1. Московский Гуманитарный Педагогический Институт Проект по ПАУПР на тему: «English through Art. Home» Работу выполнили Студентки группы 3504: Гапсаламова Д. Князева Д. Макарова Ю. Никитина Е. Полтавец Н. Рогозянская Е. Руденко Е. Смолякова Е. Троицкая А. Руководитель: Гулиянц А.Б. Гулиянц С.Б. Савостьянова Т.Н. 2009 г.

2. План 1.Введение Актуальность Цель и задачи Предмет и объект Гипотеза Методы исследования Практическая значимость 2.Основная часть –Building ( Никитина Е.) –Living room ( Гапсаламова Д., Троицкая А.) –Bedroom (Полтавец Н.) –Kitchen ( Макарова Ю.) –Dining room ( Князева Д., Смолякова Е.) –Study (Руденко Е.) –Bathroom & Nursery (Рогозянская Е.) 3. Заключение Список литературы

3. Актуальность данного исследования заключается в том, что тема «Home» всегда присутствует в учебной программе, и в настоящее время необходимо разрабатывать новые методы по введению материала на данную тему, а также учитывать потребность в практике и необходимость дополнения теоретических построений. Цель: разработка новых подходов к изучению темы «Home», а также разработка комплекса упражнений Задачи: Практические: разработав данный комплекс, мы сможем использовать его на уроках английского языка Воспитательные: приобщение учащихся к мировой художественной культуре Развивающие: развитие интеллекта, памяти, навыков устной и письменной речи Объект исследования – искусство на уроках английского языка Предмет исследования – использование художественных произведений на уроках английского языка и их влияние на мотивацию учащихся Гипотеза: В ходе изучения темы Home на уроках английского языка использование художественных произведений благоприятно сказывается на усвоении материала и помогает увеличить мотивацию к обучению. Методы исследования: Обработка и анализ художественных материалов на тему «Home» Разработка комплекса упражнений Практическая значимость данного исследования заключается в том, что, разработав комплекс упражнений, мы сможем разнообразить ход урока, а также увеличить мотивацию учащихся к обучению английского языка.

4. building

5. LIGHT AT TWO LIGHTS by Edward Hopper

6. History The Two Lights of Cape Elizabeth stand up at the end of a long and narrow granite ridge raised fifty or sixty feet above the low ground around it....The outlook opened to us here, whether of sea or shore, of windy cape or tumbling surf, is uncommonly fine, if only one could get rid of the train of ideas that these roaring reefs on one hand, and the life-saving station on the other...so infallibly suggest. Even in the season of calm seas and serene skies these gray little cabins by the sea constantly remind us of lurking dangers... -- Samuel Adams Drake, The Pine Tree Coast, 1891.

7. To help mark the entrance to Portland's harbor, a 50-foot stone black and white pyramidal day beacon was erected in 1811 at Cape Elizabeth, about five miles southeast of Portland Harbor. The cape, by the way, was named by Capt. John Smith in honor of Princess Elizabeth, daughter of King James I and Queen Anne of Denmark. The stone marker was torn down in 1828 to make way for the first pair of Cape Elizabeth lighthouses, built for $4,250. The east light was built on the former site of the marker, and the inner or west light was built directly to the west. Elisha Jordan was appointed first keeper at a salary of $450 per year. He remained for six years. The two 65-foot rubblestone towers served as range lights; mariners approaching Portland Harbor would line them up to know they were on course. The lights were considered among the most important on the coast. Fresnel lenses were installed in the towers in 1855. In 1856, the west light was discontinued for almost a year; it was relighted after many complaints.

8. Description The painting under the name LIGHT AT TWO LIGHTS reflects a quiet life of the country side. There are not many subjects on the picture – only a lighthouse and an old hut. The hut in made of wood, that is called boarding. The major colours are inconspicuously white. The sky, the beacon, the house are all practically of the same colour. At the bottom of the picture we can see scorched grass that is painted in dark colours with the predominance of black and dark green. This view one can call the commonest view of the countryside. In every village one may find the same landscape. That is what, I think, makes this picture so special. Its all due to the simplicity of the painting. Whenever you miss the still life of the country side and you look at the picture, one recalls something close and native to himself.

9. Edward Hopper 1882-1967 Edward Hopper was born on July 22, 1882, to a prosperous dry-goods merchant in Nyack, New York, a small town on the Hudson about twenty-five miles north of New York City. He enrolled in the Correspondence School of Illustrating in New York in 1900; he transferred to the New York School of Art the next year, and it was here that he studied with legendary teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller. Hopper visited Europe three times between 1906 and 1910, and while he was a life-long Francophile, he never went abroad again. In 1913 he moved to Greenwich Village, renting the top floor apartment at 3 Washington Square North. This would be his home for the rest of his life. Until the age of 40, Hopper’s career was marked by disappointment. He only sold one painting, and was rarely able to get into gallery shows. He supported himself through commercial illustration—which he loathed—and printmaking, which won him critical recognition. Hopper’s breakthrough came in 1923 when the Brooklyn Museum bought his watercolor The Mansard Roof for $100. The following year he married fellow painter Josephine Nivison and began showing his work with prominent New York art dealer Frank Rehn. Solo shows made Hopper’s reputation: his oils and watercolors sold well, and critics applauded his quiet realism, use of light, and above all, his ability to reveal beauty in the most mundane subjects.

