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: 1. XVII XX . .. , .. . 4- , : , 1988 . 2. . .. 3. . .., .. 4. -. .., .. . 5. . .. . 6. . 7. "http://en.wikipedia.org/wiki/William_Hogarth" 8. "http://en.wikipedia.org/wiki/Joshua_Reynolds" 9. "http://en.wikipedia.org/wiki/J._M._W._Turner" 10. "http://en.wikipedia.org/wiki/John_Constable" 11. "http://en.wikipedia.org/wiki/Thomas_Lawrence" 12. "http://en.wikipedia.org/wiki/Dante_Gabriel_Rossetti" 13. "http://en.wikipedia.org/wiki/British_Museum" 14. "http://en.wikipedia.org/wiki/National_Gallery%2C_London" 15. "http://en.wikipedia.org/wiki/Tate_Britain" 16. 9 10 . , 2006., www.new-school.ru.

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Alexander MacKenzie (c.1800)

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TOPICAL VOCABULARY 1 art applied art She is studying art. . Fine Arts Painting, drawing and sculpture are Fine Arts. , . folk art graphic art work of art painting 1) , () battle painting historical painting genre painting landscape painting mural painting

Syn. fresco painting seascape painting , 2) , oil painting , still life a flower piece 2 artist connoisseur , He was a great connoisseur in (of) Dutch painting. . engraver guide , master , painter , animal painter landscape painter painter of seascapes sitter Syn. model 3 brush ; the brush This picture belongs to the brush of Goya. . canvas 1) ; 2) , Look at this canvas. . easel paint oil paints Syn. Oils an oil painting palette 1) ; 2) Looking at the picture one could tell painter's palette at once. . sketch , Syn. study water-colour 4 cartoon (. ) drawing pencil drawing engraving masterpiece picture print portrait self-portrait a family group portrait ceremonial portrait a shoulder portrait half-length portrait

knee-length portrait full-length portrait 5 background , In the picture one can see a castle with a background of hills. . colouring foreground life , life-like ; to paint from life life-sized shade , subject 1) , ; 2) , view 1) , view of the town ; 2) to be on view , classicism ; impressionism realism Renaissance , style The picture was in the style of Rembrandt. () . trend , His pictures established a new trend in modern painting. . 7 authentic , distinct , All the shades in the picture were quite distinct. . marvellous , vague , vague resemblance valuable The Tretyakov Gallery is famous for its valuable collection of works of Russian masters. . 8 to convey (: , . ) This picture conveys to you some idea of man's beauty. . to depict Several men on horseback were depicted in the background. . to execute , The landscape painting was executed with great skill. . to exhibit , Syn. to display to paint , ;

painted a big ship in the foreground. () . to portray ; portrayed poor peasants rather realistically. . to represent 1) The masters of the Renaissance were represented at this exhibition rather well. . 2) , , . This painting represents a hunting scene. . to restore The picture was in a very bad state and it took months to restore it. , , . to sit (sat, sat) - I'd like to paint your portrait, will you sit for me? , ? to sketch , to treat The subjects of her paintings can be treated in a different way. -. 9 collection , () private collection This picture by Rembrandt belongs to the private collection of some British connoisseur and that's why it is represented here only by a copy. , . exhibition , We were at the annual exhibition of modern painting yesterday. . gallery the National Gallery (London) ( ; ) museum the Pushkin Museum of Fine Arts . . . the Russian Museum (.) the Hermitage (. ) 10. Painters and their craft: a fashionable/self-taught/ mature artist, a portrait/landscape painter, to paint from nature/memory/imagination, to paint mythological/ historical subjects to specialize in portraiture/still life, to portray people/emotions with moving sincerity/with restraint, to depict a person/ a scene of common life/the mood of..., to render/Interpret the personality of..., to reveal the person's nature, to capture the sitter's vitality/ transient expression,

to develop one's own style of painting; to conform to the taste of the period, to break with the tradition, to be in advance of one's time, to expose the dark sides of life, to become famous overnight, to die forgotten and penniless. 11. Composition and drawing: in the foreground/ background in the top/bottom/left-hand corner to arrange symmetrically/asymmetrically/in a pyramid/in a vertical format to divide the picture space diagonally to define the nearer figures more sharply to emphasize contours purposely to be scarcely discernible to convey a sense of space to place the figures against the landscape background to merge into a single entity to blend with the landscape to indicate the sitter's profession to be represented standing.../sitting.../talking... to be posed/ silhouetted against an open sky/a classic pillar/the snow to accentuate smth 3. Impression. Judgement: The picture may be: moving lyrical romantic original poetic in tone and atmosphere an exquisite piece of painting an unsurpassed masterpiece distinguished by a marvellous sense of colour and composition. The picture may be: dull crude chaotic a colourless daub of paint obscure and unintelligible gaudy depressing disappointing cheap and vulgar Expressing likes I like ... very much indeed I (really) enjoy...

I've always liked/loved... There's nothing I like/enjoy more limn I'm (really) very fond of... ... is (really) terrific/great, etc. It's too lovely for words. Expressing dislikes (I'm afraid) I don't like... I've never liked ..., I'm afraid. ... is not one of my favourite ... I (really) hate... I think ... is pretty awful/really unpleasant I'm not (really) very keen on... ... is ghastly/rubbish. I can't say ... appeals to me very much I must say I'm not too fond of... ILLUSTRATION OF USE ( ). I "Today's newspaper reads an exhibition of amateur painters is to be opened at the city Fine Arts Museum next month." "Oh, that's what George told me about last week. He will also take part in this show." "Will he really? Can he produce anything sensible?" "Certainly, he can. The latest landscape I saw in his studio caught my imagination. I think he'll be a success at this exhibition." II "Does your gallery contain contemporary British painting?" "Unfortunately, not. It specializes only in the arts and culture of the Far East and India." "I'd like to see the works of modern Indian artists. Where are they displayed?" "They are on the second floor." III "Do you often discuss art with Jill?" "Very seldom." "Why, she's so keen on modern art." "That's right. But whenever we start discussing it we just quarrel."' IV "What do you think of Mr. Jones works?" "Well, he's a brilliant landscape painter, isn't he?" "On the whole he is, but theres one thing I'm not sure I like about his canvases." "What is it that you don't like about them?" "You see, his colours are too dark. Don't you think so?" V "Oh look at this picture, it's a masterpiece, I believe!" "Masterpiece, you say? What makes you think so?" "Because it conveys its meaning with such a great feeling." "It's just exaggeration (). The painting isn't too bad, indeed, but I wouldn't dub it a masterpiece." VI "Whose portrait is that?" "Which do you mean, who painted the picture or who is painted in it?"

"Well, I'd like to know both." "It's Repin's picture of ... Repin. That is, it's his self-portrait. VII "This little portrait is of great value though it cost the Gallery only a few hundred pounds." "How's that?" "The matter is that the picture was bought unrecognized and last year the experts found that it belonged to the. brush of Goya." "It's rather curious. I have several little oil pictures at home. Don't you think I must take them to an expert?" VIII "This abstract painting is quite unusual." "And the way some of such 'works' are produced is still more unusual. I just saw 'painting' a picture of this kind in the studio of a fashionable French artist." "Well, did he use some unusual technique?" "Oh, yes, rather. He made a man and a woman dance barefoot over a canvas on which oil paints had been spread. Thus he produced most of his famous pictures." IX "Would you like to sit for a picture, Mary?" "I'd like to, but I haven't got the patience for that. Will it last long?" "No, it'll take me only an hour to make a sketch." "That's too long. Nick will manage to make that in half as much time so I'd better sit for him." "Well, you have a free choice." X "I can't tell what is depicted in the right middle distance." "I'm not surprised: you're standing too close to the picture. If you stepped back you'd see much better. The artist uses certain technique." "I'd gladly follow your advice, but I'm short-sighted, you know, and I left my specs at home." XI "Speaking of still lifehow do you like this one?" "Its fine. The chicken looks pretty delicious. But as to the apples, they are a bit' too blue." "You aren't an expert in painting, for sure. You took the turkey for a chicken and plums for apples." "Well, am I to blame for' that? Isn't it the painter who misled me, eh?" STORY 1. A VISIT TO THE FINE ARTS MUSEUM Last month our tutor arranged a group visit to the city Fine Arts Museum. When we came there we were met by the guide who told us the history of the Museum and how its collections had started. The Museum was founded at the end of the 19th century. Then the guide took us to the first room. It contained a rich collection of antique sculptures, mostly Greek and Roman. I was surprised at the great skill of ancient sculptors. The figures were so realistic, full of energy and life. In another room were the paintings which represented the epoch of the Renaissance. Many of the pictures were of religious content and it wasn't easy to understand them without the guide's explanations. But the great masters of those times painted not only gods and angels but also scenes taken from everyday life and portraits of ordinary people. Unfortunately, the Museum possesses only a few originals of the Renaissance painters. Most of the artists, such as Michelangelo, Leonardo da Vinci and others are represented by copies.

