Цели урока:
обучающие:
- расширение и углубление знаний по английскому языку;
- поддержание у учащихся интереса к изучению иностранного языка.
развивающие:
- формирование навыков коммуникативной культуры;
- развитие коммуникабельности, культуры устных выступлений;
- осознание учащимися практического значения иностранного языка в других областях знаний.
воспитательные:
- приобщение к культурному наследию страны изучаемого языка.
Оборудование:
- "Художественная галерея". Полное собрание работ всемирно известных художников, 2005, №№ 19, 53, 57, 71, 85, 107.
- Наборы открыток, репродукций.
- Карточки со словами, текстами для учащихся.
Урок проведен учащимися 10 класса, членами лингвострановедческой школы "ЛИНГВА", в форме конференции. Класс внимательно слушает подготовленные сообщения, а после каждого докладчика выполняет разнообразные упражнения. Занятие проводилось в течение двух часов.
WARMING UP
Teacher: Good morning, boys and girls. I am glad to see you today and invite you to speak about British painting. The topic of our conference is British painting: William Hogarth, Joshua Reynolds, Thomas Gainsborough, John Constable, Joseph Turner. The motto of our conference is: "Art is the most intensive mode of individualism that the world has known" (Oscar Wilde).
CHAPTER ONE
Baglaeva Lena
English painting
England didn't have his own school of painting up to the XVII century. In the XVII century art in Britain had been dominated 1аrgely by the Flemish artist Anthony Van Dyck.
Though he lived in England only nine years his influence on British painting was very strong. He is considered tо be the father of the English portrait school.
His teacher Peter Paul Rubens was invited to England by the king Charles I, Then Anthony Van Dyck came to England, married the daughter of a lord and stayed in England to his death.
Twenty six Van Dyck's canvases were purchased for the Hermitage in the XVII century.
One of them is a family group, a masterpiece of this collection produced by the painter at the age of about twenty.
Another notable work is "selfportrait" painted in the days of the artist's glory.
The XVIII century was the great age of British painting.
The XIX century gave birth to a great number of artists in Great Britain. It was a period of Romanticism, of industrial and social revolution, of the railway.
The art of this period was diversified, it depicted the continual changes that took place in the life of the British people.
But the Romanticism was the leading force in the New Art. The desire for understanding and expression of human life in all its aspects let the Romanticism to the past, but by attitude to the present, Romanticism opened the way to realism which became the most vital force in the XIX century, art. The Romantic artists sought inspiration in the history, they were attracted by exotic historical surroundings, but they also acquired a growing understanding of contemporary life.
Teacher: Answer the questions:
1. Did England have its own school of painting in the XVII century?
2. Who dominated in British art in the XVII century?
3. When did Anthony Van Dyck live in England?
4. Was his influence in British painting very strong?
5. Who is considered to be the father of the English portrait school?
6. Who invited Peter Paul Rubens to England?
7. Did Anthony Van Dyck marry the daughter of a lord?
8. Did he stay in England to his death?
9. When were 26 Van Dyck 's canvases purchased for the Hermitage?
10. When did Anthony Van Dyck paint his famous work "selfportrait"?
11. How can you characterize the period of the XIX century?
12. What was the leading force in the new art?
13. Where did the Romantic artists seek their inspiration?
14. Who is an outstanding representative of British painting of the XVIII century?
CHAPTER TWO
Badmaeva Sveta
William Hogarth
William Hogarth is one of the greatest English artists of the XVIII century. He made his name as an artist painting "conversation pieces".
These little pictures were very popular in England during the XVIII century. They represented members of the same family or close friends having tea, playing cards or simply talking to one another. Hogarth said that his picture was his "stage", and men and women his "players".
Later two ideas came to Hogarth's mind. One idea was to paint moral drama of life in series of pictures. The second one was to make engravings. His first successful moral series was "The Harlot's Progress". It showed a country girl in London.