10. In 1933, the Museum of Modern Art gave Hopper his first retrospective exhibition. The exhibition included many of his signature subjects: Victorian houses, New York restaurants, automats, drugstores, and bridges, as well as views into quiet, middle-class apartments. Also in the exhibition were paintings from his summer travels to Gloucester, Maine and after 1930, from Truro on Cape Cod. In 1934, he and his wife Jo built a house in Truro where they spent almost every summer. Although Hopper continued to travel, his best-known works came from his solitary wanderings in New York City. These include Early Sunday Morning, which shows Greenwich Village shop fronts before people filled the streets, and Nighthawks, an image of a diner late at night. Hopper died at the age 84, and during his long career saw the rise of many different avant-garde moments, including Surrealism, Abstract Expressionism, and Pop Art. Despite the popularity of these styles, he remained esteemed by critics and the public. In 1950, the Whitney Museum gave him a major retrospective and he was featured on the cover of Time magazine in 1956. In 1967, the year of his death, he represented the United States in the prestigious Sao Paolo Biennal. In 1971, his wife bequeathed more than 3,000 of his works to the Whitney Museum, which has since staged many important and critically acclaimed exhibitions of his work. While reviewing of these exhibitions, novelist John Updike referred to Hopper’s work as “calm, silent, stoic, luminous, classic,” a description that remains true today.

11. LIGHT AT TWO LIGHTS Beacon, lighthouse- маяк Harbor-гавань Reflect – отражать absorbed – поглощенный Chimney – труба Scorched- паленый Boarding –обшивка досками sash – оконная створка window frame - оконная рама

12. Translate the words. There is a маяк on the left. There is a труба on the roof of the house. The оконные рамы seem to be very old. The picture is painted in бледных colours. The surface of the house is made by обшивка досками. Оконные створки seem really old. The painting отражает a quite life of the country side.

13. Pierre Bonnard The French Window

14. Pierre Bonnard (1867-1947) Pierre Bonnard was born October 3, 1867 at Fontenay-aux-Roses, near Paris, into the family of a high- ranking official in the French War Ministry. After an idyllic and happy childhood, in 1886, Pierre entered the University of Paris to study law. In 1887, he also enrolled for evening classes at the Académie Julian, a liberal Parisian art school, where he made friends with Paul Sérusier (1864-1927), Mauris Denis (1870- 1943), Henri Ibels (1867-1936) and Paul Ranson (1862-1909). The five friends formed a society known as Nabiim or the Nabis after the Hebrew for 'prophets'.

15. After graduating from the University, Bonnard was obliged to train as a civil servant in the Paris Registry Office from 1888. At the same time he entered the Ecole des Beaux-Arts, an academic institution with a solid reputation. Evidently the Ecole did not contribute much to Bonnard's artistic development, but there he made friends with Ker-Xavier Roussel (1867-1944) and Edouard Vuillard (1868-1940), who were both initiated into the Nabis. In 1918 he was made the honorary president of a society of young French painters. In 1926 Bonnard bought a house named 'Le Bosquet' at Le Cannet on the Côte d'Azur. The house remained his main place of residence and work until his death. The same year, 1926 year, he visited the USA. His works of the 1920s and 1930s were called "meditative masterpieces" by some critics. In 1937 he was honored with the responsibility of decorating the French pavilion at the Exposition Universelle in Paris. According to his own opinion he failed to create something worthy on the large surface. In his old age, Bonnard returned to the youthful exuberance of dazzling light and color, producing compositions of exquisite taste. During the Second World War he lived in Le Bosquet, and continued living there as a recluse after his wife’s death in 1942. In 1945, he paid his last visit to Paris. On January 23, 1947 Bonnard died.

16. Description In The French Window, we are witnessing a representation of the entire process of the act of creation of the idea as well as seeing the completed painting, all in one work. It is a revealing and great work of Bonnard, and to see it helps us to understand his quest. We see Bonnard experiencing for the first time his sensation, conceiving the first idea of the painting as image whilst looking at his model, Marthe. She is opposite him, the back of her head towards us, her face being viewed by the artist, who is probably drawing her at that moment on a small piece of paper, all of this takes place in the mirror, whilst we the viewers also see Marthe in front of the mirror as Bonnard would have seen her in front of him, intensely absorbed in a specific act of mixing or stirring a bowl tilted in front of her. In the painting, the clarity of the figure of Marthe is noticeably particular and detailed. It is only after carefully observing the “final” marks describing Marthe looking at the bowl (and looking inward at the same time, reflecting whilst being reflected) and describing the vitality of her hands grasping the bowl and mixing the ingredients that we realize their source – pencil incisions, scratched and etched into the paint. Defining the head’s expression and tilt, Bonnard uses the graphite and charcoal along with the pigments of color. We find charcoal again amidst colored oils in “TheWhite Interior,” a painting with a myriad of different whites, and a multitude of spaces, and a floor mysteriously turning into a crouching figure. Bonnard uses charcoal marks as final marks in and on top of the paint film to modify and control the flow of space. Bonnard’s constant range of meanings allows us to consider his successful use of both black and white in the The White Interior (1932) and The French Window (1932,). His desire for black and white surrounded by rich color is documented. The white and black frequently resound against saturated cadmium reds and apricot yellows, sapphire blues and viridian greens. One can also think of the symbolic nature of both black and white: white, the metaphor for the origins of the work, the paper, the canvas ground, or primed support; black, the instrument of decision, the color associated with drawing, the color of ink, charcoal and graphite.

17. The French Window Interior – внутренняя часть Colored oils – цветные масляные краски Crouching - согнувшийся Darkened – потемневшый View – вид Scratched – исцарапанный Marine – морской пейзаж

18. Describe the painting There is a _____ in a blue dress in the foreground. There is a ______ in woman’s hands. There is a _______ behind the woman, sitting in the armchair. The woman is sitting near the ____. we can see a _____ view out of the window. The window consists of _____ pieces of glass. There are some ______ colour spots on the window frame. There is ______ on the table.

19. True or false There is a woman sitting on a stool. The woman is wearing a red dress. There is a big window in the background. There is a man in the foreground. The table is empty. There is a sea view out of the window. The woman is sleeping. The picture seems to be all in dark colours.