I was deeply impressed by the works of masters of later periods, too. Those artists belonged to the classic and romantic schools in painting. Several canvases were simply brilliant and it was hard to tear oneself away from them. The guide said the old masters had paid special attention to the composition of a picture, precision () in lines and colour effects. All the objects and people in pictures were depicted so vividly, so life-like, that it was almost impossible to notice the painter's technique. Here the guide cited Oscar Wilde as saying that one should be able to say of a picture not that it is 'well painted, but that it is 'not painted' at: all. Each of us enjoyed that sentiment (). But what struck me most of all was the room where the pictures representing the 19th century realism were displayed. One could stand for hours in front of those canvases and admire them. We all liked the visit to the Museum immensely. Unfortunately the visit didn't last very long and we skipped (, ) a great deal of interesting works of art. I think I must go to the Museum again and study the exhibits more thoroughly ().

STORY 2 ENGLISH PAINTERS I'd like to tell you a few words about the most renowned artists of England and give you a touch on their creative activities. Some of the greatest foreign masters were attracted to Britain by honours and titles of nobility ( ). Among them was Van Dyek [vn 'daik], the famous Flemish painter, who married the daughter of a lord and lived in England for a long time. He was the father of the English portrait school. His main successors were like him foreigners. The first truly English painter was William Hogarth ['houg:] (16971764). For more than a century England was to see a brilliant succession of geniuses (): Reynolds, Gainsborough, Lawrence, Constable and Turner. One of the glories of English art is portrait painting, another is landscape. In both directions it rose to supreme heights. W. Hogarth was born in London in the family of a schoolmaster. A rebel () and an innovator, Hogarth was a curious observer of people and life. In his famous set of pictures called Manage a la Mode ( ) and others he vividly portrayed the national character. Sir Joshua Reynolds (17231792) was one of the outstanding British portraitists. He was the first president of the Royal Academy and the principal painter of the king, lie stayed three years in Rome copying Old Masters. Unfortunately, many of his paintings have cracked and faded. Thomas Gainsborough (17271788) was the creator of the English school of landscape, though he had to paint a lot of portraits, too. But even in his portraits he is an out-of-door painter. He was a great admirer of Van Dyck, but his palette was quite different. John Constable (17761837) was one of the greatest landscapists in history. At that time there were few people In England who appreciated landscapes. So he had to show his pictures in France where he was awarded ( ) the gold medal for one of his paintings. Joseph Turner (17751861) was a sailor at heart and painted mostly marine subjects. He tried to portray the mood of the sea through the experiences of man. Answer the questions: 1. Have you ever visited Fine Arts Museum or Art Galleries?

2. Whose paintings did you see? 3. Were you there alone or with a group? 4. Did you have a guide? What did he (she) tell you? 5. What picture expressed you a lot? 6. What painters do you know? 7. What pictures would you like to see? 8. What museums would do you like to visit?

3. XVIII . . : .

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William Hogarth( 1)

William Hogarth, self-portrait, 1745 10 November 1697 (1697-11-10) London 26 October 1764 (aged 66) Died London Occupation English painter, engraver Born William Hogarth (November 10, 1697 October 26, 1764) was a major English painter, printmaker, pictorial satirist, social critic and editorial cartoonist who has been credited as a pioneer in western sequential art. His work ranged from excellent realistic portraiture to comic strip-like series of pictures called modern moral subjects. Much of his work, though at times

vicious, poked fun at contemporary politics and customs. Illustrations in such style are often referred to as Hogarthian.

LifeThe son of a poor school teacher and textbook writer, William Hogarth was born at Bartholomew Close in London on November 10, 1697. In his youth he was apprenticed to the engraver Ellis Gamble in Leicester Fields, where he learned to engrave trade cards and the like. Young William also took a lively interest in the street life of the metropolis and the London fairs, and amused himself by sketching the characters he saw. At around the same time, his father, who had opened an unsuccessful Latin-speaking coffee house at St John's Gate, was imprisoned for debt in Fleet Prison for five years. Hogarth never talked about the fact. By April 1720 he was engraver on his own account, at first engraving coats of arms, shop bills, and designing plates for booksellers. Bust of Hogarth, Leicester Square, London. ( 2) In 1727, he was hired by Joshua Morris, a tapestry worker, to prepare a design for the Element of Earth. Morris, however, having heard that he was "an engraver, and no painter", declined the work when completed, and Hogarth accordingly sued him for the money in the Westminster Court, where, on the May 28, 1728, the case was decided in Hogarth's favour. On March 23, 1729 he was married to Jane Thornhill, daughter of artist Sir James Thornhill. In 1757, he was appointed Serjeant Painter to the King. Hogarth died in London on October 26, 1764 and was buried at St. Nicholas's Churchyard, Chiswick Mall, Chiswick, London. His friend the actor David Garrick wrote the inscription on his tombstone. Early works ( 3) An early print by William Hogarth entitled A Just View of the British Stage from 1724, depicting Robert Wilks, Colley Cibber, and Barton Booth rehearsing a pantomime play with puppets enacting a prison break down a privy, based on the escape of a felon from Newgate. In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera. The Beggar's Opera VI, 1731, Tate Britain's version ( 4) Moralizing art Harlot's and Rake's Progresses A Rake's Progress, Plate 8, 1735 ( 5) In 1731, he completed the earliest of the series of moral works which first gave him recognition as a great and original genius. This was A Harlot's Progress, first as

paintings, (now lost), and then published as engravings. The series was an immediate success, and was followed in 1735 by the sequel A Rake's Progress showing in eight pictures the reckless life of Tom Rakewell, the son of a rich merchant, who wastes all his money on luxurious living, whoring, and gambling, and ultimately finishes his life in Bedlam. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill Abbey in 1755; A Rake's Progress is displayed in the gallery room at Sir John Soane's Museum, London. Marriage -la-mode Marriage -la-mode, Shortly After the Marriage (scene two of six). ( 6) In 17431745 Hogarth painted the six pictures of Marriage -la-mode (National Gallery, London), a pointed skewering of upper class 18th century society. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This is regarded by many as his finest project, certainly the best example of his serially-planned story cycles. Marital ethics were the topic of much debate in 18th century Britain. Frequent marriages of convenience and their attendant unhappiness came in for particular criticism, with a variety of authors taking the view that love was a much sounder basis for marriage. Hogarth here painted a satire a genre that by definition has a moral point to convey of a conventional marriage within the English upper class. All the paintings were engraved and the series achieved wide circulation in print form. The series, which are set in a Classical interior, shows the story of the fashionable marriage of the son of bankrupt Earl Squanderfield to the daughter of a wealthy but miserly city merchant, starting with the signing of a marriage contract at the Earl's mansion and ending with the murder of the son by his wife's lover and the suicide of the daughter after her lover is hanged at Tyburn for murdering her husband.

