I. Practice the pronunciation of the following words and word-combinations and learn them.

a cloth merchant [ə 'klɒθ 'mз:tʃənt] – торговец сукном

to evince smth [ɪ'vɪns] – проявлять, выказывать что-л.

a marked inclination for smth ['mɑ:kt ɪnklɪ'neɪʃn]

– ярко выраженная склонность к чему-л.

rococo [rə'kəʊkəʊ] – рококо (стиль)

to prize smth ['praɪz] – ценить что-л.

“genre painting” ['ʒɒŋrə / 'ʒɑ:nrə/ 'peɪntɪŋ] – “жанровая живопись (картина)”

to influence smb ['ɪnflʊəns] – влиять на кого-л.

sought-after ['sɔ:t 'ɑ:ftə] – востребованный, популярный

N.B.: “sought” – the Past Participle of “to seek” (“искать”)

self-taught ['self 'tɔ:t] – самоучка

N.B.: “taught” – the Past Participle of “to teach” (“учить”)

to rely upon smth / smb [rɪ'laɪ ə'pɒn] – полагаться на что-л / кого-л.

rival ['raɪvl] – соперник

sitter ['sɪtə] – натурщик

(to sit for a portrait – позировать для портрета)

a brush stroke ['brʌ∫ 'strəʊk] – мазок кисти

a colour scheme ['kʌlə 'ski:m] – цветовая гамма

rustic ['rʌstɪk] – сельский, деревенский

anxiety [æŋ'zaɪətɪ] – волнение, страх

a forerunner of smth ['fɔ:ˌrʌnə◡rəv …] – предтеча чего-л.

II. Practice the pronunciation of the following (a) toponyms and (b) proper names:

(a) Bath [bɑ:θ] – г. Бат

(в графстве Сомерсет, юго-западная Англия; курорт с мин. водами)

Ipswich ['ɪpswɪtʃ] – г. Ипсвич

(главный город графства Суффолк, восточная Англия)

Italy ['ɪtəlɪ] – Италия

London ['lʌnd(ə)n] – г. Лондон

Sudbury ['sʌdbərɪ] – г. Садбери (в графстве Суффолк, восточная Англия)

Suffolk ['sʌfək] – Суффолк (графство в восточной Англии)

(b) Constable ['kʌnstəbl] – Констебль, Джон (1776 – 1837)

Elizabeth [ɪ'lɪzəbəθ] – Элизабет

Geiorgione ['dʒɪəˌdʒɪənə] – Джорджоне,

Джорджо да Кастельфранко (1477 – 1510) (итальянский художник)

Gravelot [greɪv'lɒ] – Грейвло, Юбер (французский художник)

Hamilton Nisbet ['hæmɪltn 'nɪzbət] – Гамильтон Низбет, Фрэнсис

(жена адмирала Нельсона)

Mary ['meərɪ] – Мэри

Reinolds ['reɪnəldz] – Рейнольдс, Джошуа (1786 – 1788)

Renoir [rə'nwɑ:] – Ренуар, Пьер-Огюст (1841 – 1919)

Robert Andrews ['rɒbət 'ændru:z] – Роберт Эндрюс

Rubens ['ru:b(ə)nz] – Рубенс, Питер Пауэлл (1577 – 1640)

(фламандский художник-портретист)

Ruisdael ['raɪzdɑ:l] – Райсдаль, Якоб Ван (1628/29 – 1682)

(голландский художник)

Thomas Gainsborough ['tɒməs 'geɪnzb(ə)rə] – Томас Гейнсборо

Turner ['tз:nə] – Тёрнер, Уильям (1775 – 1851)

(английский художник-пейзажист)

Van Dyck [ˌvæn 'daɪk] – Ван Дейк, Антонис (1599 – 1641)

(фламандский художник-портретист)

Read and translate the text.

Thomas gainsborough (1727 – 1788)

Thomas Gainsborough was born in Sudbury, Suffolk, in 1727, the son of John Gainsborough, a cloth merchant. He soon evinced a marked inclination for drawing and in 1740 his father sent him to London to study art. He stayed in London for eight years, working under the rococo portrait-engraver Gravelot; he also became familiar with the Flemish tradition of painting, which was highly prized by London art dealers at that time. “Road through Wood (with Boy Resting and Dog)”, 1747 is a typical “genre painting”, obviously influenced by Ruisdael. In many aspects this work recalls Constable’s “Cornfield”.

In 1750 Gainsborough moved to Ipswich where his professional career began in earnest. He executed a great many small-sized portraits as well as landscapes of a decorative nature. In October 1759 Gainsborough moved to Bath. In Bath he became a much sought-after and fashionable artist, portraying the aristocracy, wealthy merchants, artists and men of letters. He no longer produced small paintings but, in the manner of Van Dyck, turned to full-length, life-size portraits. From 1774 to 1788 (the year of his death), Gainsborough lived in London where he divided his time between portraits and pictorial compositions, inspired by Geiorgione, which Reinolds defined as “fancy pictures” (“The Wood Gatherers”, 1787). As a self-taught artist, he did not make the traditional grand tour or the ritual journey to Italy, but relied on his own remarkable instinct in painting.

