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Саратовский государственный университет им. Н.Г. Чернышевского

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distinguished by a

marked by eminence, distinction, or excellence

marvelous sense of colour

of colour and the artistic arrangement of the

and composition

parts of a picture

dull

low in saturation and low in lightness

crude

marked by the primitive, gross, or elemental or

by uncultivated simplicity or vulgarity

chaotic

in the state of disorder and confusion

a colourless daub of paint

lacking color and applying coloring material

crudely

obscure

shrouded in or hidden by darkness

unintelligible

impossible to understandе

gaudy

or sometimes tasteless

marked by extravaganceт

showinessт

depressing

makingе you feel unhappy and doesn’t bring you

positive emotions

disappointing

defiant or provocative

cheap

of poor quality

vulgar

lacking in cultivation, perception, or taste;

morally crude, undeveloped, or unregenerate

The English Painting

It is usual to regard English painting as beginning with the Tudor period, the

16th century, and for this there are several reasons.

Yet, the fact remains that painting was practiced

in England for many hundreds of years before the first

Tudor came to the throne. Already the Bayex Tapestry

of 1080,

probably produced

England

and

closely

Anglo-Saxon models, shows

its

narrative

character and the keen eye for detail, which Hogarth was

later to

employ. The

Tapestry

tells

the

Norman

Conquest,

the

story of the

preparations made for

the invasion

building

ships,

the

England,е the

embarkation and disembarkation, scenes depicting the subjugation of the country,

is of great interest to specialists in

the accurate delineation of armour. The Tapestryт

history and art. It may be looked uponрas a picture of society as well as an account

of the conquest.

The English style of Gothic painting is

known for

delicacy

of line

and

a graceful

elongation of the figure in which line plays an

expressive part, in this style

significance

concentrated on outline rather than the plastic or

dimensional substance

of the figure (13-14cc).

The remarkable series of Psalters of the 13-14th

centuries introduce scenes of agricultural work, sports and pastimes, fascinating

pictures of ploughing, sowing, reaping, wrestlers, players on musical instruments,

bear-baiting, and animals fancifully portrayed in human dress or occupation. That

may be considered the source of the English aptitude for genre.

Medieval painting was not national in the modern sense, and often enough

there is no telling whether it was the work of a

native or foreign artist even when produced in

England.

The Wilton

Diptych,

showing

Richard II presented to the Virgin and Child by

two Patron Saints. The subject is English, the

conception

–

French. The National

Gallery

(see the picture) Catalogue ascribes it to ―French School‖, but it might have been

an English painter trained in the French style.

The 15 century was one of medieval decline. English. painting came to a

halt at a time when painting in Italy was invested with the full splendour of the

Renaissance.

Portraiture existedмin the Middle Ages, especially in

(i.e. the portrait of Richard

the form of royal iconographyе

II in WestminsterсAbbey). (see the picture)

Yet the 16 century was the age of Humanism

created

new

interest

the

individual

which

had

that the

medieval icon

did

not

satisfy. In

personality

England when the monasteries, the local centres of culture,

were dissolved, religious painting, as it had been practiced

in the Middle Ages, disappeared. The break was so

complete that painting before and after seem entirely

differentй things, in subject, style and medium. The

habitс grew up of using foreign painters instead of the

interchange

artists

and

тold, international

craftsmen.

It does

not

mean

that

English

patrons

were

connoisseurs of art and delighted in beauty. They

wanted an accurate likeness and the ability to do the details of their dress and accessories. The portrait of Henry VIII by Hans Holbein the Younger records all

the desired facts though it adds the stamp of character which only a great artist

could give. (see the picture)

The German master came to England at the age of 29. Hans Holbein the

Younger had a broad artistic culture, he made portraits, religious compositions,

mural paintings and knew the arts of design. He spent some thirteen years in

England in all. During the last years in England he was official court painter to

Henry VIII. From Henry VIII he received a fixed stipend for working on state

paintings, including the portraits of foreign ladies whom the much-wedded king

thought of marrying. Among these were Christine of

Denmark and Anne of Cleves..Other jobs were the

many portraits of the king himself, his son Edward VI

(see the picture),

the otherн wives and members of the

court. The court figuresм were treated in terms of their

splendid costumesе rather than in their possible dignity.