Hogarth's portrait of Captain Thomas Coram, 1740 ( 7) Hogarth was also a popular portrait painter. In 1746 he painted actor David Garrick as Richard III, for which he was paid 200, which was more, he wrote, than any English artist ever received for a single portrait. In 1745 Hogarth painted a self-portrait with his dog (now also in Tate Britain), which shows him as a learned artist supported by volumes of Shakespeare, Milton and Swift. In 1749, he represented the somewhat disorderly English troops on their March of the Guards to Finchley (formerly Thomas Coram Foundation for Children, now Foundling Museum). During a long period of his life, Hogarth tried to achieve the status of history painter, but had no great success in this field. The Gate of Calais (also known as, O the Roast Beef of Old England), 1749 ( 8) The Gate of Calais (1748; now in Tate Britain) was produced soon after his return from a visit to France. Horace Walpole wrote that Hogarth had run a great risk to go

there since the peace of Aix-la-Chapelle, he went to France, and was so imprudent as to be taking a sketch of the drawbridge at Calais. He was seized and carried to the governor, where he was forced to prove his vocation by producing several caricatures of the French; particularly a scene of the shore, with an immense piece of beef landing for the lion d'argent, the English inn at Calais, and several hungry friars following it. They were much diverted with his drawings, and dismissed him. Back home, he immediately executed a painting of the subject in which he unkindly represented his enemies, the Frenchmen, as cringing, emaciated and superstitious people, while an enormous sirloin of beef arrives, destined for the English inn as a symbol of British prosperity and superiority. He claimed to have painted himself into the picture in the corner, with the solder running him in. Other later works March of the Guards to Finchley (1750), a satirical depiction of troops mustered to defend London from the 1745 Jacobite rebellion. ( 9) A late painting by Hogarth entitled Hogarth's Servants, mid-1750s. ( 10) Self-portrait, painting Thalia, the muse of comedy and pastoral poetry, 17571758 ( 11) Others were his satire on canvassing in his Election series (17551758; now in Sir John Soane's Museum); his ridicule of the English passion for cockfighting in The Cockpit (1759); his attack on Methodism in Credulity, Superstition, and Fanaticism (1762); his political antiwar satire in The Times, plate I (1762); and his pessimistic view of all things in Tailpiece, or The Bathos (1764). Writing Hogarth also wrote and published his ideas of artistic design in his book The Analysis of Beauty (1753). In it, he professes to define the principles of beauty and grace which he, a real child of Rococo, saw realized in serpentine lines (the Line of Beauty). Hogarth lived in an age when artwork became increasingly commercialized and viewed in shop windows, taverns and public buildings and sold in printshops. Old hierarchies broke down, and new forms began to flourish: the ballad opera, the bourgeois tragedy, and especially, a new form of fiction called the novel with which authors such as Henry Fielding had great success. Therefore, by that time, Hogarth hit on a new idea: "painting and engraving modern moral subjects ... to treat my subjects as a dramatic writer; my picture was my stage", as he himself remarked in his manuscript notes. He drew from the highly moralizing Protestant tradition of Dutch genre painting, and the very vigorous satirical traditions of the English broadsheet and other types of popular print. In England the fine arts had little comedy in them before Hogarth. His prints were expensive, and remained so until early nineteenth-century reprints brought them to a wider audience. Influence and Reputation His satirical engravings are often considered an important ancestor of the comic strip. Hogarth's paintings and prints have provided the subject matter for several other works. For example, Igor Stravinsky's opera The Rake's Progress, with libretto by W. H. Auden, was inspired by Hogarth's series of paintings of that title. Russell Banks's short story, "Indisposed," is a fictional account of Hogarth's infidelity as told from the viewpoint of his long-suffering wife, Jane.

Hogarth's House in Chiswick, West London, is now a museum (free entry); it abuts one of London's best known road junctions the Hogarth Roundabout. Answer the questions: 1. When and where was William Hogarth born? 2. Whose son was he? What was the tragedy of his youth? 3. What early moral works of Hogarth which first gave him recognition as a great and original genius do you know? 4. What series showed the miserable tragedy of an ill-considered marriage for money? 5. Was Hogarth also a popular portrait painter? Prove it. 6. Did he achieve the status of history painter? 7. Where did Hogarth write and publish his ideas of artistic design? 8. When did William Hogarth die? Where was he buried? 9. Is there a Hogarth's museum in Great Britain? 10. What Hogarths works impress you? . ( 13, 14) : A. Self-portrait, painting Thalia, the muse of comedy and pastoral poetry, 17571758 B. Marriage -la-mode, Shortly After the Marriage (scene two of six). C. March of the Guards to Finchley (1750), a satirical depiction of troops mustered to defend London from the 1745 Jacobite rebellion. D. Hogarth's portrait of Captain Thomas Coram, 1740

1.

2.

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4.

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E. The Gate of Calais (also known as, O the Roast Beef of Old England), 1749 F. A late painting by Hogarth entitled Hogarth's Servants, mid1750s.

6.

7.

G. William Hogarth, self-portrait, 1745 H. The Beggar's Opera VI, 1731, Tate Britain's version

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9.

I. A Rake's Progress, Plate 8, 1735

Key: 1 D; 2 E; 3 A; 4 B; 5 C; 6 I; 7 H; 8 F; 9 G.Questions and Answers ( for teacher) 1. When and where was William Hogarth born? (He was born at Bartholomew Close in London on November 10, 1697 ) 2. Whose son was he? What was the tragedy of his youth? (The son of a poor school teacher and textbook writer, his family was imprisoned for debt in Fleet Prison for five years) 3. What early moral works of Hogarth which first gave him recognition as a great and original genius do you know? ( In 1731, he completed the earliest of the series of moral works which first gave him recognition as a great and original genius, they were A Harlot's Progress, first as paintings, (now lost), and then published as engravings and A Rake's Progress) 4. What series showed the miserable tragedy of an ill-considered marriage for money? (In 17431745 Hogarth painted the six pictures of Marriage -la-mode a pointed skewering of upper class 18th century society. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money) 5. Was Hogarth also a popular portrait painter? Prove it. (Yes, he was. Hogarth was also a popular portrait painter. In 1746 he painted actor David Garrick as Richard III, for which he was paid 200, which was more, he wrote, than any English artist ever received for a single portrait.) 6. Did he achieve the status of history painter? (During a long period of his life, Hogarth tried to achieve the status of history painter, but had no great success in this field) 7. Where did Hogarth write and publish his ideas of artistic design? (Hogarth also wrote and published his ideas of artistic design in his book The Analysis of Beauty (1753) 8. When did William Hogarth die? Where was he buried? (Hogarth died in London on October 26, 1764 and was buried at St. Nicholas's Churchyard, Chiswick Mall, Chiswick, London) 9. Is there a Hogarth's museum in Great Britain? (Hogarth's House in Chiswick, West London, is now a museum (free entry); it abuts one of London's best known road junctions the Hogarth Roundabout) 10. What Hogarths works impress you? , ( ) (. William Hogarth; 10 1697, 26 1764), , , . . .. 1720 . , . , "" (1726). , . . 17301731 . , " ". , 1732

. " " 1735 ., 1745 . " ". , " " (1747) "" (4 , 17551758). , . 1753 . " ". 1757 . II ; . 1764 ", ". . , ; , , . , " ." (1740, , ) " , " (1746, , ). , , . , 1751 . , , " ", , " ". , " " "", - 18 .

4.

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Joshua Reynolds( 1)

Sir Joshua Reynolds in a self-portrait

Colonel Acland and Lord Sydney, The Archers, 1769. In September 2005, the Tate Gallery acquired the painting for over UK2.5 million (US$4.4 million).