20. Living room

21. William McGregor Paxton William McGregor Paxton (June 22, 1869 – 1941) was an American Impressionist painter. Born in Baltimore, the Paxton family came to Newton Corner in the mid-1870s, where William's father James established himself as a caterer. At 18, William won a scholarship to attend the Cowles Art School, where he began his art studies with Dennis Miller Bunker. Later he studied with Jean-Léon Gérôme in Paris and, on his return to Boston, with Joseph DeCamp at Cowles. There he met his future wife Elizabeth Okie, who also was studying with DeCamp. After their marriage, William and Elizabeth lived with his parents at 43 Elmwood Street, and later bought a house at 19 Montvale Road in Newton Centre. Paxton, who is best known as a portrait painter, taught at the Museum School from 1906 to 1913. Along with other well known artists of the era, including Edmund Charles Tarbell and Frank Benson, he is identified with the Boston School. Paxton was working on his last painting, a view of his living room at 19 Montvale Road, with his wife posing for him, when he was stricken with a heart attack and died at the age of 72.

22. William MacGregor Paxton The Front Parlor, 1904 a carpet wallpaper a vase flowers a fireplace a frame a chair a statue a lamp a table

23. The Front Parlor William McGregor Paxton is famous for his canvases depicting women. One of his well-known works is the Front Parlor created in 1904. It represents a young lady reading a letter by the fireplace. The oil painting is executed in soft and delicate colours which create romantic and lyrical air. The painting is full of light and possesses the colour scheme where white and cream predominate. Such selection of colours form a harmonious unity and the spectator can’t help feeling conciliation mixed with happiness. Talking about the plot of the canvas the viewer can see an exquisitely dressed young lady engrossed in reading. The scene takes place in the sitting room or in the parlor as it’s clear from the name of the painting. The lady evidently belongs to a noble and rich family: her morning dress corresponds to the latest fashion of the time and her erect carriage and self-confidence of a pose underline her aristocratic origin. The room is beautifully furnished, all the objects in it are chosen with taste and elegance. The young woman seems to be totally absorbed in the letter. There’s a faint smile on her face and we can only suggest what the letter contain. All in all it should be a love letter as the atmosphere of the room is so bright and cheerful that it hints us that nothing except for words of love can be written there.

24. Pavel Fedotov Pavel Fedotov (1815 – 1852) is a famous Russian painter. He was an officer of the Imperial Guards of Saint Petersburg. Like many of his colleagues at the time, he was interested in arts. He played the flute and attended evening school where he learned painting. Fedotov decided to focus on painting and left the army in 1844. At first, he used pencil and watercolor but switched to oil painting starting in 1846. Fedotov enjoyed a brief period of public success at Saint Petersburg exhibitions in 1849 and 1850, when – in the wake of the revolutions of 1848 – his close ties to the Petrashevsky Circle made him a target of government persecution. Fedotov was only 37 years old when he died in a mental clinic.

25. Pavel Fedotov the Major’s Courtship,1848 a painting a chandelier a table cloth a tray a candlestick a shawl threshold a wall parquet

26. The Major’s Courtship Pavel Fedotov’s brightest masterpieces include the Difficult Bride, the Young widow, the Breakfast of an Aristocrate and etc. Among them we can find the Major’s Courtship. The painting was exhibited at the 1848-1849 Academy exhibition. It instantly caused an uproar. It was impossible to get close to the paintings, so great was the crowd trying to see it. The Major’s Courtship depicts the readiness of merchant parents to sell anything, even their own daughters, so long as they can turn a profit. The self-important major, who preens his moustache on the threshold of the merchant’s living room while the matchmaker pleads his cause, is bathed in light, symbolic of his promising financial prospects. The impoverished merchant, in contrast, recedes into the background of a dingy and shabby reception room badly in need of decorating. His wife attempts to restrain their daughter, who runs in mock-reluctance from her suitor. However, the subtle inclusion of four champagne glasses laid out in advance undermine the daughter’s magnificent pretence of surprise.

27. Kapiton Zelentsov (1790-1845) Kapiton Alexeevich Zelentsov was born into the well-to- do-family of a collegiate assessor, owner of 3 big plants in the Urals. In the 1820s, Kapiton Zelentsov was at state service, first in the Ministry of Internal Affairs, then in the Personal Office of the Emperor. He began his studies with Venetsianov in 1820s. Though he never dropped his service for painting, he reached some results in the latter, in 1830 he received from the Academy the title of a painter, and was one of the first Venetsianov's students.

28. Sitting-Room a carpet floor ceiling a candle a pillar a portrait settee curtain a chair a mirror a window a windowsill a picture candlestick a table

29. Sitting-Room In the first third of the 19th century, the cult of nature was replaced by a longing for the comfort of private residences. The genre of the interior appeared, reflecting the “poetry of home life.” In this painting an interior is depicted in the style of Late Classicism. The reception room opens onto two enfilades – one is formal, state rooms, while the other ends in the so-called servants’ entryway. The reception room is situated on the mezzanine floor of the house which was closed to outsiders and was typical of Moscow townhouses of the first half of the 19th century. The idea of “private life” and the quiet “household nest” was linked at the time not with the capital, St Petersburg, but rather with Moscow and with countryside estates. The interior is bathed in an even, mild light. This is the realm of contemplation, reflection, creativity, as the drawing with the three graces in the pier over the clock suggests.

