THE FINE ARTS

PAINTING

Active vocabulary

1. The Fine Arts (drawing, painting, sculpture, design, etc.) pictorial/visual art

2. art critic / specialist / collector / connoisseur / worker art gallery / museum / collection / treasures / exhibits

3. to appreciate painting / talent / artistic work / style / trend to ignore talent / established school / technique

4. to enjoy immediate/continuous success/popularity

5. to acquire/develop/cultivate/possess a taste for; to lack a taste for

6. to be famous/well-known/celebrated/renowned for; ill-famed

7. to capture/captivate/strike the eye/attention; to arrest one's eye

8. to paint/draw from life/memory/imagination

to paint in the open air/in the studio/indoors/outdoors to make sketches/studies in the atelier/at the location

9. to take subjects from the Bible/mythology/everyday life

to treat the subject in ... manner/style; to make smth. the subject

10. to describe one's native land/nature/scenery/bouquets, etc. to reproduce objects/the essential/details faithfully/true to life to portray people/scenes with sympathy/understanding

to depict scenes from everyday life; to render with accuracy to convey an idea/message/air of spontaneity/mixture of emotions to present a sitter/model in a flattering pose/attitude to paint smb. richly apparelled/in profile/in full-face/close-up

11. to give a decisive impetus/impulse/momentum/stimulus to

12. to underline/emphasize/reinforce/heighten/enhance/accentuate the effect/light/movement; to suppress the light

to give a scene a dramatic light; to bring into the limelight

13. to appeal to one's taste/heart/mind; to have an appeal

14. to arouse/evoke/cause/excite a warm/passionate/powerful response or echo in the people's heart/soul

to strike a chord in the human heart

15. to stand the test of time; one's art is timeless

16. to have an irresistible fascination/influence/impact on

Text 1

ART AND THE ARTIST'S RESPONSIBILITY

People assume that the artist's prime responsibility is to communicate with them and that this communication ought to be instantly understandable - something they can hum, a landscape they can recognize, characters they can identify with, a plot they can follow.

The history of the arts is notoriously rich in examples of great talents ignored in their generation, such as Ibsen, Van Gogh, Wagner, who were considered in their day as bad, mad and dangerous. But it's also true that there are examples of great artists who enjoyed immediate success - Shakespeare is the most familiar example.

What makes it worse for many people is the tendency of so much contemporary art in the West to look inwards, or into the mirror, rather than outwards, into the society.

Although the arts are there to be enjoyed, to give more intensity of living, a greater depth of understanding, a more profound self-awareness, you really can't expect to enjoy them all, or always to understand what is new straight away, any more than you should feel obliged to like what you don't comprehend. But to try is always worth the effort.

HOW TO APPRECIATE PAINTINGS

The beauty of a work of art has to be felt. One needs the ability to penetrate and share the vision of the artists. Lacking such ability, one may develop it. Is it impossible then to learn how to look at and appreciate paintings? Certainly not. No art critic, connoisseur or collector would dare to say he was born with a developed sensitivity.

The best way to gain better understanding and greater enjoyment of art is to view many paintings, looking at them thoughtfully and earnestly. Great works of art seem to look different every time one stands before them.

Sir Joshua Reynolds, an outstanding British portraitist, says that a relish for the higher excellency of art is an acquired taste, which no man ever possessed without long cultivation and great labour and attention. Let it be always remembered that the excellency of one's style is not on the surface, but lies deep, and at the first view is seen but mistly. It is the florid style which strikes at once, and captivates the eye. Painting does not differ in this respect from other arts. A just poetical taste and the acquisition of a nice discriminative musical ear are equally the work of time.

So to penetrate into and share the vision of the artist one must acquire taste by slow and imperceptible degrees.

The Fine Arts include painting, drawing, sculpture and architecture. The art of painting covers a variety of activities usually distinguished by their techniques. The main ones are fresco (mural or monumental) painting, easel painting and illumination.

Easel painting includes such genres (or varieties) as:

portrait painting or portraiture (a ceremonial, intimate, group or family portrait, a self-portrait, a shoulder-, half-, knee-, full-length portrait, etc.);

landscape painting (seascape painting or marine, town (city)-scape or urban (street) scene, rural, rustic or country landscape, sylvian or woodland scene, riverside scene, etc.);

still life painting (a flower piece, etc.);

genre painting (a conversational piece, an everyday folk scene);

historical painting, the painting of battle scenes, animal painting, poster painting, cartoon painting, miniature, icon painting.

A painter can paint in water-colours, in oils, etc., or draw in pencil, in pen, in ink, in crayon or in chalk as well as in charcoal, in pastel, in sanguine; he can paint from nature (life), i.e. in the open air or in the studio (atelier).