"Robert Clive and his family with Charles Lennox, 3rd Duke of Richmond an Indian maid", painted 1765. painted 1758

Miss Elizabeth Johnson, 1780

George K. H. Coussmaker (1782)

The Infant Jupiter, 1770

Sir Joshua Reynolds (16 July 1723 23 February 1792) was the most important and influential of 18th century English painters, specializing in portraits and promoting the "Grand

Style" in painting which depended on idealization of the imperfect. He was one of the founders and first President of the Royal Academy. George III appreciated his merits and knighted him in 1769. Biography Reynolds was born in Plympton, Devon, on 16 July 1723. As one of eleven children, and the son of the village school-master, his formal education was restricted to what his father taught him. Despite this, Reynolds exhibited a natural curiosity, and as a boy came under the influence of Zachariah Mudge, whose Platonistic philosophy stayed with him all his life. Showing an early interest in Art, Reynolds apprenticed in 1740 to the fashionable portrait painter Thomas Hudson, with whom he remained until 1743. From 1749 to 1752, he spent over two years in Italy, where he studied the Old Masters and acquired a taste for the "Grand Style". Unfortunately, whilst in Rome, Reynolds suffered severe cold which left him partially deafened, and as a result he began to carry a small ear trumpet with which he is often pictured. From 1753 until the rest of his life he lived in London, his talents gaining recognition soon after his arrival. Reynolds worked long hours in his studio, rarely taking a vacation. Because of his popularity as a portrait painter, Reynolds enjoyed constant interaction with the wealthy and famous men and women of the day, and it was he who first brought together the famous figures of "The" Club. With his rival Thomas Gainsborough, Reynolds was the dominant English portraitist of 'the Age of Johnson'. It is said that in his long life he painted as many as three thousand portraits. ( 2 - 8) In 1789 he lost the sight of his left eye, which finally forced him into retirement, and on 23 February 1792 he died in his house in Leicester Fields, London. He was buried in St. Paul's Cathedral. Status and reputation Professionally, Reynolds' career never peaked. He was one of the earliest members of the Royal Society of Arts, and with Gainsborough established the Royal Academy of Arts as a spin-off organization. In 1768 he was made the RA's first President, a position he held until his death. Character sketch In appearance Reynolds was not at all striking. Slight of frame, he was just about 5 6 with dark brown curls, a florid complexion and features which James Boswell thought were "rather too largely and strongly limned." He had a broad face, a cleft chin, and the bridge of his nose was slightly dented; his skin was scarred by smallpox, and his upper lip disfigured as a result of falling from a horse as a young man. Nonetheless he was not considered ugly, and Edmond Malone asserted that "his appearance at first sight impressed the spectator with the idea of a well-born and well-bred English gentleman." Renown for his placidity, Reynolds often claimed that he "hated nobody". Never quite losing his Devonshire accent, he was not only an amiable and original conversationalist but a friendly and generous host, so that Fanny Burney recorded in her diary that he had "a suavity of disposition that set everybody at their ease in his society", and William Makepeace Thackeray believed "of all the polite men of that age, Joshua Reynolds was the finest gentleman." Dr. Johnson commented on the inoffensiveness of his nature; Edmund Burke noted his "strong turn for humor". Thomas Bernard, who later became Bishop of Killaloe, wrote in his verses on Reynolds: "Dear knight of Plympton, teach me how To suffer, with unruffled brow And smile serene, like thine, The jest uncouth or truth severe;

To such I'll turn my deafest ear And calmly drink my wine. Thou say'st not only skill is gained But genius too may be attained By studious imitation; Thy temper mild, thy genius fine I'll copy till I make them mine By constant application." Admittedly, some did construe Reynolds' equable calm as cool and unfeeling. Hester Lynch Piozzi's pen-portrait reads: "Of Reynolds what good shall be said? - or what harm? His temper too frigid; his pencil too warm; A rage for sublimity ill understood, To seek still for the great, by forsaking the good..."Answer the questions: 1. When and where was Joshua Reynolds born? 2. Whose son was he? 3. To whom was Joshua Reynolds apprenticed in 1740? 4. Where did he study the Old Masters from 1749 to 1752? 5. In what painting did he specialize? 6. How many portraits did he paint in his life? 7. When did he become the Royal Academy's first President? 8. What happened to the painter in 1789? 9. When did Joshua Reynolds die? Where was he buried? 10. What Joshua Reynoldss works impress you?

. ( 9) : 1. A. The Infant Jupiter, 1770

2.

B. Colonel Acland and Lord Sydney, The Archers, 1769

3.

C. "Robert Clive and his family with an Indian maid", painted 1765

4.

D. Sir Joshua Reynolds in a self-portrait

5.

E. George K. H. Coussmaker painted 1782.

6.

F. Charles Lennox, 3rd Richmond, painted 1758

Duke

of

7.

G. Miss Elizabeth Johnson, painted 1780.

Key: 1 D; 2 A; 3 F; 4 C; 5 G; 6 B; 7 E. Questions and Answers ( for teacher) Answer the questions: 1. When and where was Joshua Reynolds born? (Reynolds was born in Plympton, Devon, on 16 July 1723) 2. Whose son was he? (As one of eleven children, and the son of the village school-master, his formal education was restricted to what his father taught him.) 3. To whom was Joshua Reynolds apprenticed in 1740? (Joshua Reynolds was apprenticed in 1740 to the fashionable portrait painter Thomas Hudson, with whom he remained until 1743) 4. Where did he study the Old Masters from 1749 to 1752? (He spent over two years in Italy, where he studied the Old Masters) 5. In what painting did he specialize? (Sir Joshua Reynolds specialized in portraits) 6. How many portraits did he paint in his life? (It is said that in his long life he painted as many as three thousand portraits) 7. When did he become the Royal Academy's first President? (In 1768 he was made the RA's first President, a position he held until his death) 8. What happened to the painter in 1789? (He lost the sight of his left eye, which finally forced him into retirement) 9. When did Joshua Reynolds die? Where was he buried? (On 23 February 1792 he died in his house in Leicester Fields, London. He was buried in St. Paul's Cathedral) 10. What Joshua Reynoldss works impress you? , ( ) (. Joshua Reynolds, 17231792) . . XVIII . , . . 16 1723 . , . (1665 1745) . 1741 .

. , , , 1746 . 1749 . , , , , . , 1752 ., , , . , . . . 1763 . , , ., , 1768 . . 1784 . . . . , , , , . , , , , , . , , , , , . . - ( ), ( ), , . , , , , , , , , ( ), , ( , ), ( ) . ., ; , , , , , , ( , ), , , ( ) . .: , ( 1391), ( 1392) ( 1390). . , , , , , . , , 1778 ., ( 1884 .; . . 1797 1835 .

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Thomas Gainsborough( 1) Self-portrait, painted 1787 Thomas Gainsborough (christened 14 May 1727 2 August 1788) was one of the most famous portrait and landscape painters of 18th century Britain.

Self-portrait, painted 1759

Life Gainsborough was born in Sudbury, Suffolk, England. His father was a weaver involved with the wool trade. At the age of thirteen he impressed his father with his pencilling skills so that he let him go to London to study art in 1740. In London he first trained under engraver Hubert Gravelot but eventually became associated with William Hogarth and his school. In the 1740s, Gainsborough married Margaret Burr, an illegitimate daughter of the Duke of Beaufort, who settled a 200 annuity on the couple. The artist's work, then mainly composed of landscape paintings, was not selling very well. He returned to Sudbury in 17481749 and concentrated on the painting of portraits.

Gainsborough's Mr and Mrs Andrews (1748-49), in the National Gallery in London, is the best known painting of his Suffolk period. ( 2) In 1752, he and his family, now including two daughters, moved to Ipswich. Commissions for personal portraits increased, but his clientele included mainly local merchants and squires. He had to borrow against his wife's annuity. In 1759, Gainsborough and his family moved to Bath. There, he studied portraits by van Dyck and was eventually able to attract a better-paying high society clientele. In 1761, he began to send work to the Society of Arts exhibition in London (now the Royal Society of Arts, of which he was one of the earliest members) (3); and from 1769 on, he submitted works to the Royal Academy's annual exhibitions. He selected portraits of well-known or notorious clients in order to attract attention. ( 4 7) These exhibitions helped him acquire a national reputation, and he was invited to become one of the founding members of the Royal Academy in 1769. His relationship with the academy, however, was not an easy one and he stopped exhibiting his paintings there in 1773. The Blue Boy, painted 1770 ( 4) is one of the most famous works.