30. Edgar Degas (1834-1917) Edgar Degas was born into the family of bankers of aristocratic extraction. His mother died in 1847, so the boy's father, Auguste de Gas, and grandfather, Hilaire de Gas, were the most influential figures in his early life. Despite his own desire to paint he began to study law, but broke off his studies in 1853. He frequented Félix Joseph Barrias’s studio and spent his time copying Renaissance works. In 1854-1859 he made several trips to Italy, some of the time visiting relatives, studying the Old Masters; he painted historical pictures and realistic portraits of his relatives. By 1860 Degas had drawn over 700 copies of other works, mainly early Italian Renaissance and French classical art. In the troubled post-war years Degas undertook his longest journey. In 1872 with his younger brother René, he traveled to New York and New Orleans, where his uncle, his mother's brother, Michel Musson, ran a cotton business. Degas stayed in Louisiana for 5 months and returned to Paris in February 1873. After his return from America, Degas had closer contact with dealers such as Durand-Ruel, in an attempt to bring his work to public attention independently of the Salon. In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term “Impressionism” unacceptable – mainly, perhaps, because he did not share the Impressionists’ over-riding interest in landscape and color. He did not care to be tied down to one method of painting. Nonetheless, Degas was to participate in all the group exhibitions except that of 1882. Degas used the group and the exhibitions high-handedly to promote himself. His strategy seems to have been to show off his own diversity at the exhibitions, for he always entered works that were thematically and technically very varied. The rapid worsening of his eye condition caused him to avoid all society; he drew pastels, modeled statues in wax and extended his art collection. In 1909-1911, due to failing eyesight, he stopped work completely. After Degas’ death about 150 small sculptural works were found in his studio, and unsurprisingly his subjects tended to be race horses or dancers.

31. The Bellelli Family a frame a picture wallpaper carpet armchair a table a mirror clock a wall

32. The Bellelli Family It was at the invitation of Baron Gennaro Bellelli and his wife Laura, artist's aunt (an Italian aunt), that Degas went to Florence in August 1858. There he did numerous drawings of the family. He finally painted his group portrait of the Bellelli Family in his studio in Paris. Cousin Giulia is sitting, cousin Laura is standing with mother, Laura Bellelli, the baron is in an armchair, half- turned to the spectators.

33. bedroom

34. Vincent Van Gogh 1) Vincent Willem van Gogh (30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist artist. Some of his paintings are now among the world's best known, most popular and expensive works of art. 2) Van Gogh worked only with sombre colours, until he encountered Impressionism and Neo- Impressionism in Paris. He incorporated their brighter colours and style of painting into a uniquely recognizable style, which was fully developed during the time he spent at Arles, France. 3) The son of a pastor, brought up in a religious and cultured atmosphere, Vincent was highly emotional and lacked self-confidence. He was known by his remarkable creativity & some strange behavior.

35. Vincent's Bedroom in Arles Vincent's Bedroom in Arles is one of the artist's best known paintings. The striking colours, unusual perspective and familiar subject matter create a work that is not only among Van Gogh's most popular, but also one that he himself held as one of his own personal favourites. In fact, Vincent describes this painting in no less than thirteen letters and, as a result, a great deal is known about the artist's own feelings about the work.

36. Vincent’s description of the picture This time it's just simply my bedroom, only here colour is to do everything, and giving by its simplification a grander style to things, is to be suggestive here of rest or of sleep in general. In a word, looking at the picture ought to rest the brain, or rather the imagination. The walls are pale violet. The floor is of red tiles. The wood of the bed and chairs is the yellow of fresh butter, the sheets and pillows very light greenish-citron. The coverlet scarlet. The window green. The toilet table orange, the basin blue. The doors lilac. And that is all - there is nothing in this room with its closed shutters. The broad lines of the furniture again must express inviolable rest. Portraits on the walls, and a mirror and a towel and some clothes. the conception is simple. The shadows and the cast shadows are suppressed; it is painted in free flat tints like the Japanese prints.

37. chair floor bed bed back wall toilet tablecoverlet basin door pillow portrait mirrow shutters towel poster clothes

38. Practical tasks Practice saying the words.

39. Link given definitions with the active words 1.Chair A. Things that you wear on your body 2.Shutter B. A piece of material used for drying things 3.Bed C. A large flat object you open when you want to enter or leave a building, room or vehicle 4. Floor D. A round open container used for holding liquids 5. Bed back E. A piece of furniture that you sleep on 6. Wall F. A cover that you put over the other covers on a bed 7.Portrait G. A piece of furniture for one person to sit on 8.Toilet table H. A piece of special glass in which you can see yourself 9.Door I. A back part of a bed 10.Basin J. A flat area that you walk on inside a building or a room 11.Coverlet K. An uptight side of a room inside a building 12.Mirror L. A piece of furniture that consists of a flat top and 3-4 legs 13.Clothes M. A painting, drawing, or photograph of a person 14. Towel N. A cover that can be closed over the outside of a window

40. Complete the following sentences with the active words It’s midnight-why aren’t you in…? We were sitting on the … watching TV. I’m going to put on some clean… She looked at herself in the … I had to sit on a hard wooden… all day. There was a draught coming from under the … She felt along the … for the light switch. I dropped the … by accident.

41. Evgenia Gapchinska Evgenia Gapchinska is a modern and a very talented painter. She lives and works in Kiev, Ukraine. Her paintings are cheerful, light and really touching. Her characters are little funny children and angels, who overeat chocolate, like sausages and adore to pose in beautiful costumes. The artist’s works are full of optimism and make people believe that happiness exists.

42. New words Dresser Drawer Pyjamas

43. New Words Pillow Blanket Nightgown Window

44. New Words Single bed Bed sheet Slippers

45. Practical Tasks What’s in the bedroom? 1. (Describe the bedroom, using the active words and constructions There’s/There’re) Ex. There’s a bed. There’re two chaires. 2. Practise the questions and answers. Is there a television? Is there a radio? Are there any books? How many beds are there? Are there any portraits? 3.Ask and answer questions about these things A bed, a dog, slippers, a mirror, a window, a clock, a computer, a blanket, a pillow, pictures, a drawer, a dresser, newspapers, a blanket, pyjamas 4. Think of your favourite room. Write down why you like it and some adjectives to describe it. ( My favourite room is… I like it because… )

