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TEXT I
. 1. :
to overcome difficulties fame [feim] , , incomprehensible [inِِ,ِkÉmpri´hensəbl] , boldness [´bəuldnis] , to produce [prə´dju:s] (), to flatter [΄flætə] - to insult [in´sΛlt] , , patrons [´peitrənz] to scorn [skc:n] , authority [É:´θÉriti] , ground-breaking rather than , incomprehensibility [in´kÉmpri,hensə´biliti] , to welcome [´welkəm] ,
. 2. . :
ART AND SOCIETY
Most artists of the past had to overcome great difficulties, but being understood was not one of them. What stood in the way of immediate fame, and caused many of them to die in poverty, was not their personal independence and boldness of ideas. Shakespeares plays and Beethovens symphonies were produced almost as they came from the masters hand. Rembrandts difficulties came from the failure of his paintings to flatter a money-smug Dutch middle class. Mozart remained poor because even a most popular composer who insulted aristocratic patrons and scorned back-door politics found little money coming his way. New styles were often hotly discussed and debated, but because of their break with authority and tradition rather than because of their incomprehensibility. Often new artists were attacked, not because they were not understood, but because their ground-breaking ideas were too well understood and not welcomed.
. 3. ::
1. What service do you think the painter performs for mankind? 2. Why was it that an artist was sometimes unappreciated in his own times yet highly praised by following generations? 3. Why were new artists attacked? Were they not understood or were they too well understood and not welcomed?
TEXT II
. 1. :
virtuoso [və:tjui´əuzəu] , penetration [,peni´trei∫n] , , handling [´hændliŋ] to evoke [i´vəuk] , completely [kəm´pli:tli] , to break colour apart sumptuous [´sΛmptjuəs] , , to dissolve [di´zÉlv] (), () infinite [´infinit] , to bring into being spots [spÉts] and strokes [strəuks] , , , impasto [im´pa:stəu] shimmering (tones) [´∫iməriŋ] , in the bulk , () to disclose [dis´kləuz] , kin [kin] ( , ) common [kcmn] , to stir [stə:] , mind [maind] , to prove [pru:v] to define [di´fain] , enlight(ment) [in´lait] ,
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. 2. . :
ON MASTERY
Rembrandt is a master of paint. He is no virtuoso. But yet out of his penetration of nature and reality he builds up a masterful handling of line and colour which represents his own mind, his own eyes, and hands, his own "voice", so to speak, and yet evokes so completely a feeling of actual life in the observer. Like El Greco, Velasquez, and Rubens, in his century, Rembrandt broke colour apart1 in his hand and put its elements together again. His dark yet sumptuous colour seems to disappear as colour to dissolve into light, with infinite gradations of tone. It seems to bring into being2 the form of the painting, by what it picks out of the shadows. It is only on close examination that we realize with what freedom and understanding colour must be used to achieve this "disappearance", what an "orchestration" he has created of little spots and strokes of red, gold, green, blue and orange, thin- brushstrokes and heavier impasto, the rhythms of the brushstrokes themselves combining to create these shimmering tones and vibrations of light. His form is as varied as his subjects and it is monumental, not in sharp outlines but in the bulk and living character of the human beings he discloses, as they come to life out of shadow and out of surrounding space. They are seen always with an eye for what is most typically human in them, what makes them kin to all common humanity. He has affected and stirred the mind of humanity as few artists in history, and what his greatness proves is that while mastery of the tools of art is necessary, it is where this mastery ends that greatness begins. It is defined by nothing other than the mind of the artist, the power, depth, realism, courage and enlightment of his thought.
. 3. :
1.Who was a great master in conjuring ([´kΛndəriŋ] ) up the effects of the shining textures as Rubens or Velasquez? 2. Who has affected and stirred the mind of humanity as few artists in history? 3. What is Rembrandts greatness defined by?
TEXT III
. 1. :
delusive [di´lu:siv] , , appearance [ə´piərəns] : 1. , ; 2. habit [´hæbit] , to labour [´leibə] , determinate [di´tə:minit] to require [ri´kwaiə] , power(s) [pauəz] (), lie torpid torpid [tÉ:pid] , , for want of - incapable [in´keipəbl] , conversant with [´kÉnvə:sənt] , to attain [ə´tein] , () servile(ly) [´sə:vail] , to observe [əb´zə:v] , , the manner of handling , artifices [´a:tifisiz] , , : () glaze [gleiz] , ( ) expedients [iks´pi:diənts] , , (the) value [´vælju:] tint(s) [tint] , , , contemplate [´kÉntempleit] , , derive [di´raiv] , advantage [əd´va:ntidʒ] niceties of expression capable [´keipəbl] , , , otherwise [´Λðəwaiz] , to inspire [in´spaiə] , (, ) confidence [´kənfidəns] , to be incited [in´saitid] - incite [in´sait] , to endeavour [in´devə] , , excellence [´eksələns] ,
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. 2. . :