The artist isсthe non-interpreting camera eye and his

approach to the sitter is uncritical. In the Portrait of Sir

Thomas More he is somewhat more personal in quality; here the psychological

factor is greater than with many other court figures. The portraits made by Hans

Holbein the Younger show that at that time the artistic influences that had come

from Italy had changed from the High*Renaissance style to the artificial, formal,

precise and strained manner of the courts. The human figure

part of a

is treated as a linear two-dimensional object,

carefullyй arranged flat design rather than a rounded form.

Thisс style was called Mannerism. Hans Holbein‘s influence

the

individual

тon English painting was exerted through

portrait and the influence was considerable.

Peter Paul Rubens was the most exciting and

influential artist of the 17th century Baroque painting, and the most popular as well. During his diplomatic journeys, Rubens visited Madrid and London where he

the Tudor period; Tudor-pertaining to the Welsh family of Tudor, the time when it held the English throne (1485-1603), or the style of architecture

Suggested Vocabulary

decorated the great ceiling of the Banqueting Hall in Whitehall Palace for King

Charles I.

Another great Flemish painter Van Dyck came to

England when he was at the height of his ability. His name

remains a

symbol

for

noble aristocratism

and

not

only in

portraiture. Courtly

grace

and ease,

the expressive

pose of

hands, a certain aloof dignity,

decorative splendour,

the

portrait group remained characteristic of English portraiture

for more than a century.

an English lady,

Working in England off and on for eleven years, he married.

was

knighted and

became Sir Anthony Van

Dyck. Van Dyck painted many

portraits of Charles I, the queen, numerous courtiers.нThe works of Van Dyck of

pieces of art but as historical

the English period are important not only as genuineм

men of the pre-revolutionary

documents. The sitters were the most outstandingе

found the selves on the opposite

England who during the years of the revolutionс

sides of the events. Van Dyck landscape sketches preserved in the British Museum,

give the feeling of English country in a way to be found only in Constable‘s time.

Van

Dyck was

inspiration to English portraiture, both in

the

source

portraits are a classic

example of the grace,

groups and single portraits. His

refinement of detail and colour. But Van Dyck introduced another new quality in

painting. The eyes of the model. In many pictures of old masters you can see

personages looking at you but not actually seeing you. The eyes of Van Dyck‘s

personagesй

look at you and see you.

In portraiture Van

Dyck

had an

heir

the

18th century, Thomas

тGainsborough.

(Late Perpendicular) that prevailed then;

tapestry – an ornamental textile used for the covering of walls and furniture,

and for curtains, made by passing coloured threads among fixed warp

threads;

narrative character;

to employ smth.;

a picture of society;

Gothic painting; Gothic – a style in architecture with

high-pointed arches, clustered columns, etc.;

a delicacy of outline;

a scene of;

to be portrayed (in human dress and occupation);

genre;

medieval painting;

a diptych – a pair of pictures asрfolding tablets;

a subject;

the Renaissance – the revival of arts and letters, the transition from the

Middle Ages to theнmodern world;

portraiture;

iconography – representation of portraits;

to create a new interest in;

religious painting;

a connoisseur of art – a well-informed judge in the

arts;

an accurate likeness;

to record smth.;

to add the stamp of character;

mural paintings; mural painting – a painting executed, esp. in distemper colours, upon the wall of a building;

a sitter;

to be treated as a linear two-dimensional object;

mannerism – a late 16th century art style characterized by distortion, esp. of

the human figure, bright harsh colours, etc.;

baroque – a bold, vigorous, exuberant style in architecture, decoration, and

art generally, that arose with the Counter*Reformation and prevailed inк

Louis XIV‘s time, degenerating into tasteless extravagance in ornament;е

to be at the height of one‘s ability;

a portrait group;

landscape sketches;

to give the feeling of;

a source of inspiration;

refinement;

___________________________________________

Comprehension Questionsв

in England?

When was painting first practicedу

2. What are the characteristicы features of the Bayex

did Hogarth employ in his narrative pictures?