46. kitchen

47. The Milkmaid by Jan Vermeer Johannes or Jan Vermeer (baptized in Delft with the name Joannis on October 31, 1632, and buried in the same city under the name Jan on December 16, 1675) was a Dutch Baroque painter who specialized in exquisite, domestic interior scenes of ordinary life. Vermeer was a moderately successful provincial genre painter in his lifetime. Although the genre of "kitchen pieces" belongs to a long tradition in the Netherlands, with Joachim Beuckelaer and Pieter Aertsen in the sixteenth century being its initiators, it lost favour in the subsequent century, with the exception of Delft, where it endured. Vermeer's realization, however, has nothing in common with his archaic forerunners. His vision is concentrated on a single sturdy figure, which he executes in a robust technique, in keeping with the image that he wants to project. The palette features a subdued colour scheme: white, yellow, and blue. But the colours are far from frank or strident, and are rather toned down, in keeping with the worn work clothes of his model. The still life in the foreground conveys domestic simplicity, and the light falling in from the left illuminates a bare white kitchen wall, against which the silhouette of the maid stands out. One gains from this deceptively simple scene an impression of inner strength, exclusive concentration on the task at hand, and complete absorption in it. The extensive use of pointillé in the still life lets us presume the use of the inverted telescope in an effort to set off this part of the painting against the main figure and alert the viewer to the contrast between the active humanity of the maid and her inanimate environment. Vermeer portrays the milkmaid with restraint, but at the same time this scene of common life is full of vitality and perfect harmony. The colouring is rather subtle, except for the maid's clothes – the colour of her shirt is very bright and hot. In this painting Vermeer managed to capture the sitter's vitality and inner strength, tranquility and peacefulness of her environment. Obviously everything in the picture indicates the sitter's profession – a jar with milk in her hands, her clothes, kitchen utensils, the surroundings. The picture may seem dull at first, but soon after looking at it closer the viewer reveals its unsurpassed beauty and fullness.

48. Name the objects depicted in the picture. Describe the colour scheme of the picture.

49. Le Gouter Des Enfants by Victor Gilbert

50. Victor Gilbert was born in Paris in 1847 and died in 1935. Victor Gabriel Gilbert established himself as a painter of French genre scenes. His natural ability for drawing was acknowledged at an early age but due to financial circumstances Victor Gabriel Gilbert was required to work as an artisan. The only formal art education Victor Gabriel Gilbert received was at the hands of Pierre Levasseur at the Ecole de La Ville de Paris. In the picture we can see a family of three children and their mother in domestic surroundings. The scene takes place in the kitchen where the children are eating their favourite food – bread and jam. The picture is full of tranquility of common everyday life. The scene seems so lively that the viewer can feel the warmth and cosiness of the kitchen and children's joy. Gilbert portrays the emotions of the children with moving sincerity. The viewer can notice at once that the children are eager to have their delicious meal. Two boys are represented sitting at the table, their sister standing next to their mother. In the background we can see a cupboard with many plates in it, a clock and a picture on the wall, some ladles. The colour scheme of the picture is quite monotonous. The soft and delicate light coming from the picture makes it very charming and restful. The picture is full of tender light filling the kitchen, and the liveliness of the sitters makes a perfect harmony.

51. Name the adjectives that may be used to describe the sitters and the surroundings of the picture. How did the artist combine the form and colouring in the picture? What art devices did he use?

52. Dining room

53. Henri Matisse “Dinner Table”

54. Henri Matisse Henri Matisse (31 December 1869 – 3 November 1954) was a French artist, known for his use of colour and his fluid, brilliant and original draftsmanship. As a draftsman, printmaker, and sculptor, but principally as a painter, Matisse is one of the best-known artists of the 20th century. Although he was initially labeled as a Fauve (wild beast), by the 1920s, he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art. Born Henri-Émile-Benoît Matisse in Le Cateau-Cambrésis, Nord-Pas-de-Calais, France, he grew up in Bohain-en-Vermandois in Northeastern France, where his parents owned a seed business. He was their first son. In 1887 he went to Paris to study law, working as a court administrator in Le Cateau- Cambrésis after gaining his qualification. He first started to paint in 1889, when his mother had brought him art supplies during a period of convalescence following an attack of appendicitis. He discovered "a kind of paradise" as he later described it, and decided to become an artist, deeply disappointing his father. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau and Gustave Moreau. Initially he painted still-lifes and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Chardin was one of Matisse's most admired painters; as an art student he made copies of four Chardin paintings in the Louvre. In 1896 he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained colour theory to me." Matisse was nfluenced by the works of the post-Impressionists Paul Cézanne, Gauguin, Auguste Rodin, Nicolas Poussin, Antoine Watteau, Van Gogh, Edouard Manet and Paul Signac, and also by Japanese art, Matisse immersed himself in the work of others and got in debt from buying work from many of the painters he admired. The work he hung and displayed in his home included Cezanne's Three Bathers, a plaster bust by Rodin, a painting by Gauguin and a drawing by van Gogh. Cezanne made colour a crucial element of his paintings. Many of his paintings from 1899 to 1905 make use of a pointillist technique adopted from Signac. In 1898, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. With the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre; the two raised Marguerite together and had two sons, Jean (born 1899) and Pierre (born 1900). Marguerite often served as a model for Matisse.

55. By means of this picture we can work with the construction “There is/There are” How many plates are there on the table? How many chairs are there in the room? Describe the room

56. Claude Monet “The Luncheon”

57. Claude Monet Claude Monet also known as Oscar-Claude Monet or Claude Oscar Monet (14 November 1840 – 5 December 1926) was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term Impressionism is derived from the title of his painting Impression, Sunrise. Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the ninth arrondissement of Paris. He was the second son of Claude-Adolphe and Louise-Justine Aubrée Monet, both of them second-generation Parisians. On 20 May 1841, he was baptised in the local parish church, Notre-Dame-de-Lorette, as Oscar-Claude. In 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the family grocery business, but Monet wanted to become an artist. His mother was a singer. On the first of April 1851, Monet entered the Le Havre secondary school of the arts. He first became known locally for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a former student of Jacques-Louis David. On the beaches of Normandy in about 1856/1857 he met fellow artist Eugène Boudin, who became his mentor and taught him to use oil paints. Boudin taught Monet "en plein air" (outdoor) techniques for painting. On 28 January 1857 his mother died. He was 16 years old when he left school and went to live with his widowed childless aunt, Marie-Jeanne Lecadre.

