A. Stroke-by-Nayland

B. The Hay Wain

V. Translate the text into English.

Новое отношение к природе воплотил в своем творчестве Джон Констебл. Констебл никогда не покидал Англию. Он изу­чал только ту живопись, которую мог видеть на родине. Кон­стебл один из первых стал писать этюды на пленэре, опередив в непосредственности впечатления художников французской шко­лы. Важным нововведением Констебля явились его большие эс­кизы маслом. Констебл писал смелыми подвижными мазками.

Картины Констебля на парижских выставках 1824 и 1825 гг. явились истинным откровением для французских романтиков. Новаторская живопись Констебля оказала большое влияние на развитие французского пейзажа XIX века.

VI. Summarize the text.

VII. Topics for discussion.

1. Constable's style and colour.

2. Constable's artistic influence.

UNIT VIII TURNER (1775-1851)

Joseph Mallord William Turner was a Londoner. He had no mystical attachment to nature. He made frequent trips throughout the Continent, especially Germany, Switzerland and Italy, revelling in mountain landscapes, gorgeous cities (especially Venice), and the most extreme effects of storms, fires and sunsets. Once he even had himself tied to a mast during a storm at sea so that he could experience the full force of the wind, waves, and clouds swirling about him. Turner made beautiful and accurate colour notes on the spot in water-colour, and painted his pictures in the studio, in secrecy, living under an assumed name and accept­ing no pupils. He was the first to abandon pale brown in favour of white, against which his brilliant colour effects could sing with perfect clarity.

Turner often painted historical subjects, usually those of Delacroix, involving violence as well as shipwrecks and conflagra­tions, in which the individual figures appear as scarcely more than spots in a seething tide of humanity. He liked to accompany the labels with quotations from poetry, often his own. Nonetheless, at his death a great many unfinished canvases were found that had no identifiable subject or representation at all. Turner really en­joyed and painted the pure movement of masses of colour - a kind of colour music, strikingly relevant to Abstract Expression­ism of the 1950s. Shortly before the opening of an exhibition at the Royal Academy, the ageing Turner, would send unfinished works, and on varnishing day paint in the details to make the pictures exhibitable to a nineteenth-century public.

The Slave Ship, of 1840, represents an incident common in the days of slavery, when entire human cargoes were thrown into the sea, either because of epidemics or to avoid arrest. The ship itself, the occasional figures, and the fish feasting on the corpses in the foreground were obviously painted at great speed only after the real work, the movement of fiery waves of red, brown, gold, and cream, had been brought into completion.

Rain, Stream and Speed, of 1844, is one of the first paintings of a railway train, and its Romantic idealisation of "progress" - man conquering nature by utilising its force. The train with its light carriages moving across the high bridge is enough of a sub­ject already, but Turner lifts it to an almost unearthly realm in which insubstantial forces play through endless space. The veils of blue and gold are real subjects of the picture. Turner's heightened and liberated colour sense provided a revelation to those Impres­sionists (especially Monet) who took refuge in London in 1870.

Make sure you know how to pronounce the following words:

Joseph Mallord William Turner [PdÆozif Pm{l@d Pwilj@m Ptýn@]; attachment [@Pt{tSm@nt]; gorgeous [PgýdÆ@s]; quotation [kwu@teiSn]; revelling [Prevlin]; revelation [rev@PleiSn]; violence [Pvai@l@ns]; especially [isPp@Sli]; reveries [Prev@riz]; Monet [mouPne]

NOTES

Rain, Stream and Speed - "Дождь, пар и скорость"

The Slave Ship - "Корабль с рабами"

TASKS

I. Read the text. Make sure you understand it. Mark the fol­lowing statements true or false.

1. Turner had mystical attachment to nature.

2. Turner liked to accompany the labels with quotations from poetry.

3. Turner often painted landscapes which he constructed in the studio.

4. Turner always sent finished works to the Royal Academy.

5. Turner painted the pure movement of masses of colour - a kind of colour music, strikingly relevant to Abstract Expression­ism of the 1950s.

6. Turner's heightened and liberated colour sense provided a revelation to the Impressionists.

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