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Unit 5. F rom the History of Art
splendid pictures and it started to bring fame to him. He worked much at
that time and was noticed by Maxim Vinaver, who granted Shagal the
scholarship of 125 francs a month to continue his studies abroad. Mark
went to Paris. A. Akhmatova wrote, “He took his magic Vitebsk to Paris.ˮ
In Paris Shagal lived and worked alongside with other young artists
who had come from different countries to master painting. And we must
admit later a lot of them became famous representatives of the French
drawing school. He also got acquainted with P. Picasso, F. Lezhe and
others. In one of his letters Shagal wrote, “In Paris I neither looked for the
addresses of Academies nor craved for meetings with professors.
Generally speaking the city itself taught me: its streets, merchants under
the open sky, boys in the cafes, peasants and workers. There was
a
wonderful free light above them all. It helped me to penetrate into the
heart of the French painting.ˮ He visited different exhibitions, museums
and spent a lot of time by shop-windows with pictures. A. Lunacharsky
wrote about him, “He is known in Paris. His mad pictures are painted in
a bit childish manner. They are full of rich and capricious fantasy,
grimaces of horror and humour, but they have attracted the attention of
the connoisseurs.ˮ
In 1914 Shagal came back to Russia. He started to work at the so-called
“Vitebskʼs seriesˮ which consisted of 60 pictures on cardboard and paper.
The writer Yuri Nagibin underlined, “Itʼs difficult to understand Shagal
if we withdraw Vitebsk from his life. Neither Petersburg, where he
studied, nor Moscow, where he worked, nor France, where he had lived
the largest part of his life, gave him even the tiniest part of the impressions that Vitebsk had presented to him.ˮ
In 1915 Shagal married Bella Rosenfeld. He realized that his wifeʼs
relatives were against their marriage. Thatʼs why they went to Petrograd.
There he made friends with A. Block, V. Mayakovsky, S. Esenin,
Pasternak, B. Bonch-Bruevich and other celebrities. He organized his
B.
first personal exhibition which was a great success. In 1916 his daughter
Ida was born and in 1918 he was appointed Commissioner on the problems of art in Vitebsk region. He had a right to open art schools, museums
and to organize exhibitions, lectures and reports on art. Together with his
four pupils Shagal took part in the decoration of Vitebsk for the first anniversary of the Great October Revolution. He founded the National Art
81
I. Basic course
School in Vitebsk. He wrote, “I want the children of poor town dwellers
to study art and not to waste paper at home.ˮ In 1919 the first State
Exhibition of local and Moscow artists was organized in Vitebsk.
Forty-one painters took part in it and Shagal was among them.
In 1920 Shagal left Vitebsk for Moscow and then he went to Paris. He
explained, “I left my Motherland because I had come to the conclusion
that I needed Paris. The soil nourishing the roots of my art is Vitebsk. But
Paris is necessary for my life as water for a tree.ˮ
He died in 1985 in Sen-Pol-de-Vense.
In each of his pictures, Mark Shagal returned in dreams to his native
place on the banks of the Dvina river. No matter where in the world his
brush was touching the canvas, the painterʼs love to the Vitebsk of his
childhood and youth was part and parcel о his life. Perhaps this very
mystical “Vitebskʼs breedingˮ allowed Shagal to keep the perception of
childhood in this creative work forever. In a single moment, he woke up
too early from childhood dreams, and, later on, he tried to revive that
moment in his canvases again and again. He demonstrated his love of his
native land by means of his mastery. A Latvian journalist compares this
sort of mastering with Nabokovʼs idea, “The difference between comic
and cosmic lies in a simple letter.ˮ Shagal managed to keep his world
within the reaches of this single letter.
The museum, named after Shagal was opened in Vitebsk only in 1991.
We must admit that until that time, few people took the risk of publishing
books or organizing exhibitions of Shagalʼs works in the former Soviet
Union. [7]
7. Answer the questions.
1. When and where was Mark Shagal born?
2.