The masterpiece of the series was the famous "Marriage a la mode". This set of pictures describes a marriage between the daughter of a rich man and a young lord, the son of old Earl. Their children are together but apart. The young man is watching himself in the glass, the girl is listening to a young counselor. The pictures round the room help understand the situation. In one of the pictures Madame sits listening to the younger counselor, whose portrait hangs in his room. Other pictures in the series show the Lord who amuses himself with a bad company. He returns home typsy.
Madame wastes her money at auctions. The end is known. The Lord attacks the counselor, who kills him and is executed.
Moral:
Don't listen to counselors,
Don't marry a man for his rank or
A woman for her money;
Don't visit auctions unknown to your husband;
Don't have bad friends,
Otherwise you will be ruined.
Hogarth's fame is, in fact, based on these "moral" engravings. They are full of hum our, you must read them, not look at them like other works of art.
All through his life, though, Hogarth could also paint pieces of superb painting.
William Hogarth was the first artist to reject foreign influence and created English national school of painting. Art galleries of many countries are proud of having his work. His "self portrait" with its unusual composition is a pride of the Tate gallery, the Gallery of British art in London. Unlike his contemporaries William Hogarth portrayed not only representatives of the upper classes but also common people. It was the reason of growing irritation of the society aimed against Hogarth.
Exercises1. Topical vocabulary
to make one's name as – прославиться как;
conversation pieces – "разговорные картинки";
to come to one's mind – придти в голову кому-либо;
an engraving – гравюра;
a set of pictures – серия картин;
to be together but apart – быть вместе и не вместе;
counselor – советник;
to amuse oneself with a bad company – развлекаться в плохой компании;
tipsy – пьяный;
to waste one's money at auctions – транжирить деньги на аукционы;
to marry a man for his rank – выходить замуж из-за положения мужа;
to marry a woman for her money – жениться из-за денег;
a work of art – произведение искусства;
pieces of superb painting – великолепная живопись.
2. Answer the questions
1. How did Hogarth make his name as an artist?
2. What is a "conversation pieces"?
3. What ideas came to Hogarth's mind?
4. What does the first picture of "Marriage a la Mode" series describe?
5. What do other pictures in this series describe?
6. What is a moral of the series?
7. What is Hogarth shame based on?
8. Who was the artist to reject foreign influence?
9. What Hogarth's portrait is a pride of the Tate Gallery?
10. Whom did William Hogarth portray?
11. What was the reason of growing irritation of the society aimed against Hogarth?
12. Who created English national school of painting?
3. Translate into English
1. Люди для Хогарта – актеры, а картина – сцена.
2. Хогарт, один из величайших художников Англии, сделал имя, "рисуя" "разговорные картинки".
3. Шедевром "моральных серий" был "модный брак", изображающий историю брака между молодым лордом и дочерью богатого лондонца.
4. Молодой лорд развлекается в плохой компании.
5. Мадам транжирит деньги на аукционах.
6. Слава Хогарта базируется на этих "моралистских" гравюрах.
CHAPTER THREE
Isaev Sasha
Joshua Reynolds
Another outstanding representative of XVIII century is Joshua Reynolds.
His father was a headmaster of the grammar school so he gave his son a very good education. He had an opportunity to study in Italy and soon he became a brilliant painter of his time. He was the first president of the Royal Academy.
He was the principal painter of the King. One of his best creations is "Miss Siddons as the Tragic Muse", depicting the first lady of the British stage.
Sir Joshua Reynolds was the first president for 24 years and created in the Academy a body of highly skilled professional artist.
Answer the questions:
1. Did Joshua Reynolds became a brilliant portrait painter of his time?
2. Did Joshua Reynolds have an opportunity to study in Italy?
3. Was he the first president of the royal Academy?
4. Was he the principal painter of the king?
CHAPTER FOUR
Novosyolova Olga
Thоmas Gainsborouqh
Thomas Gainsborough is the symbol of Romanticism in painting of the XVIII century.
He was also the first creator of the English school of landscape painting. Besides he was one of the greatest portraitists of his time.
