When critics disagree, the artist is in accord with himself.

Date: 2015-10-07; view: 410.

Diversity of opinion about a work of art shows that the work is new, complex, and vital.

The artist can express everything.

There is no such thing as a moral or an immoral book. Books are well written or badly written. That is all.

All art is quite useless."

Exercise 2. Oscar Wilde's best novel is "The Picture of Dorian Gray", which became the centre of public attention and controversial opinions when it was published in 1891.

The extract from the novel, which you are to read, deals with the description of an artist's studio, where we get acquainted with the three main characters of the novel: Basil Hallward - the artist, who has created a portrait of his young friend Dorian, Dorian Gray - a very handsome young man, and Lord Henry Wotton, a vain, snobbish and cynical aristocrat.

a/ At first get acquainted with new words:

List of vocabulary:

eccentricity [,eksen'trısıtı] - unusual or strange behaviour, taste, which may shock;

vain - having too high an opinion about oneself; = self-conceited [kǝn'si:t];

snob(bish) - one who gives too much respect to social status and wealth; who believes that he is superior to the people of the lower position;

cynical - being unable to trust virtuous deeds or people; being concerned only with one's interests and wishes;

to clamp/ed/ - to put up, to fasten, to secure;

an easel - an upright frame to hold a picture;

a con'jecture - a guess, a gossip, a rumor;

comely - pretty, attractive, good-looking;

to linger/ed/ - to stay, to remain;

Grosvenor - a picture gallery in London;

the Academy - the Royal Academy of Arts in London;

dreadful - awful, horrible, shocking;

candour - frankness, openness, sincerity

b/ While reading try to pay attention to the most interesting sentence in the text:

In the centre of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty, and in front of it, some little distance away, was sitting the artist himself, Basil Hallward, whose sudden disappearance some years ago caused, at the time, such public excitement, and gave rise to so many strange conjectures.

As the painter looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there. But he suddenly started up, and, closing his eyes, placed his fingers upon his lids, as though he sought to imprison within his brain some curious dream, which he feared, he might awake.

"It's your best work, Basil, the best thing you have ever done," said Lord Henry. "You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. Whenever I have gone there, there have been either so many people, that I haven't been able to see the pictures, which was dreadful, or so many pictures, that I have not been able to see the people, which was worse."

As they entered the sitting room, they saw Dorian Gray. He was seated at the piano, with his back to them, turning over the pages of a volume of Schumann's "Forest Scenes". "You must lend me these, Basil," he cried. "I want to learn them. They are perfectly charming."

"That entirely depends on how you sit today, Dorian."

"Oh, I'm tired of sitting, and I don't want a life-sized portrait of myself," answered the lad, swinging round on the music stool, in an easy manner. When he caught sight of Lord Henry, a faint blush coloured his cheeks for a moment, and he started up. "I beg your pardon, Basil, I didn't know you had anyone with you".

"This is Lord Henry Wotton, Dorian, an old Oxford friend of mine. I have just been telling him what a capital sitter you were, and now you have spoiled everything."

"You have not spoiled my pleasure in meeting you, Mr.Gray," said Lord Henry, stepping forward and extending his hand.

Lord Henry looked at the young man. Yes, he was certainly wonderfully handsome, with his finely-curved scarlet lips, his frank eyes, his crisp gold hair. There was something in his face that made one trust him at once. All the candour of youth was there, as well as all youth's passionate purity. One felt that he had kept himself unspotted from the world. No wonder Basil Hallward worshiped him

Exercise 3. Have you paid attention to the description of Hallward's studio? If you are to describe a studio what would you add to the description from the text? Does an artist have any palettes, brushes, tubes or jars with paint or oil, some kind of thinners for the paints, frames with canvases on them, etc? What kinds of windows do the artists prefer?

Exercise 4. There is rather a laconic description of Dorian Gray. Could you try to use your imagination and add to the picture? Could you compare him with any of the famous film-stars? Try and compare him with your classmate; mention likeness and differences and make your group guess who you mean.

Home assignment: please, answer the following questions:

1. Why do most artists have studios?

2. Why are artists willing to exhibit their works at the exhibitions and galleries?

3. Why do they clamp the canvas on the upright easel?

4. What is a palette used for?

5. Why do artists need a sitter to create a portrait?

6. Why is the work of a sitter rather hard?

7. Why do we feel annoyed if there are many people at the exhibition on the day of our visit?

Lesson three.