In 1774, Gainsborough and his family moved to London to live in Schomberg House, Pall Mall. In 1777, he again began to exhibit his paintings at the Royal Academy, including portraits of contemporary celebrities, such as the Duke and Duchess of Cumberland. Exhibitions of his work continued for the next six years. In 1780, he painted the portraits of King George III and his queen and afterwards received many royal commissions. This gave him some influence with the Academy and allowed him to dictate the manner in which he wished his work to be exhibited. However, in 1783, he removed his paintings from the forthcoming exhibition and transferred them to Schomberg House. In 1784, royal painter Allan Ramsay died and the King was obliged to give the job to Gainsborough's rival and Academy president, Joshua Reynolds, however Gainsborough remained the Royal Family's favourite painter. At his own express wish, he was buried at St. Anne's Church, Kew, where the Family regularly worshipped. In his later years, Gainsborough often painted relatively simple, ordinary landscapes. ( 8) With Richard Wilson, he was one of the originators of the eighteenth-century British landscape school; though simultaneously, in conjunction with Joshua Reynolds, he was the dominant British portraitist of the second half of the 18th century.

Mr and Mrs William Hallett (1785) ( 5)

Mrs Thomas Hibbert, ( 6)

Mary Hove, 1765 The portrait of a woman in the blue. , . ( 7) (3)

Watering place 1777. ( 8)

Art and commentary Gainsborough painted more from his observations of nature (and human nature) than from any application of formal academic rules. The poetic sensibility of his paintings caused Constable to say, "On looking at them, we find tears in our eyes and know not what brings them." He himself said, "I'm sick of portraits, and wish very much to take my viol-da-gam and walk off to some sweet village, where I can paint landskips (sic) and enjoy the fag end of life in quietness and ease." His most famous works, such as Portrait of Mrs. Graham; Mary and Margaret: The Painter's Daughters; William Hallett and His Wife Elizabeth, nee Stephen, known as The Morning Walk; and Cottage Girl with Dog and Pitcher, display the unique individuality of his subjects. Gainsborough's only known assistant was his nephew, Gainsborough Dupont. He died of cancer on 2 August 1788 in his 62nd year.

Answer the questions: 1. When and where was Thomas Gainsborough born? 2. Whose son was he? 3. When and why did his father send him to study art? 4. In what painting did he specialize? 5. What is the best known painting of his Suffolk period? 6. When did he begin to send work to the Society of Arts exhibition in London? What was his relationship with the academy? 7. When did he begin to exhibit his paintings at the Royal Academy? 8. What did Gainsborough often paint in his later years? 9. When did Thomas Gainsborough die? Where was he buried? 10. What Thomas Gainsboroughs works do you like?

. ( 9) : 1. 2. A. Mrs Thomas Hibbert, B. The portrait of a woman in the blue

3.

C. Mr and Mrs Andrews (1748-49)

4.

D. Self-portrait, painted 1759

5.

E. The Blue Boy, painted 1770

6.

F. Watering place 1777.

7.

G. Self-portrait, painted 1787

8.

H.

Mr and Mrs William Hallett (1785)

9.

I.

Mary Hove, 1765

Key: 1 D; 2 E; 3 F; 4 H; 5 C; 6 A; 7 I; 8 B; 9 G. Questions and Answers ( for teacher) 1. When and where was Thomas Gainsborough born? (Thomas Gainsborough was born in Sudbury, Suffolk, England and christened 14 May 1727) 2. Whose son was he? (Gainsborough His father was a weaver involved with the wool trade) 3. When and why did his father send him to study art? (At the age of thirteen he impressed his father with his penciling skills so that he let him go to London to study art in 1740) 4. In what painting did he specialize? (At first he mainly composed of landscape paintings, but they were not sold very well. He returned to Sudbury in 17481749 and concentrated on the painting of portraits) 5. What is the best known painting of his Suffolk period? (Gainsborough's Mr and Mrs Andrews (1748-49), in the National Gallery in London, is the best known painting of his Suffolk period) 6. When did he begin to send work to the Society of Arts exhibition in London? What was his relationship with the academy? (In 1761, he began to send work to the Society of Arts exhibition in London (now the Royal Society of Arts, of which he was one of the earliest members. His relationship with the academy, however, was not an easy one and he stopped exhibiting his paintings there in 1773) 7. When did he begin to exhibit his paintings at the Royal Academy? (In 1777, he again began to exhibit his paintings at the Royal Academy. Exhibitions of his work continued for the next six years.) 8. What did Gainsborough often paint in his later years? (In his later years, Gainsborough often painted relatively simple, ordinary landscapes) 9. When did Thomas Gainsborough die? Where was he buried? (Thomas Gainsborough died of cancer on 2 August 1788 in his 62nd year.At his own express wish, he was buried at St. Anne's Church, Kew, where the Family regularly worshipped) 10. What Thomas Gainsboroughs works do you like?

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Joseph Mallord William Turner( 1)

Self portrait, oil on canvas, 1799 Persondata NAME ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH PLACE OF BIRTH

Turner, Joseph Mallord William Turner, J. M. W. English Romantic landscape painter, watercolourist and printmaker 23 April 1775 Maiden Lane Covent Garden, London, England

DATE OF DEATH PLACE OF DEATH

December 19, 1851 Cheyne Walk, Chelsea

Joseph Mallord William Turner (23 April 1775 19 December 1851) was an English Romantic landscape painter, watercolourist and printmaker, whose style can be said to have laid the foundation for Impressionism. Although Turner was considered a controversial figure in his day, he is now regarded as the artist who elevated landscape painting ( 2) to an eminence rivaling history painting. Turner's 1813 watercolour, Ivy Bridge ( 2) Life and career Turner was born in Maiden Lane, Covent Garden, London, England. His father, William Gay Turner (27 January 1738 7 August 1829), was a barber and wig maker. His mother, Mary Marshall, became increasingly mentally unstable, perhaps, in part, due to the early death of Turner's younger sister, Helen Turner in 1786. She died in 1804, after having been committed to a mental asylum in 1799. Possibly due to the load placed on the family by these problems, the young Turner was sent to stay with his uncle on his mother's side in Brentford in 1785, which was then a small town west of London on the banks of the River Thames. It was here that he first expressed an interest in painting. A year later he went to school in Margate on the north-east Kent coast. By this time he had created many drawings, which his father exhibited in his shop window. He entered the Royal Academy of Art schools in 1789, when he was only 14 years old, and was accepted into the academy a year later. Sir Joshua Reynolds, president of the Royal Academy at the time, chaired the panel that admitted him. At first Turner showed a keen interest in architecture but was advised to keep to painting by the architect Thomas Hardwick (junior). A watercolour of Turner's was accepted for the Summer Exhibition of 1790 after only one year's study. He exhibited his first oil painting in 1796, Fishermen at Sea, and thereafter exhibited at the academy nearly every year for the rest of his life. Although renowned for his oils, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light". Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He also made many visits to Venice. On a visit to Lyme Regis, in Dorset, England, he painted a stormy scene (now in the Cincinnati Art Museum).

The shipwreck of the Minotaur. (3)

Calais Pier ( 4)

The Burning of the Houses of Parliament, 1835 ( 5)

Rain, Steam and Speed (1844). ( 6)

As he grew older, Turner became more eccentric. He had few close friends except for his father, who lived with him for thirty years, eventually working as his studio assistant. His father's death in 1829 had a profound effect on him, and thereafter he was subject to bouts of depression. He never married, although he had two daughters by Sarah Danby, one born in 1801, the other in 1811. He died in the house of his mistress Sophia Caroline Booth in Cheyne Walk, Chelsea on 19 December 1851. At his request he was buried in St Paul's Cathedral, where he lies next to Sir Joshua Reynolds. His last exhibition at the Royal Academy was in 1850. Style

Turner's talent was recognized early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterized by a chromatic palette and broadly applied atmospheric washes of paint. Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks( 3 - 4), fires (such as the burning of Parliament in 1834 ( 5) , an event which Turner rushed to witness first-hand, and which he transcribed in a series of watercolour sketches), natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. ( 6) He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840). His first works, such as Tintern Abbey (1795) and Venice: S. Giorgio Maggiore (1819), stayed true to the traditions of English landscape. However, in Hannibal Crossing the Alps (1812), an emphasis on the destructive power of nature had already come into play. His distinctive style of painting, in which he used watercolor technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects. In his later years he used oils ever more transparently, and turned to an evocation of almost pure light by use of shimmering colour. A prime example of his mature style can be seen in Rain, Steam and Speed - The Great Western Railway ( 6), where the objects are barely recognizable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but later exerted an influence upon art in France, as well; the Impressionists, particularly Claude Monet, carefully studied his techniques.