Thomas was born in a family of a prosperous cloth merchant and got an excellent education.
Thomas Gainsborough was one of the best portraitists of his time, he considered himself to be a landscape painter.
But it was difficult to sell landscapes in England in the XVIIII century. Landscapes became modern only at the end of the XVIII century.
And that's why Gainsborough tried to combine people and nature on some of his portraits, especially on young women's portraits.
Gainsborough's works differed greatly from the works of Reynolds and William Hogarth. His portraits were simple and full of charm. There were not historical emblems and complicated compositions on his portraits.
Contrary to Reynolds Gainsborough did not value historical paintings. All his life he expressed love to nature in his paintings. Thousands of tourists from different countries come to St. Petersburg to visit the Hermitage and admire his works "Portrait of the Duchess of Beautfort" and "self-portrait".
Answer the questions:
1. Who was also the first creator of the English school of landscape painting?
2. Was Thomas Gainsborough one of the greatest portraitists of his time?
3. In what family was he born?
4. What kind of education did he get?
5. Did he consider himself to be a landscape painter?
6. Was it very difficult to sell landscapes in England in the XVIIIth century?
7. When did landscapes become modern?
8. What did Gainsborough try to combine people in his portraits?
9. Why did Gainsborough's works differ from the works of Reynolds and William Hogarth?
10. Were there any historical emblems and complicated compositions on his portraits?
11. What did Gainsborough try to express in his paintings?
12. Is Thomas Gainsborough the symbol of Romanticism in pai-tings of the XVIIIth century?
CHAPTER FIVE
Sltnikov Anton
John Constable
John Constable is one of the most famous English landscapists. Though his approach to art was realistic, his individuality of style and interest in sentiment made him part of the Romantic period in which he lived.
The son of a prosperous mill owner, he showed taste for sketching at an early age. He was one of the first artists to paint outdoors, in order to observe the change of light and color in nature.
In 1800 Constable entered the Royal Academy School, exhibiting his works two years later. He developed his style in painting, but his fame was slow to arrive, and he had to paint portraits to earn his living.
In 1819 he was made an associate of the Royal Academy,.
In 1824 at the age of fifty, in company with some of his country men, he showed a number of landscapes at the Paris Salon. And there he was awarded a gold medal for one of his landscape.
In England, however, there were few people who appreciated his work as a landscapist, and it was only in 1829 that he was elected in the full membership of the Royal Academy.
He did not paint nature in general, tout he showed it as he saw it at a particular hour of day.
Unlike the Dutch who preferred sunny landscapes it was the cloudy, rainy days that Constable painted.
Besides the intrinsic merit of Constable's work it is also historically impartment for the effect it had on both the Romantic and Impressionist: groups. He is considered to be the fore - runner of the Impressionists.
Answer the questions:
1. Is John Constable one of the most famous British landscapists?
2. Was his approach to art realistic?
3. Was John Constable a representative or the Romantic period?
4. What talent did he show at an early age?
5. Was he one of the first artists to paint outdoors?
6. Why did he paint outdoors?
7. When did Constable enter the Royal Academy School?
8. What did he develop in painting?
9. Why did he have to paint portraits?
10. When did he show a number of landscapes at the Paris Salon?
11. Was he awarded a gold medal for one of his landscape or not?
12. When was he elected to the full membership of the Royal Academy?
13. How did he paint nature?
14. What kind of landscapes did he prefer to paint?
15. Is he considered to be the fore-runner of the Impressionists or not?
CHAPTER SIX
Usoltseva Ludmila
Joseph Mallord William Turner
Turner began to paint in oil at the age of 21. "The Fishermen at Sea" apparently being the first oil-painting exhibited by him (1796).
His love for mountains was great, but it was the sea that remained his life-long passion. He had a splendid visual memory. A sea-wave not being able to "sit" for a portrait, it was very difficult to paint it. Turner, by constant observation and by his good knowledge of wave forms and the rules which they obey, gave to his sea mass, weight and movement.
