Практикум по культуре речевого общения искусство. Часть 1. Практикум

Several artists witnessed the scene among them Constable who made a rough sketch from Westminster bridge. Turner filled nine pages of a sketch book with water-colour sketches of the fire made from the South bank of the Thames (British Museum). This is one of the infrequent occasions that Turner made use of water-colour to record his impressions direct from nature rather than making pencil sketches and colouring them later; the particular circumstances ruled out any other medium. The nine sketches were made with such haste that the wet water-colour stained the blank pages opposite.

The destruction of the Houses of Parliament also had vast significance for the evolution of English painting in general, as most of the major new developments of the 1840s were connected with the program of decorating the new building designed by Sir Charles Barry.

1845. He was always especially attracted to the sublime scenery of mountains and to those river, lake and coastal sites which would allow him to explore the broad and luminous effects of sky reflected in water.

Although he chose to make his career essentially under the aegis of the Academy (on election to full membership he changed his signature from the simple “W. Turner” to “J.M.W. Turner RA”, to which he later added PF for Professor of Perspective), Turner was also very dependent on the warm sponsorship of private patrons, who often profoundly affected the direction his art was to take. In the early 1790s he had been introduced, together with Girtin, to the brilliantly atmospheric watercolours of John Robert Cozens, in a sort of ‘academy’ run by the amateur and collector Dr. Monro. About 1800 the attentions of Sir Richard Colk Hoare of Stourhead began to interest him in classical antiquity, and at the same time he came into touch with Walter Fawkes of Farnley, probably the sponsor of his 1802 tour, whose interest in radical politics and in modern history encouraged Turner to interpret ancient civilizations in terms of contemporary events. About this time, too, Turner met the 3rd Earl of Egremont, whose collection of old masters was to be a great stimulus to his art, and whose country seat, Petworth, was to become a frequent refuge for the painter from the late 1820s until Egremont’s death in 1837. Towards the end of his life, Turner became a mentor to the young critic Ruskin, and their mutual friend, the dealer Thomas Griffith, was to act as intermediary for many later watercolour commissions, notably the magnificent Swiss and Rhineland series of the early 1840s, many of which Ruskin himself acquired.

Turner’s reputation was, and is, based on his extraordinary capacity to evoke the nuances of natural and artificial light; yet his ambitions led him constantly into the study of history, mythology and natural philosophy, and to embody these studies in his art. Only recently has attention been redirected to his subject-matter, to his extensive knowledge of the art of the past, and to the literary aspects of his mind and production, aspects to which it is fair to say we owe both his astonishing range of themes and the peculiar intensity which he brought to subjects of sublime nature.

In the XVIII century landscape painting initially continued to be divided into 2 main branches. One, the topographical, included the delineation of estates and country houses, while the other, the ‘ideal’, tended to be purely decorative, but was increasingly expected to carry some notion of an ‘idea’ above mere reality, usually referring to classical antiquity and literature.

Wilson was born at Penegoes, Montgomeryshire (Powys), the son of an Anglican clergyman who gave him a classical education and encouraged his interest in art. He went to London in 1729 and studied under the portrait painter Thomas Wright (1728–37) until 1735. He seems to have started primarily as a portraitist, though his first known painting is The Inner Temple after the Fire of 4 January 1737 (dated 1737; Tate). The first documented portraits are from the 1740s, with such works, in the style of Hudson, as Dr. Francis Ayscought with his Pupils Princes George and Edward Augustus (1748–9; NPG). Landscapes from the 1740s influenced by Lambert and Samuel Scott include Westminster Bridge (1744?; Tate) and 2 roundels for the Foundling Hospital (1746). These contrast with the more Dutch–inspired realism of The Cock Tavern Cheam, Surrey (c. 1746–

From 1770 Wilson’s affairs went into a decline and in 1776 he was given the sinecure of Librarian at the Royal Academy. In 1781 he left London broken in health and settled with cousins at Colomendy, Denbighshire, where he died.

If we look at the bottles in A Bar at the Folies-Bergere by Manet, we shall notice that the treatment of detail here is totally different from the treatment of detail by the painters of the Academy who looked at each leaf, flower and branch separately and set them down separately on canvas like a sum in addition. But all the bottles in Manet’s picture are seen simultaneously in relation to each other: it is a synthesis, not an addition. Impressionism then, in the first place, is the result of simultaneous vision that sees a scene as a whole, as opposed to consecutive vision that sees nature piece by piece. Let us suppose, for a moment, that we are staying at a house on the banks of the Seine opposite the church at Vernon. Let us suppose that, having arrived there in darkness the previous evening, we jump out of bed in the morning, open the window, and put out our head to see the view. Monet’s picture The Church at Vernon shows us what we should see at the first glance; the glance, that is to say, when we see the scene as a whole, before any detail in it

The nineteenth was a scientific century during which great additions were made to our knowledge of optics. The French scientist Chevreuil wrote a learned book on colour, which was studied with avidity by the younger painters. It became clear to them that colour was not a simple but a very complex matter. For example, we say that grass is green, and green is the local colour of grass, that is to say, the colour of grass at close range, when we look down on it at our feet. But grass-covered hills seen at a great distance do not appear green, but blue. The green of their local colour is affected by the veil of atmosphere through which we view it in the distance, and the blue we see is an example of atmospheric colour. Again, the local colour of snow is white, but everybody who has been to Switzerland is familiar with the “Alpine glow” when the snow-clad peaks of the mountains appear a bright copper colour owing to the rays of the setting sun. This “Alpine glow” is an example of illumination colour, and since the colour of sunlight is changing throughout the day, everything in nature is affected by the colour of the light which falls upon it.

Further, they used these colours with as title mixing as possible. Every amateur in water– colour knows that the more he mixes his paints, the more they lose in brilliancy. The same is true of oil paints. By being juxtaposed rather than blended, the colours achieved a scintillating fresh range of tones – the high-keyed radiance of daylight rather than the calculated chiaroscuro of the studio. And the transmission of light from the canvas is greatly increased. The Impressionists refrained, therefore, as much as possible from mixing colours on their palettes, and applied them pure in minute touches to the canvas. If they wanted to render secondary or tertiary colours, instead of mixing two or three pigments on the palette, they would secure the desired effect by juxtaposed touches of pure colours which, at a certain distance, fused in the eye of the beholder and produced the effect of the tint desired. This device is known as optical mixture, because the mixing is done in the spectator’s eye. Thus, whereas red and green pigment mixed on a palette will give a dull grey, the Impressionists produced a brilliant luminous grey by speckling a sky; say, with little points of yellow and mauve which at a distance gave the effect of a pearly grey. Similarly the effect of a brilliant brown was given by the juxtaposition of a series of minute touches of green, red, and yellow; and this association of minute touches of three pure colours set up a quivering vibration which had greater luminosity than any streak of brown pigment. It was an endeavour to use paints as if they were coloured light.