Where did Shagal continue his studies after finishing the art school?
3. Who was his teacher in Petersburg?
4. When did he meet Bella Rosenfeld?
5. What started to bring fame to Shagal?
What did Shagal do in Paris?
6.
7. What were his pictures like at that period?
8.
When did he return to Vitebsk?
9. Why did he and his wife go to Petrograd?
10. Why did he decide to go to Paris?
11. When and where did he die?
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Unit 5. F rom the History of Art
8. Complete the sentences using the text about Mark Shagal.
1. It should be mentioned that _________________________________.
2. We must admit __________________________________________.
3. Generally speaking, ______________________________________.
9. Agree or disagree with the following statements.
1. Moisey Shagal was born in a rich family in Paris. 2. He taught Pan
at the art school. 3. Mark Shagal went to Petersburg on the invitation of
N. Rerikh. 4. Maxim Vinaver was Markʼs relative thatʼs why he sent him
to study to America. 5. In Paris Shagal was introduced to the best teachers
of drawing. 6. When in 1914 Shagal returned to Belarus, he was met by
Bella. 7. Mark married Bella and went to Petrograd with her. 8. They
lived together with his friends S. Esenin and V. Mayaykovsky. 9. For his
revolutionary ideas Shagal was sent into exile to Vitebsk. 10. In Vitebsk
he worked at the art school. 11. He died in Paris. 12. A majestic monument to Mark Shagal was opened in Paris.
READING COMPREHENSION
10. Read the text Ilya Repin and do the tasks after it.
Ilya Repin
Ilya Efimovich Repin, a painter of historical subjects known for the
power and drama of his works, is considered an outstanding realist of his
generation. Born to a poor family near Kharkov Repin learned his trade
from an icon painter named Bunakov. In 1864 Repin became a student at
the Academy of Fine Arts at St. Petersburg. In 1871 he won an academy
scholarship that enabled him to visit France and Italy, and when he
returned to Russia he devoted himself to depicting episodes from Russian
history. In 1894 he became professor of historical painting at the academy
in St. Petersburg. Although Repin was a good draughtsman and a skilled
colourist, he was known for his subject matter. His deeply moving scenes
of common people were an indictment of the Tsarist regime.
His powerful Barge Haulers on the Volga, of 1873, depicting people
harnessed together like beasts of burden, epitomizes the stark realism
and social criticism. This painting became a model for Soviet Union
Socialist Realist painting.
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I. Basic course
Repinʼs treatments of Russian subjects tend to be grim in tone, sharply
drawn, and boldly composed. In his Religions Procession in the Kursk
Gubernia, of 1880–1883, a ceremonious procession is moving along
a
dusty road. Repin depicted almost all the estates (сословия) of provincial Russia. Each figure is endowed with a characteristic pose, movement
and gesture. In the centre of the procession the painter placed landowners,
merchants, clergymen and officers, representatives of the middle and
upper classes. The fat landownerʼs wife, who carries the miracleperforming icon is very expressive. She is full of her personal importance. Her arrogant look mirrors the self-confidence of the representatives
of the propertied classes. Their wellbeing is protected by village police
officers. The procession is headed by stalwart peasants; behind them two
women of the lower merchant class cautiously carry an empty icon case.
A choir is also represented here. No face shows deep devotion to God.
Among the crowd the figure of an archdeacon stands out for the bright,
festive clothing, but he too is plunged in his own thoughts. True faith is
seen only in the images of the poor and pilgrims. The most expressive
image is that of the hunchback.
With the development of realism, historical painting underwent great
changes. In his large historical paintings Ivan the Terrible and His Son
Ivan on 16 November 1581, (1885), and Zaporozhian Cossacks (1891)
Repin resurrected the spirit of historical events and recreated historical
characters, their fates and passions. The latter is the painterʼs best-known
work.