Tapestry? What techniquesе

3. What scenes doesс the Bayex Tapestry depict?

4. Why is the Tapestry of special interest to experts in history and art?

5. What is the English style of Gothic painting characterized by?

What are the 13-14

century Psalters remarkable for?

7. Why do you think these Psalters are considered the source of the English

aptitude for genre painting?

8. Why was medieval painting not national in the modern sense?

9. When did English painting come to a halt?

10. In what form did portraiture exist in the Middle Ages? 11.What is the age of Humanism characterized by? 12.What habit grew up in the 16th century?

13.What did the English patrons require of their court painters?

14.When did Hans Holbein the Younger come to England?

15.In what genres did he work? How are the court figures treated in his portraits?

Why was his approach to his sitters uncritical? What do the portraits produced

by Hans Holbein show?

16.How was the human figure treated?

17.In what way was Hans Holbein‘s influence on English painting exerted?

18.Why is the name of the great Flemish painter Van Dyck associated with English

What features

painting? Was his influence on English portraiture considerable?.

are characteristic of Van Dyck‘s portraits?

19.Why are the works of Van Dyck of the English periodн

important as historical documents?

20.What new quality did Van Dyck introduceеin painting?

_____________________________________________________________________________в

A Brief Outline of English Art

English art is the body of visual arts made in

England. Art

the

United

Kingdom

covers

the

period from

1707 to

today. Following

historical

surveys such as Creative Art In England by William

Johnstone

(1936

and

1950),

Nikolaus

Pevsner

attempted

definition

his

1956

book

The

Englishness of English Art, as did Sir Roy Strong in his 2000 book The Spirit of

Britain: A narrative history of the arts, and Peter Ackroyd. in his 2002 book The

Origins of the English Imagination.

Although medieval English painting, mostly religious, had a strong national

tradition and was at times influential on the restт of Europe, it was in decline from

the 15th century. The Protestant Reformation, which was especially destructive of

art in England, not only brought the tradition to an abrupt stop but resulted in the

destruction of almost all wall-paintings. Only illuminated manuscripts now survive

in good numbers.

Earliest art

The

уoldest art in England can be dated to the

Neolithic period, including the large ritual landscapes

suchкas Stonehenge from c. 2600 BC. From around 2150

BC, the Beaker people learned how to make bronze, and

use both tin and gold. They became skilled in metal

refining and works of art placed in graves or sacrificial

pits have survived. In the Iron Age, a new art style arrived

as Celtic culture spread across the British isles. Though metalwork, especially gold ornaments, was still important, stone and most likely wood was also used. This

style continued into the Roman period, beginning in the 1st century BC, and would

find a renaissance in the Medieval period. The arrival of the Romans brought the

Classical style of which many monuments have survived, especially funerary

monuments, statues and busts. They also brought glasswork and mosaics. In the

4th century, a new element was introduced as the first Christian art was made in

Britain. Several mosaics with Christian symbols and pictures have been preserved.

The style of Romano-British art follows that of the continent, there are some local

specialties,

influenced

Celtic art;

the Staffordshire Moorlands Pan is one

example.

Medieval

After

Roman

rule,

the Anglo-Saxons

broughtн

Germanic traditions,

seen in

the metalwork of Sutton

Hoo. Anglo-Saxon sculpture was outstandingеfor its time,

at least in the small works in ivory or bone that are almost

Northumbria, the

all that have survived. Especiallyвin

Insular art style shared acrossуthe British Isles produced

produced in Europe until

much of the finest work beingы

the Viking raids andеinvasions largely suppressed the

movement;

Lindisfarne is one

example

the Bookс

certainly produced in Northumbria. The carved stone high crosses, such as the

Ruthwell Cross, were a distinctive Insular form, probably related to the Pictish

stones of Scotland. Anglo-Saxon art developed a very sophisticated variety of

contemporary Continental styles, seen especially in metalwork and illuminated

manuscripts such as the Benedictional of St. Æthelwold. Effectively none of the

large scale paintings and sculptures that we know existed have survived. By the first half of the 11th century, English art was being lavishly patronized by the wealthy Anglo-Saxon elite, who valued above all works in precious metals, but the Norman Conquest in 1066 brought a sudden halt to this art boom, and instead works were melted down or removed to Normandy. After a pause of some decades,

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