Exercise 1. Please, read the following sayings of the famous people about arts; choose one or two to share your mind:

"Art is power". Henry Longfellow.

"Art is long, and Time is fleeting". Henry Longfellow.

"Dead he is not , but departed, - for the artist never dies". Henry Longfellow.

"Great art is an instant arrested in eternity". James G. Huneker.

"Scratch an artist, and you'll find a child". James G. Huneker.

Exercise 2. Arts of every country have their own history, which is closely connected with the political, economic and social development of a country. So do British Arts.

The essay that follows has been written by Stuart Holroyd, who tries to make analysis of the development of British Arts in the 18th century. Before you start reading the text could you try and answer the questions that follow?

1. Why were frescos used to decorate churches and the houses of rich people, not the houses of the poor?

2. Why were many wall-paintings destroyed in Great Britain in the churches and houses during the religious conflicts and the Civil War?

3. What class of people was the moving force of the Civil War in Great Britain?

4. What did the middle class of Great Britain get as a result of the Civil War?

5. Why do rich people support arts? (Suffice it to refer to Stanislavsky, Tretiakov, Mamontov, Tereschenko, Khanenko, to mention but a few).

Exercise 3. After reading you are supposed to be ready to give the gist of the text:

Painting in the modern sense came late in the history of Britain. There was no truly national school before the 18th century. The Reformation (1530-1563), the replacement of Roman Catholicism and its institutions by the national Protestant Church in destroying monastic houses, destroyed also the culture of which they were the centre. The centuries following the Reformation brought to an end the art of Middle Ages - wall painting.

Historians of English literature and critics of arts classify the 18th century as the 'golden' and 'classical' age of British Arts. It was in this century that England became famous all over the world for its national School of landscape painting. Unlike the artists of the 17th Dutch school of landscape, each of the English artists of the 18th century seemed to have kept a distinct artistic individuality typical of the English character in general. However, there were some things in common for all of them, which distinguished them from the artists of other schools.

The first was a simple faith in nature. They thought of nature as a universal spirit, open to human experience by observation and intuition.

The second interest common to all was light as a means of expression. They watched and reflected in their pictures the minutest [maı'nju:t] /найменший/ variations in tone as light fell on individual leaves, branches and tree trunks.

As the middle class acquired wealth and power as a result of the Civil War, the only thing that distinguished it from nobility was a certain coarseness of taste, a lack of refinement. These things, as Defoe poited out, could be also acquired, if one had money. Classicism, with its emphasis on order, discipline, balance and reason, appealed to the middle class as the answer to its deepest need: for a sense of balance and self-assurance. Through the wealth the middle class gained social respectability, and through classical arts it sought to gain intellectual respectability. The members of the middle class widely assumed that classical culture could endow them with their desired refinement and balance.

Supported by the wealthy middle class the new representatives of English painting could afford to reject the continental influence. The English arts began to develop independently, establishing a kind of School whose themes and subjects were thoroughly British, landscape and portrait painting first of all.

Exercise 4. There are some phrases in the text which seem interesting to debate on:

1. ... a simple faith in nature. They thought of nature as a universal spirit...(How could nature be a universal spirit?)

2. ... light as a means of expression... (Expression of what?)

3. ... a certain coarseness of taste, a lack of refinement.... (Did these disadvantages result from lack or inadequate education in comparison with that of the aristocrats?)

4. ... the answer to its deepest need: for a sense of balance and self-assurance. (Why is the feeling of balance and stability so important for the middle class?)

5. ... intellectual respectability... (Have our middle class of the 21st century gained their intellectual respectability, after they have become sponsors of different projects in culture?)

6. ... landscape and portrait painting first of all. (Why were these two most fashionable?)

Exercise 5.Please, read the sentences in italics again and try and explain how you understand them.

Exercise 6.Let's hold a discussion on the questions of the previous home assignment: share your views with the partner sitting next to you. If you disagree about some problem ask the teacher or the other pupils to be arbitrators.

Home assignment: keeping in mind that most of the English painters of the 18th century were also representatives of the middle class, retell the main aspects of the text.

The clues to Ex. 3, lesson I;

1. - a-17; 2.- a-7; a-8; a-9; a-10; 3. -a-15; a-12; a-14; a-16; 4.- a-2; a-3; a-4; a-5; a-6; 5.- a-13; a-18; a-19; 6.- a-20; a-21; 7. -a-22; 8. a-23; a-24; a-25; a-26; 9. - a-30;

10. -a-27; 11.-a-1; 12. - a-11; 13. - a-13; -a-28; 14. - a-29;

Lesson four.