Turner left a small fortune which he hoped would be used to support what he called "decayed artists". Part of the money went to the Royal Academy of Arts, which does not now use it for this purpose, though occasionally it awards students the Turner Medal. His collection of finished paintings was bequeathed to the British nation, and he intended that a special gallery would be built to house them. This did not come to pass owing to a failure to agree on a site, and then to the parsimony of British governments. Twenty-two years after his death, the British Parliament passed an Act allowing his paintings to be lent to museums outside London, and so began the process of scattering the pictures which Turner had wanted to be kept together. In 1910 the main part of the Turner Bequest, which includes unfinished paintings and drawings, was rehoused in the Duveen Turner Wing at the Tate Gallery. In 1987 a new wing of the Tate, the Clore Gallery, was opened specifically to house the Turner bequest, though some of the most important paintings in it remain in the National Gallery in contravention of Turner's condition that the finished pictures be kept and shown together. In 1974, the Turner Museum was founded in the USA by Douglass Montrose-Graem to house his collection of Turner prints. A prestigious annual art award, the Turner Prize, created in 1984, was named in Turner's honour, but has become increasingly controversial, having promoted art which has no apparent connection with Turner's. Twenty years later the more modest Winsor & Newton Turner Watercolour Award was founded. Answer the questions: 1. When and where was Joseph Mallord William Turner born? 2. What do you know about his family? 3. When did Turner enter the Royal Academy of Art schools?

4. When did Turner exhibit his first oil painting? 5. In what stile did he specialize? 6. For what purpose did Turner leave a small fortune? 7. Where and when was the Turner Museum founded? 8. When did Joseph Mallord William Turner die? Where was he buried? 9. What Joseph Turners works impress you?

.( 8) : 1. A. Ivy Bridge, 1813

2.

B. The Burning of the Houses of Parliament, 1835

3.

C. The shipwreck of the Minotaur

4.

D. Self portrait, oil on canvas, 1799

5.

E. Calais Pier

6.

F. Rain, Steam and Speed (1844).

Key: 1 D; 2 C; 3 F; 4 A; 5 B; 6 E.

Questions and Answers ( for teacher) 1. When and where was Joseph Mallord William Turner born? (Joseph Mallord William Turner was born on 23 April 1775 in Maiden Lane, Covent Garden, London, England) 2. What do you know about his family? (His father, William Gay Turner was a barber and wig maker. His mother, Mary Marshall, became increasingly mentally unstable, perhaps, in part, due to the early death of Turner's younger sister, Helen Turner in 1786. She died in 1804, after having been committed to a mental asylum in 1799) 3. When did Turner enter the Royal Academy of Art schools? (He entered the Royal Academy of Art schools in 1789, when he was only 14 years old, and was accepted into the academy a year later. Sir Joshua Reynolds, president of the Royal Academy at the time, chaired the panel that admitted him) 4. When did Turner exhibit his first oil painting? (He exhibited his first oil painting in 1796, Fishermen at Sea, and thereafter exhibited at the academy nearly every year for the rest of his life) 5. In what style did he specialize? ( He was an English Romantic landscape painter, watercolourist and printmaker, whose style can be said to have laid the foundation for Impressionism. He is commonly known as "the painter of light") 6. For what purpose did Turner leave a small fortune? (Turner left a small fortune which he hoped would be used to support what he called "decayed artists". Part of the money went to the Royal Academy of Arts, which does not now use it for this purpose, though occasionally it awards students the Turner Medal) 7. Where and when was the Turner Museum founded?

(In 1974, the Turner Museum was founded in the USA by Douglass Montrose-Graem to house his collection of Turner prints) 8. When did Joseph Mallord William Turner die? Where was he buried? (He died on 19 December 1851. At his request he was buried in St Paul's Cathedral, where he lies next to Sir Joshua Reynolds) 9. What Joseph Turners works impress you?, (. Joseph Mallord William Turner, 17751851) , , . . 23 1775 . - (, ). . 1785 . , . , 15- . . , , 1790 . , 1802 . . 19 1851 . , ( ).

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John Constable( 1) A self portrait by John Constable John Constable (11 June 1776 31 March 1837) was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale ( 2), the area surrounding his homenow known as "Constable Country"which he

invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling". His most famous paintings include Dedham Vale of 1802 and The Hay Wain of 1821(3). Although his paintings are now among the most popular and valuable in British art, he was never financially successful and did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. He sold more paintings in France than in his native England.

Dedham Vale of 1802 ( 2) ( 8)

The Hay Wain of 1821

Maria Bicknell, 1816 ( 3)

Weymouth Bay ( 4)

The Cornfield of 1826 ( 5)

Biography John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann Constable. His father was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill. Golding Constable also owned his own small ship, The Telegraph, which he moored at Mistley on the Stour estuary and used to transport corn to London. Although Constable was his parents' second son, his older brother was mentally handicapped and so John was expected to succeed his father in the business, and after a brief period at a boarding school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the corn business after leaving school, but his younger brother Abram eventually took over the running of the mills. In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk countryside that was to become the subject of a large proportion of his art. These scenes, in his own words, "made me a painter, and I am grateful"; "the sound of water escaping from mill dams etc., willows, old rotten planks, slimy posts, and brickwork, I love such things." He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain, which inspired Constable. Later, while visiting relatives in Middlesex, he was introduced to the professional artist John Thomas Smith, who advised him on painting but also urged him to remain in his father's business rather than take up art professionally. In 1799, Constable persuaded his father to let him pursue art, and Golding even granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections as well as studying and copying Old Masters. Among works that particularly inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci and Jacob van Ruisdael. He also read widely among poetry and sermons, and later proved a notably articulate artist. By 1803, he was exhibiting paintings at the Royal Academy. His early style has many of the qualities associated with his mature work, including a freshness of light, colour and touch, and reveals the compositional influence of the Old Masters he had studied. Constable's usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He did, however, make occasional trips further a field. For example, in 1803 he spent almost a month aboard the East Indiaman ship Coutts as it visited south-east coastal ports, and in 1806 he undertook a twomonth tour of the Lake District. But he told his friend and biographer Charles Leslie that the solitude of the mountains oppressed his spirits.