58. By means of this picture we can work with the construction “There is/There are” How many plates are there on the table? How many chairs are there in the room? Describe the room

59. Claude Monet Claude Monet also known as Oscar-Claude Monet or Claude Oscar Monet (14 November 1840 – 5 December 1926) was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term Impressionism is derived from the title of his painting Impression, Sunrise. Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the ninth arrondissement of Paris. He was the second son of Claude-Adolphe and Louise-Justine Aubrée Monet, both of them second-generation Parisians. On 20 May 1841, he was baptised in the local parish church, Notre-Dame-de-Lorette, as Oscar-Claude. In 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the family grocery business, but Monet wanted to become an artist. His mother was a singer. On the first of April 1851, Monet entered the Le Havre secondary school of the arts. He first became known locally for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a former student of Jacques-Louis David. On the beaches of Normandy in about 1856/1857 he met fellow artist Eugène Boudin, who became his mentor and taught him to use oil paints. Boudin taught Monet "en plein air" (outdoor) techniques for painting. On 28 January 1857 his mother died. He was 16 years old when he left school and went to live with his widowed childless aunt, Marie-Jeanne Lecadre.

60. By means of this picture and active words we can work through the description of the room. Describe the picture using the construction “there is/there are” and active words. Active words: Bread Bottle Plate Cup Spoon Knife Glass Decanter Grapes Chair Table

61. Paul Signac “Breakfast”

62. Paul Signac Paul Signac (November 11, 1863 – August 15, 1935) was a French neo-impressionist painter who, working with Georges Seurat, helped develop the pointillist style. Paul Victor Jules Signac was born in Paris on November 11, 1863. He followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter. He sailed around the coasts of Europe, painting the landscapes he encountered. He also painted scenes of cities in France in his later years. In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colours and became Seurat's faithful supporter. Under his influence he abandoned the short brushstrokes of impressionism to experiment with scientifically juxtaposed small dots of pure colour, intended to combine and blend not on the canvas but in the viewer's eye, the defining feature of pointillism. Many of Signac's paintings are of the French coast. He loved to paint the water. He left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends. In March 1889, he visited Vincent van Gogh at Arles. The next year he made a short trip to Italy, seeing Genoa, Florence, and Naples. The Port of Saint-Tropez, oil on canvas, 1901Signac loved sailing and began to travel in 1892, sailing a small boat to almost all the ports of France, to Holland, and around the Mediterranean as far as Constantinople, basing his boat at St. Tropez, which he "discovered". From his various ports of call, Signac brought back vibrant, colourful watercolors, sketched rapidly from nature. From these sketches, he painted large studio canvases that are carefully worked out in small, mosaic-like squares of color, quite different from the tiny, variegated dots previously used by Seurat. Signac himself experimented with various media. As well as oil paintings and watercolours he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots. The neo-impressionists influenced the next generation: Signac inspired Henri Matisse and André Derain in particular, thus playing a decisive role in the evolution of Fauvism. As president of the Société des Artistes Indépendants from 1908 until his death, Signac encouraged younger artists (he was the first to buy a painting by Matisse) by exhibiting the controversial works of the Fauves and the Cubists.

63. By means of this picture we can work with the construction “There is/There are” How many people are there in the room? How many cups are there on the table? Name all the things on the table.

64. Konstantin Alekseyevich Korovin

65. (November 23 1861, Moscow – September 11, 1939, Paris) was a leading Russian Impressionist painter. Konstantin was born in Moscow to a merchant family. In 1875 Korovin entered the Moscow School of Painting, Sculpture and Architecture. His brother Sergey was already a student of the School. During their scholar years the Korovins became friends with their fellow students Valentin Serov and Isaac Levitan; Konstantin kept these friendships through the whole of his life. In 1881–1882, Korovin spent a year at the Imperial Academy of Arts in Saint Petersburg, but returned disappointed to the Moscow School of Painting, sculpturing and architecture. He studied at the school under the new teacher Vasily Polenov until 1886. In 1885, Korovin traveled to Paris and Spain. "Paris was a shock for me … Impressionists… in them I found everything for what I was scolded back at home, in Moscow", he later wrote. In the 1890s, Korovin became a member of the Mir iskusstva art group. Korovin's subsequent works were strongly influenced by his travel to the North. In 1888 he was captivated by the stern northern landscapes, as seen in The Coast of Norway and The Northern Sea. His second trip to the North, with Valentin Serov in 1894, coincided with the construction of the Northern Railway. Korovin painted a large number of landscapes: Norwegian Port, Saint Trifon's Brook in Pechenega, Hammerfest: Aurora Borealis, The Coast at Murmansk and others. The paintings are built on a delicate web of shades of grey. The etude style of these works was typical for the Korovin's art of the 1890s. One of the artist's favourite themes was Paris. He painted A Paris Cafe (1890s), Cafe de la Paix (1905), La Place de la Bastille (1906), Paris at Night, Le Boulevard Italien (1908), Night Carnival (1901), Paris in the Evening (1907) and others. In the last years of his life he produced stage designs for many of the major theatres of Europe, America, Asia and Australia, the most famous of which is his scenery for a production by the Turin Opera House of Nikolai Rimsky-Korsakov's The Golden Cockerel. Korovin died in Paris on September 11, 1939.