Gainsborough is famous for the elegance of his portraits and his pictures of women in particular have an extreme delicacy and refinement. As a colourist he has had few rivals among English painters. His best works have those delicate brush strokes which are found in Rubens and Renoir. They are painted in clear and transparent tone, in a colour scheme where blue and green predominate.

The particular discovery of Gainsborough was the creation of a form of art in which the sitters and the background merge into a single entity. The landscape is not kept in the background, but in most cases man and nature are fused in a single whole through the atmospheric harmony of mood; he emphasized that the natural background for his characters neither was, nor ought to be, the drawing-room or a reconstruction of historical events, but the changeable and harmonious manifestations of nature, as revealed both in the fleeting moment and in the slowly evolving seasons. In the portrait of “Robert Andrews and Mary, His Wife”, for example, the beauty of the green English summer is communicated to the viewer through the sense of well-being and delight which the atmosphere visibly creates in the sitters. Gainsborough shows the pleasure of resting on a rustic bench in the cool shade of an oak tree, while all around the ripe harvest throbs in a hot atmosphere enveloped by a golden light.

Emphasis is nearly always placed on the season in both the landscapes and the portraits, from the time of Gainsborough’s early works until the years of his late maturity: from the burning summer sun in “Robert Andrews and Mary, His Wife” to the early autumn scene in “The Market Cart”, painted in 1786-1787, a work penetrated throughout by the richness and warmth of colour of the season, by its scents of drenched earth and marshy undergrowth.

It is because his art does not easily fall within a well-defined theoretical system that it became a forerunner of the Romantic Movement, with its feeling for nature and uncertainty and anxiety experienced by sensitive men when confronted with nature: ”Mary, Countess Howe” (1765), “The Blue Boy”(1770), “Elizabeth and Mary Linley” (1772), “Mrs. Hamilton Nisbet” (1785).

The marriage portrait “The Morning Walk”, painted in 1785, represents the perfection of Gainsborough’s later style and goes beyond portraiture to an ideal conception of dignity and grace in the harmony of landscape and figures.

Gainsborough neither had nor desired pupils, but his art – ideologically and technically entirely different from that of his rival Reynolds – had a considerable influence on the artists of the English school who followed him. The landscapes, especially those of his late manner, anticipate Constable and the marine paintings of Turner. His output includes about eight hundred portraits and more than two hundred landscapes.

Illustrations: 1. Gainsborough, Self-portrait (1759); 2. Gainsborough, Road through a Wood (with Boy Resting and Dog), 1747; 3. Gainsborough, The Wood Gatherers, 1787; 4. Gainsborough, Robert Andrews and Mary, His Wife (ca 1748-49); 5. Gainsborough, The Market Cart (1786-1787); 6. Gainsborough, Mary, Countess Howe (1765); 7. Gainsborough, The Blue Boy (1770); 8. Gainsborough, Mrs. Hamilton Nisbet (1785); 9. Gainsborough, The Morning Walk (1785).

TASKS:

I. Give Russian equivalents of the following. Learn the words and phrases.

to evince an inclination for smth.; to work under smb.; to become familiar with smth.; in earnest; to execute a great many portraits; a sought-after artist; a man of letters; to turn to (a certain kind of activity); to divide one’s time between smth and smth else; to be inspired by smb.; to rely upon smth.; to be famous for smth.; an extreme delicacy and refinement; to have few rivals; a brush stroke; a colour scheme; smth. as well as smth. else; transparent; to merge into a single entity; a manifestation of nature; a fleeting moment; a slowly evolving season; a viewer; rustic; the ripe harvest throbs; to be enveloped by smth.; to be penetrated throughout by smth.; undergrowth; to fall within a system; a forerunner of smth.; to be confronted with smth.; to go beyond smth.; to anticipate smb.; an artist’s output.

II. Give English equivalents of the following:

художник-самоучка; цветовая палитра (комбинация цветов); жанровая живопись; проявить заметную склонность к рисованию; гравировщик; фон; проявления природы; времена года; сливаться в единое целое; зрелые хлеба; быть насквозь пронизанным чем-л.; подпадать под определённую классификацию; предвосхищать кого-л.; оказаться в прямом контакте с чем-л.; наследие художника; достоинство (человека); филигранные мазки кисти; определять что-л. как …; высоко цениться (кем-л.); портрет во весь рост / в натуральную величину.

III. Make up sentences of the following words:

1. evinced, he, drawing, marked, for, soon, a, inclination; 2. became, he, with, familiar, the, tradition, painting, Flemish, of; 3. landscapes, a, he, nature, great, small-sized, as well as, executed, many, a, portraits, of, decorative; 4. self-taught, a, relied, on, he, own, painting, as, remarkable, artist, his, instinct, in; 5. is, portraits, famous, the, Gainsborough, of, for, elegance, his; 6. an, Gainsborough, of, on, pleasure, resting, a, bench, in, the, shade, cool, of, oak, shows, rustic, tree, the; 7. is, emphasis, placed, the, portraits, always, on, season, in, both, the, and , nearly, the, landscapes; 8. romantic, his, of, movement, art, became, forerunner, the, a; 9. neither, pupils, nor, Gainsborough, had, desired; 10. considerable, school, on, his, had, art, a, influence, the, the, English, who, followed, artists, of, him.

III

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