Exercise 1. So what was so extraordinary in the history of British arts in the 18th century? Who were the commissioners /замовники/? After the grim, prudent /обережний/ and gloomy Puritan cleansing /[klenzıŋ] очищення/ why were the representatives of the middle class eager to have their portraits painted and the walls of the houses decorated?

Exercise 2. We are going to get acquainted with William Hogarth, the man who, so to say, started it all. Not until William Hogarth do we find a painter truly English.

What's so English about this man? You are to read the text and to think and debate about the parts in italics:

William Hogarth, the great English painter and pictorial satirist, was born in London in 1697. His father, Richard Hogarth, who died in 1718, was a school-master and a literary hack /=amateur/, who had come to London to seek for fortune. He was a well-educated man and he must have given his son the knowledge of languages and encouraged him to view the life philosophically. The boy was smart enough to see that much learning had not made his parent prosper. William must have been captivated by the theatre. "Shows of all sorts gave me uncommon pleasure when an infant", Hogarth used to say later. He was utterly enchanted by "The Beggar's Opera" staged in London in 1728 by John Gay. Hardly had any side of the English contemporary life escaped its satirical treatment in this work. Thieves and beggars, ladies and gentlemen, lawyers and tradesmen - all of them were caricatured and mocked at in the songs, many of them set to popular English and Scottish tunes. There was one thing that was in common with them - they were beggars in spirit, in their moral and intellectual essence.

So, by his own desire William Hogarth was apprenticed to a silver-plate engraver, since it was still at a public school, that he had been in the habit of drawing ornaments around all his exercises. But he can't have limited his skills to silver-plate engraving only. "Engraving on copper was, at twenty years of age, my utmost ambition". Hogarth was endowed with marvellous power of seizing expression, unique eye-memory and tenacity /чіпкість/ of minor detail. Having been greatly impressed by "The Beggar's Opera" - a brilliant music parody on the aristocratic theatre on the one hand and on the morals of the society on the other, Hogarth created a series of satirical paintings, which one after another told a story of 'The Harlot's Progress" /"Кар'єра повії"/ . He distributed the series of engravings by subscription. They must have been a tremen- dous success, so Hogarth went on to do other series of narrative engravings such as "The Rake's Progress" /"Кар'єра гульвіси"/, "Election" and many others. The famous set of pictures "Marriage a la Mode" /"Модний шлюб"/ contains the most important and highly wrought /витончений/ of the Hogarth comedies. No wonder it made his name famous all over Great Britain and on the continent as well.

What man was he who executed these portraits - so various and so admirable? In the London National Gallery visitors can see the best and most carefully finished series of his comic paintings, and also "The Shrimp Girl" /"Дівчинка з креветками"/, and the portrait of his own honest face, his bright blue eyes shining out from the canvas, giving you an idea of that keen and brave look with which William Hogarth must have regarded the world.

William Hogarth was the first man to raise British pictorial art to an importance level with that of the country's great literature. He had the courage to be himself. He was no court favourite: the story goes, that George II was much offended by Hogarth's painting "The March of the Guards to Finchley". A rabble of drunken and disorderly men - this was no way to express the stately discipline that His Majesty very naturally wished to see in his guardsmen.

In many respects William Hogarth was a typical product of his age - the Age of Reason. There is probably no side of English life that had escaped the artist's keen and witty eye. The painter's concern with social themes and his uncompromising criticism of the follies and evils of the various classes of society make him one of the most eminent representatives of realism in the 18th century art. He was intensely interested in the world about him - as interested as Shakespeare, and with a comparable genius.

Home assignment: The Age of Reason, the Age of Classicism... What names is this century associated with in Literature? What do such names as Jonathan Swift with "Gulliver's Travels", Daniel Defoe with "Robinson Crusoe", Robert Burns with "John Barleycorn" tell you? William Hogarth was also from that age. Write a few questions to ask your classmates about the giants of the Age of Reason and their creativity.

Lesson five.