In order to make ends meet, Constable took up portraiture, which he found dull workthough he executed many fine portraits ( 4). He also painted occasional religious pictures, but according to John Walker, "Constable's incapacity as a religious painter cannot be overstated." Constable adopted a routine of spending the winter in London and painting at East Bergholt in the summer. And in 1811 he first visited John Fisher and his family in Salisbury, a city whose cathedral and surrounding landscape were to inspire some of his greatest paintings. Marriage and maturity From 1809 onwards, his childhood friendship with Maria Bicknell ( 4) developed into a deep, mutual love. But their engagement in 1816 was opposed by Maria's grandfather, Dr Rhudde, rector of East Bergholt, who considered the Constables his social inferiors and threatened Maria with disinheritance. Maria's father, Charles Bicknell, a solicitor, was reluctant to see Maria throw away this inheritance, and Maria herself pointed out that a penniless marriage would detract from any chances John had of making a career in painting. Golding and Ann Constable, while approving the match, held out no prospect of supporting the marriage until Constable was financially secure; but they died in quick succession, and Constable inherited a fifth share in the family business. John and Maria's marriage in October 1816 was followed by a honeymoon tour of the south coast, where the sea at Weymouth and Brighton stimulated Constable to develop new techniques of brilliant colour and vivacious brushwork. At the same time, a greater emotional range began to register in his art. Although he had scraped an income from painting, it was not until 1819 that Constable sold his first important canvas, The White Horse, which led to a series of "six footers", as he called his large-scale paintings. He was elected an Associate of the Royal Academy that year, and in 1821 he showed The Hay Wain ( 3) (a view from Flatford Mill) at the Academy's exhibition. Thodore Gricault saw it on a visit to London and was soon praising Constable in Paris, where a dealer, John Arrowsmith, bought four paintings, including The Hay Wain, which was exhibited at the Paris Salon of 1824, winning a gold medal. In his lifetime Constable was to sell only twenty paintings in England, but in France he sold more than twenty in just a few years. Despite this, he refused all invitations to travel internationally to promote his work, writing to Francis Darby: "I would rather be a poor man in England than a rich man abroad." In 1825, perhaps due partly to the worry of his wife's ill-health, the uncongeniality of living in Brighton ("Piccadilly by the Seaside"), and the pressure of numerous outstanding commissions, he quarrelled with Arrowsmith and lost his French outlet. After the birth of her seventh child in January 1828, Maria fell ill and died of tuberculosis that November at the age of forty-one. Intensely saddened, Constable wrote to his brother Golding, "hourly do I feel the loss of my departed AngelGod only knows how my children will be brought upthe face of the World is totally changed to me". Thereafter, he always dressed in black and was, according to Leslie, "a prey to melancholy and anxious thoughts". He cared for his seven children alone for the rest of his life. He was elected to the Royal Academy in February 1829, at the age of 52, and in 1831 was appointed Visitor at the Royal Academy, where he seems to have been popular with the students. He also began to deliver public lectures on the history of landscape painting, which were attended by distinguished audiences. In a series of such lectures at the Royal Institution, Constable proposed a threefold thesis: firstly, landscape painting is scientific as well as poetic; secondly, the imagination cannot alone produce art to bear comparison with reality; and thirdly, no great painter was ever self-taught.

In 1835, his last lecture to the students of the RA, in which he praised Raphael and called the R.A. the "cradle of British art", was "cheered most heartily". He died on the night of the 31st March, apparently from indigestion. Art Constable quietly rebelled against the artistic culture that taught artists to use their imagination to compose their pictures rather than nature itself. He told Leslie, "When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture". Constable painted many full-scale preliminary sketches of his landscapes in order to test the composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time, and they continue to interest artists, scholars and the general public. Constable's watercolours were also remarkably free for their time: the almost mystical Stonehenge, 1835, with its double rainbow, is one of the greatest watercolours ever painted. When he exhibited it in 1836, Constable appended a text to the title: "The mysterious monument of Stonehenge, standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period." In addition to the full-scale oil sketches, Constable completed numerous observational studies of landscapes and clouds ( 5), determined to become more scientific in his recording of atmospheric conditions. The power of his physical effects ( 6) was sometimes apparent even in the full-scale paintings which he exhibited in London;

Seascape Study with Rain Cloud ( 6)

Salisbury Cathedral ( 7)

Flowers in the vase. ( 9)

The sketches themselves were the first ever done in oils directly from the subject in the open air. To convey the effects of light and movement, Constable used broken brushstrokes, often in small touches, which he scum bled over lighter passages, creating an impression of sparkling light enveloping the entire landscape. One of the most expressionistic and powerful of all his studies is Seascape Study with Rain Cloud, painted in around 1824 ( 6) at Brighton, which captures with slashing dark brushstrokes the immediacy of an exploding cumulus shower at sea. Constable also became interested in painting rainbow effects, for example in Salisbury Cathedral from the Meadows, 1831, and in Cottage at East Bergholt, 1833. Paintings Salisbury Cathedral ( 7) by John Constable, as a gesture of appreciation for John Fisher, the Bishop of Salisbury, who commissioned this painting, Constable included the Bishop and his wife in the canvas. Their figures can be seen at the bottom left of the painting, behind the fence and under the shade of the trees. Answer the questions: 1. When and where was John Constable born? 2. What do you know about his family? 3. When did John Constable enter the Royal Academy Schools? 4. What picture was exhibited at the Paris Salon of 1824 and won a gold medal? 5. When was John Constable elected to the Royal Academy?

6. In what style did he specialize? 7. What are his most famous paintings? 8. When did John Constable die? 9. What John Constable s works impress you?

.( 10,11) : 1. A. Weymouth Bay

2.

B. Dedham Vale of 1802

3.

C. The Hay Wain of 1821

4.

D. A self portrait by John Constable

5.

E. The Cornfield of 1826

6.

F. Salisbury Cathedral

7.

G. Seascape Study with Rain Cloud

8.

H. Maria Bicknell, 1816

9.

I. Flowers in the vase.

Key: 1 D; 2 A; 3 B; 4 C; 5 I; 6 E; 7 F; 8 H; 9 G. Questions and Answers ( for teacher) 1. When and where was John Constable born? (John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann Constable on 11 June 1776) 2. What do you know about his family? (His father was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill. Golding Constable also owned his own small ship, The Telegraph, which he moored at Mistley on the Stour estuary and used to transport corn to London) 3. When did John Constable enter the Royal Academy Schools? (In 1799, Constable persuaded his father to let him pursue art, and Golding even granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections as well as studying and copying Old Masters.) 4. What picture was exhibited at the Paris Salon of 1824 and won a gold medal? (The Hay Wain, which was exhibited at the Paris Salon of 1824, winning a gold medal) 5. When was John Constable elected to the Royal Academy?

(He was elected to the Royal Academy in February 1829, at the age of 52, and in 1831 was appointed Visitor at the Royal Academy, where he seems to have been popular with the students.) 6. In what stile did he specialize? (He is known principally for his landscape paintings) 7. What are his most famous paintings? (His most famous paintings include Dedham Vale of 1802 and The Hay Wain of 1821) 8. When did John Constable die? (He died on the night of the 31st March 1837, apparently from indigestion) 9. What John Constable s works impress you?

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8. XVIII XIX . .

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Thomas Lawrence

( 1) Sir Thomas Lawrence (April 13, 1769 January 7, 1830), was a notable English painter, mostly of portraits.

Alexander MacKenzie painted by Thomas Lawrence courtesy National Gallery of Canada. ( 2)

He was born in Bristol. His father was an innkeeper, first at Bristol and afterwards at Devizes, and at the age of six Thomas was already being shown off to the guests of the Bear as an infant prodigy who could sketch their likenesses and declaim speeches from Milton. In 1779 the elder Lawrence had to leave Devizes, having failed in business and Thomas's precocious talent began to be the main source of the family's income; he had gained a reputation along the Bath road. His debut as a crayon portrait painter was made at Oxford, where he was well patronized, and in 1782 the family settled in Bath, where the young artist soon found himself fully employed in taking crayon likenesses of fashionable people at a guinea or a guinea and a half a head. In 1784 he gained the prize and silver-gilt palette of the Society of Arts for a crayon drawing after Raphael's "Transfiguration," and presently beginning to paint in oil.