66. Describe this picture using the construction “there is/there are” and active words. Active words: Caviar Samovar Milk Bread Plate Cup Table Chair Decanter

67. Study

68. Alexey Gavrilovich Venetsianov (1780 - 1847 ) Alexey Gavrilovich Venetsianov (1780-1847) is the artist - painter, master of a genre art, rural life paintings, the portraitist and writer. Alexey Venetsianov was the first artist in a history of Russian art, who not only represented a life of peasants, rural genres, but also has created a poetic image of rural Russia. Aleksei Gavrilovich Venetsianov is one of the most important Russian painters of the nineteenth century, best noted for his natural yet dignified portrayal of peasants, peasant life, and nature. He is credited with establishing genre painting (particularly related to peasant life) and developing the features of the national Russian landscape. Venetsianov is also recognized for the tremendous role he played in the education of the young artists of limited means. Venetsianov was born in Moscow in 1780 in the family of a impoverished Greek merchant. He attended a private boarding school and was initially trained for government service as a woodland's surveyor. He studied painting in his free time and worked as a civil servant. Art studies exposed Venetsianov to natural colors and airy atmosphere permeating the paintings of French artist Francois-Marius Granet; the young Russian painter was so impressed that he decided to employ the same techniques in his paintings. In 1802, he moved to St.Petersburg and took courses as an external student at the Academy of Arts, at the same time spending long hours at the Hermitage copying the works of great masters, especially the Dutch landscape painters. In the Hermitage, Venetsianov met V.L.Borovikovsky and became his student. In 1810, the artist received from the Academy the title of a distinguished Associate, which contributed to the growth of his popularity. Two years later, during the Napoleonic campaign, he published a series of patriotic satirical etchings aimed at Napoleon and his allies. His love of nature and the countryside and his desire to paint it in a natural way, reminiscent of Granet, prompted Venetsianov to buy a small estate in the Tver province. He retired in 1820 and summarily abandoned forever his satirical and political art. Moving permanently to his home in the countryside, he focused most of his energy on the depiction of peasants and village life. Moreover, in 1824, after selling The Threshing Barn for a large sum of 5,000 roubles, Venetsianov decided to share his good fortune and established in his house an art school for talented students who could not afford art education. Over the course of its existence, the school enrolled about 70 pupils. Among those who distinguished themselves later were G.Soroka, N.Krylov, A.Alexeyev, L.Plakhov, A.Tyranov, K.Zelentsov, S.Zarianko, and G.Mikhailov. Their knowledge of the subject and their ability to portray it in a straightforward and unaffected way helped to develop farther the genre of peasant painting. Alexsei Venetsianov's best known works include In The Field: Spring (mid 1820s), The Threshing Floor (1821 or 1822), Sleeping Shepherd (between 1823 and 1826), The Morning of a Landlady (1823), Reaper (1820s), Reapers (1820s), and Harvesting: Summer (mid 1820s). The characteristics of his works that made a memorable and lasting impression on the Russian art scene were his disregard for the common rules and techniques used by most artists during the nineteenth century. Crossing the line dividing art and reality, Venetsianov created beautiful and somewhat idealistic representations of peasants and depicted the virtues of peasant life while using natural light and natural environment to show a realistic image of everyday life. Since Venetsianov loved nature and the outdoors, most of his paintings were created "en plein air;" this method of work gave all his paintings a certain spontaneity, freshness, and luminosity. Living and working among peasants, the artist understood their life and developed the proper perspective to paint them. His paintings were often a combination between true portraits and general types; using the works of old masters as examples, Venetsianov seemed to follow Renaissance ideas about composition and presentation of the figures. Venetsianov's major contributions to the world of nineteenth century art included: 1. recognition and acknowledgement of the importance of light in painting, 2. blending of the figures with the landscape to create unity between humans and nature, 3. showing the virtues rather than the vices of peasants, 4. painting aristocratic subjects in informal and casual surroundings, 5. making a transition to the techniques of early Romanticism. Venetsianov died from accident in road - the sledge, which have overturned on abrupt turn, have stricken him a mortal blow.

69. painting portrait floor ceiling table desk wall column coffee table chair curtains bust

70. “Portrait of the State Chancellor of the Internal Affairs, Prince Victor Pavlovich Kochubey in his Study” The paintings is called “Portrait of the State Chancellor of the Internal Affairs, Prince Victor Pavlovich Kochubey in his Study”. It is made by one Russian outstanding artiste, Alexey Gavrilovich Venetsianov. The work is of 19 century’s realism period in the art. That’s why it appears quite natural and spontaneous. The artiste pictured a study of Prince Victor Pavlovich Kochubey. It is a day time in the picture. The sitter sits in the middle of the room and the surroundings not much accentuated play a role of background. Kochubey appears a middle-aged man who is dressed very officially what is supposed by his high title. He seems quite relaxed in his armchair. The study seems a very luxurious room. It is decorated in a reserved way. There are all the pieces of furniture needed for the work. There are also things which renders Kochubey’s personality and taste. The picture tells us about Prince Kochubey. We learn that he was a very learned man who spent much of his time working in his study. The colours are well chosen by the painter that arise a high artistic interest in art admires.

71. Task 1: A. ceiling1. a piece of hanging cloth that can be pulled across to cover a window, divide a room B. curtain2. tall solid upright stone post used to support a building or as a decoration C. wall3. a piece of furniture like a table, usually with drawers in it, that you sit at to write and work D. painting4. a piece of furniture with a flat top supported by legs E. column5. a low table on which you put cups, newspapers F. portrait6. a model of someone's head, shoulders, and upper chest, usually made of stone or metal G. desk7. a piece of furniture for one person to sit on, which has a back, a seat, and four legs H. floor8. a painting, drawing, or photograph of a person I. table9. the inner surface of the top part of a room J. chair10. a painted picture that you put on a wall for people to see K. bust11. the flat surface that you stand on inside a building L. coffee table12. an upright flat structure made of stone or brick, that divides one area from another or surrounds an area

72. Answers for task 1: A.B.C.D.E.F.G.H.I.J.K.L. 911210283114765

73. Task 2: Make up at least 10 sentences describing the painting. You should use the active vocabulary and the grammar construction “there is/there are”.