Exercise 1. The first picture of Hogarth's series "Marriage a la Mode" describes negotiations between the daughter of a rich citizen Alderman /a member of the city authorities/ and young Lord Viscount /віконт/ Squanderland, the dissipated /безпутний/ son of a sick old Earl /граф/. (To squander ['skwɒndǝ] means to waste foolishly, so even the name of the Lord is a caricature). Pride and pomposity appear in every thing surrounding the Earl. He sits in gold lace and velvet /мереживо і оксамит/ - as how should such an Earl wear anything but velvet and gold lace? His coronet /герб/ is everywhere: on his footstool, on the candlesticks /канделябр/ and looking-glasses, on the dog's collar, even on his lordship's very crutches /милиці/. While discussing the terms of the marriage contract the Earl is pointing to his pedigree /родовід, поxодження/, decorated with his coronet! that shows that his race stretches from William the Conqueror. Confronting him is the old Alderman from the City who has brought a bag full of money. While a lawyer, a hypocrite and cheat, is negotiating with the old couple, their children sit together united, but apart. My lord is admiring his reflection in the mirror, while his bride is playing with her marriage ring. She is pretty, but the painter, with a curious watchfulness, has taken care to give her a likeness to her father.

There are many pictures around the room, which give sly /хитрий/ hints indicating the situation of the parties about to marry. A martyr /мученик/ is led to the fire; Andromeda is offered to sacrifice; Judith is going to slay Holofernes (Judice - a legendary heroine, who wanted to protect her native city from Holoferne, general of the Assyrian king. She entered his camp, seduced him and slew him in his drunken sleep). There is the ancestor of the house (in the picture it is the Earl himself as a young man ), with a comet over his head indicating that the career of the family is to be brilliant and brief.

Exercise 2. Have you got a good imagination? Can you clearly see the situation? Does the scene look like a kind of engagement or a business deal? What has the Alderman brought to challenge the pedigree of the Earl? Who do you think will win the battle? Why should they have invited the lawyer to settle the deal? Try and imagine the same room a few days after the wedding ceremony.

Exercise 3. Some time has passed. There is another situation in the series of the pictures; see if your guess was right:

The room with all its gilded furniture, decorated with the Earl's coronet, is a complete mess. The chairs are upset, all things are thrown around, the young wife is shouting and crying and stamping her feet in fury, the dog is barking, the lawyer is trying to flee; my lordship is helplessly sprawling /розвалитися/ in the chair, bearing his coronet, exhausted and desperate.

Exercise 4. Please, use the tables to characterize William Hogarth:

#I

#2

Exercise 5. Make up sentences complete by adding the suitable ending:

1. William Hogarth must have been dissatisfied with the things he had to study at school because ...

2. Hogarth needn't have gone far to observe ...

3. He must have been aware of his gift for quick satirical portrayal of things since ...

4. His father may have ...

5. Engraving on copper must have allowed him to produce imprints on paper, so his caricatures ...

6. The series of narrative paintings may have enabled Hogarth to show ...

7. The first series of engravings which was bought by subscription, must have made the name of the artist ...

8. He needn't have sought for any favours of the king because ...

9. Could Hogarth have thought about the revolution in ...

10. There must have been no other artist in the whole of Europe at that time who could have shown ...

Home assignment: there is a choice: 1/ you may write a thesis, describing the life and creativity of Hogarth; or 2/ you may write a story based on the "Marriage a la Mode".

Lesson six.

Exercise 1. Sir Joshua Reynolds and Thomas Gainsborough were contemporaries and rivals. They rank side by side as the greatest portrait- painters of the English school. But they were always at variance /=couldn't agree with each other/. Compare the lives and the contribution of both and try to say what made them competitors:

Exercise 2. Both painters are exhibited at the National Gallery in London. Would you like to see the pictures of both of them or which of them? Explain your wish.

Exercise 3. Not all of us are great and genuine connoisseurs /[,kɒnı'sɜ:] /знавці/, when it comes to arts, are we? There are so many jokes dealing with

pictures and painters. Dramatize the following jokes:

1. The painter: Yes, my picture makes everybody speechless with admiration.

The visitor: Oh, I must take my wife to see it.____________________________

2. She: I 've heard you are a great artist.

He: I hope to be. I've only started.

She: So what are you doing?

He: Well, I'm living in a studio and growing a beard.______________________

3. She: Have you already seen a new Murillo our town authorities bought last week?

Her friend: No, I never go to the Zoo.

(Murillo - a Spanish painter of the 17th century)_________________________

4. The artist: How do you like this picture?

The visitor: Umm, it might be worse.

The artist: Oh, I'm sorry to hear you say it.