Repin also created portraits of his great contemporaries, such as Leo
Tolstoy, Mikhail Glinka, and Modest Mussorgsky. [10]
11. Answer the questions about the text Ilya Repin.
1. What do you know about Repin as a painter?
2. What family did Repin come from? Where did Repin study painting?
3. What was Repin known for? What subject matter did he prefer?
What does Repinʼs Barge Haulers on the Volga epitomise?
4.
5. What issue did Repin in his Religious Procession in the Kursk
Gubernia?
6.
Whose portraits did Repin create?
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Unit 5. F rom the History of Art
12. Comment on the following statements.
1. Ilya Efimovich Repin is considered an outstanding realist of his
generation.
2. Repin depicted almost all the estates of provincial Russia.
3. With the development of realism, historical painting underwent great
changes.
13. Write a short summary of the text Ilya Repin in your exercise
book.
14. Read the text Straw Weaving and pick out 20–25 key words
retelling.
Straw Weaving
Origins
Straw weaving is one of the most ancient handicrafts. The researchers
find imprints of straw articles on pieces of Ancient Egyptian crockery.
In Belarus a straw weaving craft has been known for a long time. In
the past people covered with straw the roofs of houses, it was used as
a bedding and a forage for domestic animals. Villagers used to make
clothes and footwear from straw; they slept on it and during a lean year
even add it in bread. Different household utensils, hats, toys and adornments were also made from straw.
Straw Weaving in Belarusian Rites
Various figurines made from straw are not just toys but symbols of
some divinities-protectors. Being a hero of many fairy tales, a horse
always accompanied a man and was his friend, adviser and protector;
a goat in its turn was always a symbol of harvest and fruitfulness; a doll
was a protector for women; birds represent our ancestors’ souls which
protected those who are still alive.
Keeping and decorating the first and the last sheaf was the most
ancient and widespread tradition. People of different cultures across the
world strongly believed in a spirit of harvest whose house was damaged
by people at the time of harvesting; that is why different items from straw
such as wreaths or cages were created to temporarily substitute his
damaged house. In Belarus such a function was performed by unreaped
ears left on the field.
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I. Basic course
Preparation of Material
Rye straw is mainly used for weaving as it has the longest and the
most durable stems among cereals. Wheat straw is suitable too but it is
more rough, shorter and thicker compared to the rye straw. Oat straw
which has beautiful yellow shade but is not long enough is used to make
small details.
Straw harvested manually is the best material for weaving but it should
be harvested at different time so that it would have shades varying from
green to bright yellow. Straw is dried, cleaned and soaked in hot water
and after all it becomes more flexible and elastic. In the past craftsmen
frequently used straw dyed with natural colorants. It was boiled in water
together with onion peels to intensify its yellow colour or with alder cones
or oak bark which made it brown.
Weaving Techniques
There are three ma in weav i ng te chn i q ues. They are as follows:
spiral weaving, straight or flat weaving and three-dimensional
weaving.
Spiral weaving was the most widespread type. It was used to make
boxes, containers for food and clothes, grains and flour as well as beehives
and furniture.
Straight or flat weaving was used to make work-pieces for straw
hats, baskets, boxes, cases.
Three-dimensional weaving was basically used to weave decorative
items. At the end of the XVIII century and at the beginning of XIX
century
this type of weaving was used to decorate interiors of churches. In the
modest interior of village churches Royal Gates made from a simple
straw material looked not worse than those gilded. The straw Royal Gates
and weaved fragments of the iconostasis recreated by researches on the
basis of the preserved XVIII century patterns are kept in the museum
church consecrated in honour of St. Prophet John the Baptist. They were
made by Vera Soldatova.
Straw Inlay
The earliest samples of the articles inlaid with straw date back to the
XVIII century. People used straw to decorate caskets, snuffboxes, Easter
eggs. More often craftsmen prefer to use rye straw for inlay. It is cut in
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Unit 5. F rom the History of Art
the shape of small squares, diamonds or stripes that are attached afterwards to the surface of a thing being decorated. The decorated surface is
covered with lacquer in order to increase a contrast between straw
patterns and a dark background.