74. Isaak Ivanovich Izrailevich Brodskiy (1884-1939) Isaak Ivanovich Izrailevich Brodskiy was a Soviet painter whose work provided a blueprint for the art movement of socialist realism. He is known for his iconic portrayals of Lenin and idealized, carefully crafted paintings dedicated to the events of the Russian Civil War and Bolshevik Revolution. Brodskiy was born in the village of Sofiyevka in Ukraine. He studied at Odessa Art Academy and the Imperial Academy of Arts in Saint Petersburg. In 1916 he joined the Jewish Society for the Encouragement of the Arts. When Brodskiy asked Lenin to autograph his painting Lenin, he said: "I am signing to what I don't agree with for the first time". Brodskiy was on good terms with many leading Russian painters, including his mentor, Ilya Repin. He was an avid art collector who donated numerous first-class paintings to museums in his native Ukraine and elsewhere. His superb art collection included important works by Repin, Vasily Surikov, Valentin Serov, Isaak Levitan, Mikhail Vrubel, and Boris Kustodiev. After his death Brodsky's apartment on Arts Square in St. Petersburg was declared a national museum. His art collection is still on exhibit there. Brodsky was an Honoured Artist of the Russian SFSR and a member of the Union of Russian Artists. He was the first painter to be awarded the Order of Lenin.] In 1934 he was appointed Director of the All-Russian Academy of Arts. His memoirs were published posthumously.

75. window armchair curtains lamp chair bookcase floor handle papers painting

76. “Ilya Ilyich Lenin in his study” The paintings is called “Ilya Ilyich Lenin in his study”. It is made by one Russian outstanding artiste, Isaak Brodskiy. The work is of Soviet period in the art. That’s why it appears quite natural and spontaneous. The artiste pictured a study of Lenin while he was writing something in his papers. It is a day time in the picture. The light is very bright. The sitter sits in the middle of the room and the surroundings much accentuated play a role of background. Lenin appears a middle-aged man who is dressed very business-like what is supposed by his high post. He seems quite relaxed and thoughtful in his armchair. The study seems a very luxurious room. It is decorated in a modern way for those times. There are all the pieces of furniture needed for the work. There are also things which renders Lenin’s personality and taste. The picture tells us much about Lenin’s life. We learn that he was a very learned man who spent much of his time working in his study. The colours are well chosen by the painter that arise a high artistic interest in art admires.

77. Task 1: Put words in the correct order to form a sentence. 1. the/drew/she/switched/and/the/on/curtains/lights 2. you/do/mind/I/if/ the/open/window 3. on/the/wall/was/painting/a/of/there/father/his 4. turned/went/in/he/handle/and/the 5. the/all/bookcases/full/were/of/books 6. no/in/room/the/lamp/was/there 7. left/I/some/papers/important/desk/my/on 8. chair/a/sitting/in/was/he 9. was/floor//polished//the 10.armchair/this/very/is/comfortable/a

78. Answers for task 1: 1. She drew the curtains and switched the lights on. 2. Do you mind if I open the window? 3. there was a painting of my father on the wall. 4. He turned the handle and went in. 5. All the bookcases were full of books. 6. There was no lamp in the room. 7. I left some important papers on the desk. 8. He was sitting in a chair. 9. The floor was polished. 10 The is a very comfortable armchair.

79. Task 2: Describe the study of Lenin using the active vocabulary and the grammar construction “there is/there are”.

80. Task 3: Compare the interior of the two paintings. Use as much active vocabulary as possible.

81. bathroom

82. painting wallpaper mirror candle Fire place chaircarpet wall console-mirror floor jug

83. was born in Paris 11th of December 1860. His pictures are exhibited in the d’orsay and in Geneve and other museums in France and in Europe. He is a post-impressionist and was shown in the gallery of Paul Durand-Ruel.

84. New words: Wall paper Candle Console-mirror Fire- place Jug chair Carpet 1. Describe the room on the picture. 2. Describe your own room. 3. Describe the room of your dream.

85. Use on/in/ under/into/in front of/behind. The girl is washing her arms…the sink. There is some pictures …the wall. The jug is …the table. The table is…the girl. The chair is …the girl. Mother came…the room. There is a jug…the floor.

86. nursery

87. “In the Nursery” curtains cuckoo clock trunk box window sill window small window wall floor mirror sofa wooden horse toys

88. Constantin Andreevich Somov was born in St. Petersburg on November 30, 1869 into the family of the senior curator at the Hermitage, artist and art historian. From 1888 till 1897, he studied at the Academy of Arts. Portraits and landscapes form the most realistic part of Somov’s work; his individual style reveals in original subject paintings, love scenes in interior and in the open air, retrospective views.

89. The picture was painted in 1898. The painter used : watercolor, gouache, pencil on paper. This picture In the Nursery is exhibited in the Tretyakov Gallery. You can see on this picture the nursery. There are different colors on this picture. The center of the room is a big window with blue curtains. There are a lot of toys in the room such as a barrel and a horse-wagon. The mirror also attracts attention cause it reflects the real life where we can see a person sitting on the sofa.

90. The aim of the work is to teach students to work with the active vocabulary on the topic «Furniture». This picture can be used in learning English and there are some tasks: Which furniture can you see on this picture? Do you have that furniture in your room? Can you describe the room? Do you want to have the same room?

91. There is/ are toys on the table. There is/ are curtains on the wall. There is/ are cuckoo clock near the window. There is/ are wooden horse on the floor. There is/ are trunk box near the table. Is/are any toys on the table? Is /are the mirror on the wall? Is/ are curtains on the window? Is/ are any books on the floor? Is / are window sill under the window?

92. 1. New words: Cuckoo clock Mirror Window Small window Window sill Sofa Curtains Wall Floor Toy Wooden horse 2. look at the picture and describe it.

93. Список литературы: Практический курс Английского языка, 3 курс, В.Д. Аракин, «Владос», 2007 http://www.abcgallery.com/ http://en.wikipedia.org/

94. Study hard and do your best!