Text 2 THE STILL LIFE

A still life is a painting that is without people. In French a still life is called a "nature morte", a "dead nature", which is a strange name to use to describe Nature, which is by definition, "living". The term only dates from the middle of the 18th century in France, before that they were called "resting nature" or "motionless objects". The English name "still life" is derived from the Dutch "stilleven", or "motionless life". But "still" has another meaning, "silent", and this seems more appropriate to describe the bouquets of flowers, piles of fruits, haunches of venison and the full array of the huntsman's bag that constitute a still life painting. Still life appeared in religious art of the 15th century, as in the "the Annunciation" by Roger van der Weyden, painted in 1435. Like all the Flemish painters, he paid much

attention to the details in his paintings: the open book, the ewer on the cabinet, the oranges on the chimney place and especially the blue and white porcelain vase standing on the tiled floor.

However, still lifes did not appear as a separate subject until the 17th century, at the same time as genre painting. "I take as much trouble over painting a vase of flowers as I do over painting a face", said the Italian painter Caravaggio at the end of the 16th century. His contemporaries were scandalized. How could anyone dare to compare the art of painting a face with that of painting a mere flower! A few years later, nobody was shocked by the importance given to still lifes.

The still life originated in Flanders and Holland. Major painters like Rubens or Rembrandt painted still lifes, each treating them according to his taste and temperament. The jolly burgomasters particularly liked paintings of "lunches", with the result that a great many painters were to specialize in painting them: Claesz, Hedda, Kalf and Davidsz de Heem... The fashion for painting still lifes quickly spread throughout the Europe. Its most representative painters in France were Baugen in the 17th century and Chardin in the 18th. The best-known Spanish still life painter is Luis Melendes.

Knowing how to paint a still life meant, of course, knowing how to reproduce objects as faithfully as possible. It requires great talent to paint the velvety surface of a peach, the transparency of a crystal decanter or the dull shine of metal. But still life painters often wanted to do more than reproduce objects they wanted to express ideas through them. They would paint an hourglass to denote the brevity of life, or a musical instrument to express the pleasure of it... An object therefore took on a symbolic meaning, which the spectators have to know before they can fully understand the subject of a painting. This kind of still life was called a "vanity".

During the 18th century, the symbolic meanings of the still life were slowly lost and by the 19th century no artist would paint them exclusively. The "Still Life with a Lobster", which Delacroix painted in 1824, is an exception. It is the last major still life of the 19th century, antfit can be said that, until Cezanne revived it in the 20th century, artists almost lost interest in the genre.

Text 3 THE LANDSCAPE

Landscape painting was not always a separate genre, but landscapes have always been part of the painter's panoply.

From the Middle Ages landscapes were used as backdrops in a great many paintings. They were used to situate a person in the world and not in heaven, to show a precise location or to convey an abstract idea. In the 16th century, during the Renaissance, the landscape played an important role and reflected a new state of mind. Though it always formed part of the background of a painting, it generally served to underline a strong tie between man and nature. The landscape became the mirror of the cosmic civilization. Towards the end of the century it was discovered that a landscape could be used to emphasize an effect or an emotion: a clear sky reinforced a happy scene, a stormy sky accentuated a strong emotion.

It wasn't until the 17th century that painters began to make nature the sole subject of their paintings. The Dutch were the first to acquire a taste for small landscape paintings, preferring familiar locations to distant, unknown countries. The demand was so great that many artists specialized in the genre, painting country scenes, sandy dunes, canals, sea­scapes (Hobbema, Van Goyen, Van Reuysdael), views of the cities (Vermeer, Berkcheyde, Van der Heyden) or winter scenes (Avercamp).

During the same period in France, the Academy of Painting established a hierarchy in the genre, separating it into two kinds of landscape. At the top of the scale there was the "heroic landscape", which is included in the "grand manner" of painting. This applied to historical or Biblical scenes that were often set in landscapes with ruins reminiscent of Antiquity.

At the lower end of the scale, the Academy placed the "rustic landscape", country scenes, sometimes containing figures, and generally full of life. These paintings were considered to be inferior because they didn't call for a knowledge of history or any great mastery of the laws of composition. Up to the beginning of the 19th century they were always painted indoors, in the artist's studio, using sketches made at the locations. In the 18th century the popularity of the "fetes galantes" and open-air entertainments encouraged the "rustic landscape". The formal gardens of Versailles were forgotten in favour of a wilder, truer nature.

In the 19th century, during the Romantic era, the genre was freed from a systematic idealization; the modern type of landscape had been born.

English painters in particular were deeply moved by the spectacle of nature. They painted open skies full of movement which they reproduced very accurately and wild seascapes. German landscapes expressed a feeling of unease, or melancholy. Faced with the landscapes of Germany, the painter felt dwarfed and lonely, as if he were facing his destiny. These landscapes are tragic. In France a number of artists, known as the Barbizon School, began to paint sketches in the open air, so as to capture reality better. The final painting, though worked over in the studio, had a greater air of spontaneity. This school was to open the doors to one of the most celebrated movements in painting: Impressionism.

Date: 2015-01-29; view: 816