The visitor: All right, then, it couldn't be worse.__________________________

5. She: Why did they hang the picture here?

He : Perhaps, they couldn't find the artist.______________________________

6. Critic: Ah! The picture is superb! What soul! What expression!

Artist: Yeah! That's where I clean the paint off my brushes._________________

7. Lady: My husband called me from Paris on my birthday asking if he should

buy me a Rembrandt or a Titian. Now what would you advise?

Her friend: Well, any of those French cars are pretty good.____________________

8. She is saying to an abstractionist painter: My nose is a bit long. Could you make

a little smaller?

The painter: Oh,Lord! I don't remember, where I have painted it._____________

Home assignment: try and write a critical article about one of the English painters.

Lesson seven.

Exercise 1.We are going to say good bye to the 18th century, but before this we have to give it its due: let's have a discourse about its achievements and its great people in Britain. The following items may give you a hint:

1. The 18th century - the Age of Reason, the Age of Enlightenment in literature and Arts. The middle class has become the most influential layer of society in the 18th century.

2. Having got a lot of wealth and having gained power the middle class wanted some intellectual refinement.

3. The emergence of the National school of painting; William Hogarth and his satirical approach to portraying the life of his time.

4. The geniuses of landscape and portrait painting - Reynolds and Gainsborough.

Exercise 2. If we paraphrase the famous saying, we'll have: "Scratch a child and you'll find a philosopher". Could you scratch your head, please. Do you feel any philosophical ardour /запал, ентузіазм/? Good, on we go:

1. What will you say about a man who is a sailor at heart?

2. If you had a commission /заказ/ to paint the mountains or the sea what would it be?

Take a sheet of paper and make a sketch of a sea or a mountain; show your drawing to your partner. Ask your partner to describe the drawing. Are you satisfied? If you aren't satisfied with his/her description give yours.

3. Why do people often than not use the words 'mysterious, majestic, mystical, sphinxlike, enigmatic' when they speak about seas or mountains?

4. What difficulties will a painter face if he/she wants to paint the sea?

5. The painters distinguish 'hot' colours: red, brown, orange, yellow and all their hues

/відтінки/ and 'cold' colours: blue, indigo, violet and all their hues. Which colours will you use to paint the sea? Mountains? The sea in the moonlight? At sunrise?

6. Will you pay attention to the sky trying to paint the sea or the mountain?

7. Is visual memory more important for the painter who paints mountains or seascapes?

Exercise 3. There are some quotations from the text you are going to read about one of the most illustrious painters of Great Britain. While reading them try to understand as much as you can about him and share your ideas:

1. Profound as his love of the mountains was, it was scarcely so fundamental as his love of the sea. It was the sea that remained his life-long passion.

2. A wave cannot be drawn slowly and stolidly /мляво/; it will not sit still to have its portrait painted. Here the value of his splendid visual memory is vital and evident.

3. He was the first, who by constant observation and by a constant thorough know-ledge of wave form and of the rules that they obey, gave to his seas mass and weight as well as movement.

4. The sea in itself absorbed /захопити/ him, but especially the sea as it affected /впливати/ ships.

5. He was at heart a sailor, a ship was a living creature for him, courageous and loyal /вірний/, resourceful /винахідливий/, yet pathetically in need of help.

6. Her curves /=the ship's lines/, like those of a human figure, are beautiful because they are of use. In drawing ships he shows a special knowledge that springs /брати початок/ from love; his manual skill is never more astonishing than when he paints masts and rigging /щогли і оснастку/.

7. If he sympathised with ships, he sympathised equally with men within them and loved the fishermen pulling at oars and sailors fastening the ropes. He only cared to portray the mood of the sea as it affected the experience of men.

8. To increase his knowledge of mass and volume of the sea and its rhythmic

movement and in order to better witness the effect, he had himself tied to the mast of the ship Ariel, being 67 at that time.

9. After continental tour in 1802, his eyes seemed to have been opened to the beauty of English scenery, that he had neglected before. Now he began to choose subjects from agricultural and pastoral country, scenes with trees and water. The best works of this time were executed in close communication with nature.

10. Colour, as well as tone, /емоційний відтінок/ has produced a wonderfully delicate effect in most of his pictures, the effect of distance, of mist and of growing sunlight. The colour of some landscapes and seascapes has in general a golden warmth, symbolizing the radiant beauty of nature.

Home assignment: could you or would you write a kind of explanation why the pictures of the painter have fascinated and amazed the people since the 19th century?

Lesson eight.

