beyond the confines of the picture. These images are framed fragments of a larger reality and reflect the sorts of images captured with a camera.

One of the most important impacts of photography was its ability to capture detail. Until the middle years of the nineteenth century, artistic skill was judged by the level of detail achieved. Artists were expected to finish their work to a realistic perfection. Now that cameras could achieve this, artists were able to paint in ways that produced alternative images of the world. At first the Romantics and Impressionists were deemed incompetent by many critics because they seemed to have failed to finish their work sufficiently. In time, however, their looser style and ability to offer their own interpretations of reality were valued above mere naturalism. Because photographers could capture the real world, artists were now free to change reality.

TASKS