Straw Spider
Hanging straw constructions called
spiders are the most mysterious
articles made from straw which were made specially by the day of winter
solstice. According to the ancient beliefs, the spider with its web symbolizes our Creator and his creation, i. e. the Universe. Our ancestors
believed that creative spider energy would influence the future harvest.
That is why it was always made from the best reaped cones. A pyramid
form is the most spread spider form. People say that under the canopy of
straw pyramids one can feel unimaginable pacification. Spiders in the
form of a ball symbolized the sun and were decorated with straw, paper,
seeds and feathers. Usually the spider was put in the most honorable place
in the house, i. e. above the table in the icon’s corner. It was spinning
under the influence of warm steam rising from pots with hot food. In
such a way beautiful unusual shades resembling spider’s web were
created on the walls of a house. People believed this web could gather all
the negative energy in it. On the day of the vernal equinox the spider that
served all the winter was burnt. (http://www.dudutki.by)
16. Give a short summary of the text Straw Weaving using these
words.
17. Imagine that:
•• You are a guide at The National Art Museum of the Republic of
Belarus. Your excursion is devoted to the Belarusian fine arts of the XII–
XVIII centuries. Role-play the excursion with your partners.
•• You are going to become a journalist that’s why you write articles
for one of the local papers. You are given the task to write an article about
Ilya Efimovich Repin. What are you going to write in your article?
•• Your friend knows nothing about straw weaving in Belarus. He
wants you to help him. Role-play a dialogue with your partner.
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I. Basic course
PROJECT WORK
18. Do the library research and write an essay on one of the topics
given below.
1. My favourite genre of painting.
2. Applied art and its role in the life of man.
3. Why do I want to be a painter?
4. My favourite English painter.
88
Unit 6. Resume and J ob Inyerview
. RESUME AND JOB INYERVIEW
Unit 6
TOPICAL VOCABULARY
WORD TO LEARN
employment – занятость
full-time employment – полный рабочий день
part-time employment work – работа по совместительству, не-
полная занятость
unemployed – безработный
employer – работодатель
apply – обращаться за работой
applied upon request – предоставлены по запросу
vacancy – вакансия
position – должность
unskilled – неквалифицированный
nd a position – найти место работы
ll a position – заполнить вакансию
age – возраст
fee – гонорар
hobby – увлечение
accomplishments – достижения, успехи
salary – заработная плата
at a salary of – с заработной платой
abilities – дарования, способности
skills – умения
job qualication – трудовая квалификация
qualied – квалифицированный
personal information – личные данные
appointment – условленная встреча
referee [rɛfǝʹri:] – поручитель, рекомендатель
reference – рекомендация
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I. Basic course
make an appointment – назначить встречу
advertisement – объявление
responsibilities, duties – обязанности
graduated with high honours – окончен с красным дипломом
experienced – опытный
department – отдел
till present – по настоящее время
job hunting – поиск работы
join the company – поступить на работу в компанию
claim – претендовать
calling – призвание
work in the capacity of – работать в качестве
resume [re(i)zjume], CV (Curriculum Vitae [kǝrikjulǝmʹvi:tai]),
(the) letter of application – резюме, заявление о приеме на работу
(на вакансию)
head – руководитель
marital status – семейное положение
married – женат / замужем
single – холост
divorced, separated – разведен
widower (widow) – вдовец (вдова)
personal strengths – сильные стороны, талант
insurance – страховка
career goals – карьерные цели
objective, goal – цель
uent English – беглый английский
good French – хороший уровень французского
beginning French – начальный французский
intermediate German – средний уровень немецкого
advanced English – продвинутый уровень английского
native Russian – родной русский
cliche [kli:ʃeɪ] – клише, избитая фраза
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