Exercise 1. Please, think over the quotations from some famous people; try to find which of them is closer to your heart:

"The land is dearer for the sea,

The ocean for the shore".Lucy Larcom.

"He who loves the ocean and the ways of ships

May taste beside a mountain pool brine /very salty water/ on his lips".

Mary Sinton Leitch.

"...the sea is Woman, the sea is Wonder,

Her other name is fate".Edwin Markham.

"My soul is full of longing for the secret of the sea,

And the heart of the great ocean send a thrilling pulse through me".

Henry Longfellow.

Exercise 2. You may arrange a contest of your written works; praise the best ones, please.

Exercise 3. If you read the following text you will understand who you were trying to speak about at the previous lesson; try to pay attention to the facts which you already know and twice as much attention to the new information:

Turner didn't begin oils until he was about 21, his first exhibited oil-painting apparently being The Fishermen at Sea. It is typical of Turner to have begun the medium by attacking the difficult problem of moonlight.

Joseph Mallord William Turner was born in 1774 in the family of a London barber /перукар/. He could hardly have got any school education, but he was fond of drawing since early childhood. At the age of13 he worked for a famous engraver John Smith, making and colouring the prints for him. In 1789 he went to study to the Royal Academy Art School.

Profound as Turner's love for the mountains was , it was scarcely so fundamental as his love of the sea. He had been feeding his eyes on waves and storms, upon clouds and vapour /пара/. Here the value of his splendid visual memory is evident. A wave cannot be drawn slowly and stolidly; it will not sit still to have its portrait painted.

Turner may have been the first artist who, by constant observation and by a

'consequent thorough ['θʌrǝ] knowledge of wave forms and of the rules that they obeyed, gave to his seas mass and weight, as well as movement. The sea itself absorbed him, but especially the sea as it affected ships. To a sailor, and Turner was at heart a sailor, a ship is a living creature, courageous and loyal, resourceful, yet pathetically in need of help. Her curves, like those of a human figure, are beautiful because they are of use. In drawing ships Turner showed a special knowledge that springs from love; his manual skills were remarkable when he painted masts and rigging. If Turner sympathised with ships, he sympathised equally with the men within them and loved to depict fisherman pulling at oars or sailors fastening ropes. He only cared in fact to

portray the mood of the sea, as it affected the experience of man.

In his late twenties Turner traveled around Europe where he got acquainted with the famous masters of Holland, France and Italy. After the continental tour, his eyes seemed to have been opened to the beauty of English scenery that he had neglected before. Up till now, he had painted mainly ruins, stormy seas and gloomy mountains: now he began to choose subjects from agricultural and pastoral country with trees and water. The best works of this time were created in harmony with nature.

The year 1829 was a turning point in Turner's career. About then he began to adopt his final, and in many ways his most original style as a colourist. He used in oil the gorgeous colour schemes with which he had earlier experimented in water-colour, and which were the marked characteristics of the last twenty years of his life. It was at that time that he painted his most original masterpieces. There are avalanches /лавина/, show storms, downpour, blizzards in the mountains. In painting marine subjects he remained true to his youth love. His knowledge of mass and volume as well as of the rhythmic movement of the waves can be seen in his later works. To better study the sea, he had himself tied to the mast of the ship Ariel and traveled with it for a week.

Colour, as well as tone, has produced a wonderfully delicate effect in most of his pictures, the effect of distance, of mist and of growing sunlight. The colour has in general a golden warmth , symbolizing the radiant beauty of nature. In his late 60ties he achieved the style and brilliance for which there was absolutely no precedent /=he

was unique/.

Turner died in 1851, leaving more than 300 paintings, 20,000 water colours and 19,000 drawings to the nation. The vast total quantity of Turner's work is also one of the marks of his genius. In 1987 a special wing was added to the Tate Gallery to

exhibit his collection.

Exercise 4. Complete the sentences using the following table and the information you have got acquainted with:

Home assignment: there is a choice: 1/ prepare to recite the most significant facts dealing with the life and creative endeavour of Turner; 2/ there are some names of his pictures: Calais Pier /Пірс в Кале/, Snowstorm in the Sea, Windsor, Sun Rising through Vapour, Light and Colour, Boats in the Sea, A Lagoon in the Moonlight,

A Castle Lit with the Sun, An Avalanche in the Mountains. Choose one or two and try to imagine the whole picture: the background, the foreground, the left hand side, the right hand side, the subjects, the colours, the impression.