As he was at heart a sailor, a ship was a living creature to him. That is why his paintings are so powerful. He loved painting ships, men connected with the sea, fishermen and sailors at work.
"Calais Pier" is one of his greatest creations of the early period, showing Turner as a draughts-man of human beings. All the figures are living individuals.
After his continental tour in 1802 his eyes opened to the beauty of the English scene which he had neglected before.
His greatest masterpieces were "Windsor", "The sun rising through vapour".
The year 1829 was a turning point in his career. It was then he began to adapt his final and in many ways most original style in colours.
Turner began to use in oil splendid colour schemes with which he had experimented in watercolours.
Till then his work had been in some sense traditional, he had followed the path prepared for him by Claude Lorraine and Poussin, the Dutch masters, Thomas Gainsborough and John Crome. At the age of 54, he developed his own style, painting his most original masterpieces .
Among these were "Fighting Temeraire", "Frosty Morning", "Snowstorm". Turner "s talent and capacity for work made him one of the most outstanding English artists.
Exercises 1Answer the questions:
1. When did Turner begin to paint in oil?
2. Was his love for mountains great or not?
3. What remained his life-long passion?
4. Did he have a splendid visual memory?
5. Did he like to paint a sea-wave?
6. How did Turner paint the sea?
7. Was he a sailor at neart?
8. Wаs a ship a living creature to him or not?
9. Did he love painting ships, fishermen, sailors at work?
10. When did he open the beauty of the English scene?
11. What were his greatest masterpieces?
12. When was a turning point in his career?
13. When did he begin to adapt his final, the most original style in colours?
14. Did Turner begin to use in oil splendid colour schemes?
15. Who prepared the path for him in painting?
16. When did he develop his own style?
17. What made him one of the most outstanding English artists?
2. True or false?1. Turner began to paint in oil at the age of 15.
2. His life - long passion was dancing.
3. Turner, by constant observation and by his good knowledge of wave forms and the rules which they obey, gave to his sea mass, weight and movement.
4. Не loved painting buildings and cities.
5. After his continental tour in 1802 his eyes opened to the beauty of the English scene.
6. The year 1820 was a turning point in his career.
7. Turner began to use in oil splendid colour schemes with which he had experimented in watercolours.
8. At the age of 50, he deveioped his own style, painting his most original masterpieces.
9. Turner's talent and capacity for work made him one of the most outstanding English artists.
СНАPTER SEVEN
Quiz
1. In the XVII century art in Britain had been dominated largely by:
a) Claude Korraine;
b) Poussin;
c) Anthony Van Dyck.
2. Who was the first artist to reject foreign influence in England?
a) Peter Paul;
b) William Hogarth;
c) Joshua Reynolds.
3. Who was the first president of the Royal Academy?
a) Joshua Reynolds;
b) Thomas Gainsbo a rough;
c) John Constable.
4. Who was the first creator of the English school of landscape painting?
a) Thomas Gainsborough;
b) John Constable;
c) Joseph Turner.
5. Who was the principal painter of the King?
a) Thomas Gainsborough;
b) Joshua Reynolds;
c) William Hogarth.
6. Who invited Peter Paul Rubens to England?
a) Anthony Van Dyck;
b) Charles 1;
c) William Hogarth.
7. Thousands of tourists from different countries come to Petersburg to visit the Hermitage and admire his works " Portrait of the Duchess of Beautfort" and "self-portrait".
a) Joseph Turner;
b) Thomas Gainsborough;
c) John Constable.
8. Who was one of the most famous British landscapists?
a) William Hogarth;
b) John Constable;
c) Reynolds.
9. Constable preferred painting:
a) cloudy, rainy days;
b) sunny landscapes;
c) portraits.
10. Turner began to paint in oil at the age of:
a) 21;
b) 18;
c) 16.
11. What did w. Turner like to paint?
a) a sea-wave;
b) mountains;
c) portraits.