A portrait of Elizabeth Farren by Thomas Lawrence ( 3) Abandoning the idea of going on the stage which he had briefly entertained, Lawrence came to London in 1787, was kindly received by Sir Joshua Reynolds , and became a student at the Royal Academy. He began to exhibit almost immediately, and his reputation increased so rapidly that he became an associate of the Academy in 1791. The death of Sir Joshua in 1792 opened the way to further successes. Lawrence was at once appointed painter to the Dilettanti Society, and principal painter to King George III instead of Reynolds. In 1794 he was a Royal Academician, and he became the fashionable portrait painter of the age, his sitters including England's most notable people, and ultimately most of the crowned heads of Europe. ( 2, 3, 4) Caroline of Brunswick was one of his favourite subjects, and is reputed to have been his lover for a time. In 1815 he was knighted; in 1818 he went to Aachen to paint the sovereigns and diplomats gathered there for the third congress, and visited Vienna and Rome, everywhere receiving flattering marks of distinction from princes, due as much to his courtly manners as to his merits as an artist. After eighteen months he returned to England, and on the very day of his arrival was chosen president of the Academy in room of Benjamin West, who had died a few days before. He held the office from 1820 to his death. He was never married. Portrait of Marguerite, Countess of Blessington, 1819. ( 4) Sir Thomas Lawrence had all the qualities of personal manner and artistic style necessary to make a fashionable painter, and among English portrait painters he takes a high place, though not as high as that given to him in his lifetime. His more ambitious works, in the classical style, such as his once celebrated "Satan," are practically forgotten.

The best display of Lawrence's work is in the Waterloo Gallery of Windsor, a collection of much historical interest. "Master Lambton," painted for Lord Durham at the price of 600 guineas, is regarded as one of his best portraits, and a fine head in the National Gallery, London, shows his power to advantage. The Life and Correspondence of Sir T. Lawrence, by DE Williams, appeared in 1831. Answer the questions: 1. When and where was Thomas Lawrence born? 2. What do you know about his family? 3. What can you say about his debut as a crayon portrait painter? 4. When did he gain the prize and silver-gilt palette of the Society of Arts? 5. In what style did he specialize? 6. When did Thomas Lawrence become a student at the Royal Academy? 7. Was Thomas Lawrence a Royal Academician? 8. When was he knighted? 9. When did Thomas Lawrence die? 10. What Thomas Lawrences works do you like?

. ( 5)1.

: A. Portrait of Marguerite, Countess Blessington, 1819. B. Alexander MacKenzie

of

2.

3.

C. A portrait of Elizabeth Farren

Key: 1 A; 2 C; 3 B. Questions and Answers ( for teacher) 1. When and where was Thomas Lawrence born? (He was born in Bristol, April 13, 1769) 2. What do you know about his family? (His father was an innkeeper. In 1779 the elder Lawrence had to leave Devizes, having failed in business and Thomas's precocious talent began to be the main source of the family's income) 3. What can you say about his debut as a crayon portrait painter? (His debut as a crayon portrait painter was made at Oxford, where he was well patronized) 4. When did he gain the prize and silver-gilt palette of the Society of Arts? (In 1784 he gained the prize and silver-gilt palette of the Society of Arts for a crayon drawing after Raphael's "Transfiguration," and presently beginning to paint in oil) 5. In what style did he specialize? (Thomas Lawrence was a notable English painter, mostly of portraits.) 6. When did Thomas Lawrence become a student at the Royal Academy?

(Lawrence came to London in 1787, was kindly received by Sir Joshua Reynolds , and became a student at the Royal Academy) 7. Was Thomas Lawrence a Royal Academician? (In 1794 he was a Royal Academician, and he became the fashionable portrait painter of the age) 8. When was he knighted? (In 1815 he was knighted) 9. When did Thomas Lawrence die? (January 7, 1830) 10. What Thomas Lawrences works do you like?

, ( ) (. Thomas Lawrence; 13 1769, 7 1830) , . , , . 1782 . , . 1787 . , 1791 . , 1794 . . 18181820 . , , ( ). .

9. XIX . .

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Dante Gabriel Rossetti( 1) Dante Gabriel Rossetti,1847

Born Died Occupation

12 May 1828 London, England 09 April 1882 Birchington-on-Sea, Kent, England Poet, Illustrator, Painter

Dante Gabriel Rossetti (May 12, 1828 April 09, 1882) was an English poet, illustrator, painter, and translator. Early life The son of migr Italian scholar Gabriel Pasquale Giuseppe Rossetti, D.G. Rossetti was born in London, England and originally named Gabriel Charles Dante Rossetti. His family and friends called him "Gabriel", but in publications he put the name Dante first, because of its literary associations. He was the brother of poet Christina Rossetti, the critic William Michael Rossetti, and author Maria Francesca Rossetti, and was a founder of the Pre-Raphaelite Brotherhood with John Everett Millais and William Holman Hunt. At a very early age he showed a strong interest in literature. Like all his siblings, he aspired to be a poet and attended King's College School. However, he also wished to be a painter, having shown a great interest in Medieval Italian art. He studied at Henry Sass's Drawing Academy from 1841 to 1845 when he enrolled at the Antique School of the Royal Academy, leaving in 1848. After leaving the Royal Academy, Rossetti studied under Ford Madox Brown, with whom he was to retain a close relationship throughout his life. In 1850, Rossetti met Elizabeth Siddal( 3), who became an important model for the PreRaphaelite painters. They were married in 1860.

Ecce Ancilla Domini (1850) ( 2)

Beata Beatrix (1864-1870) ( 3)

A Vision of Fiammetta (1878) ( 4)

Rossetti's first major paintings display some of the realist qualities of the early PreRaphaelite movement. Rossetti increasingly preferred symbolic and mythological images to realistic ones. ( 2, 4). This was also true of his later poetry. Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci.

Although he won support from John Ruskin, criticism of his paintings caused him to withdraw from public exhibitions and turn to watercolours, which could be sold privately. In 1861, Rossetti published The Early Italian Poets, a set of English translations of Italian poetry including Dante Alighieri's La Vita Nuova. These, and Sir Thomas Malory's Morte d'Arthur, inspired his art in the 1850s. His visions of Arthurian romance and medieval design also inspired his new friends of this time, William Morris and Edward Burne-Jones. Rossetti also typically wrote sonnets for his pictures, such as "Astarte Syraica". As a designer, he worked with William Morris to produce images for stained glass and other decorative devices. Both these developments were precipitated by events in his private life, in particular by the death of his wife Elizabeth Siddal. She had taken an overdose of laudanum shortly after giving birth to a dead child. Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in her grave at Highgate Cemetery, though he would later have them exhumed. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix ( 3). Later life and death During these years, Rossetti was prevailed upon by friends to exhume his poems from his wife's grave. This he did, collating and publishing them in 1870 in the volume Poems by D. G. Rossetti. They created a controversy when they were attacked as the epitome of the "fleshly school of poetry". The eroticism and sensuality of the poems caused offense. This was part of Rossetti's sonnet sequence The House of Life, a complex series of poems tracing the physical and spiritual development of an intimate relationship. Rossetti described the sonnet form as a "moment's monument", implying that it sought to contain the feelings of a fleeting moment, and to reflect upon their meaning. The House of Life was a series of interacting monuments to these moments an elaborate whole made from a mosaic of intensely described fragments. This was Rossetti's most substantial literary achievement. In 1881, Rossetti published a second volume of poems, Ballads and Sonnets which included the remaining sonnets from the The House of Life sequence. Toward the end of his life, Rossetti sank into a morbid state, darkened by his drug addiction to chloral and increasing mental instability, possibly worsened by his reaction to savage critical attacks on his disinterred (1869) poetry from the manuscript poems he had buried with his wife. He spent his last years as a withdrawn recluse. On Easter Sunday, 1882, he died at the country house of a friend, where he'd gone in yet another vain attempt to recover his health, which had been destroyed by chloral as his wife's had been destroyed by laudanum. He is buried at Birchington-on-Sea, Kent, England. His grave is visited regularly by admirers of his life's work and achievements and this can be seen by fresh flowers placed there regularly. Answer the questions: 1. When and where was Dante Gabriel Rossetti born? 2. What do you know about his family? 3. What was his interest at a very early age? 4. Where did Dante Gabriel Rossetti study painting? 5. Who became an important model for the Pre-Raphaelite painters? 6. What images did Rossetti prefer? 7. When did Dante Gabriel Rossetti die? 8. Where is he buried? 9. What Dante Gabriel Rossettis works do you like?

.( 5) : 1. A. A Vision of Fiammetta (1878)

2.

B. Beata Beatrix (1864-1870)