19. Everybody was scared almost ... death. 20. Mr. Wolfe took a great fancy ... his niece. 21. Sybil's father and mother might possibly

object ... the marriage. 22. I am going ... home ... about three days. Of course, I shall take only the things I can't do ... . 23. He is ...

exception the best pupil I have ever had. 24.1 know you will work hard, that goes ... saying.

13. Translate the following sentences into English. Pay attention to the prepositions and adverbs:

1. Хлеб пекут (делают) из муки. 2. «Какая жалость, что вы вынуждены не пускать ребенка в школу», — сказал Эндрю. 3.

Поэты и художники часто черпают вдохновение у природы. 4. Братья так похожи друг на друга, что я не могу отличить

одного от другого. 5. Если я советую вам это сделать, то я говорю на основании собственного опыта. 6. Вот картина в моем

вкусе. 7. Дверь захлопнулась. 8. Гвендо- лен сказала, что она помолвлена с Эрнестом. 9. Как можно быть таким

безразличным к своей работе? 10. Такое упрямство любого может довести до отчаяния. 11. Вам следовало бы извиниться

перед хозяйкой за ваше опоздание. 12. Друзья подняли тост за счастливое окончание путешествия. 13. Не принимайте это

так близко к сердцу.

14. Луиза с нетерпением ждала того дня, когда она пойдет в школу.

15. Он приобрел привычку читать газету за едой. 16. За свою работу он почти ничего не получал. 17. Майкл несколько раз

делал Флер предложение. 18. Визит дружбы способствовал взаимному пониманию. 19. Это было сделано без моего согласия.

20. Он легко решает такие задачи. 21. Нет дыма без огня.

14. a) Give Russian equivalents for the following English proverbs and sayings (or translate them into Russian), b) Explain in English the

meaning of each proverb, c) Make up a dialogue to illustrate one of the proverbs:

1. When one loves his art no service seems too hard. 2. The devil is not so black as he is painted. 3. When in doubt leave it out. 4.

Art is long, life is short. 5. That's a horse of another colour. 6. A thing of beauty is a joy forever. 7. Art lies in concealing art. 8. Art

has no enemy except ignorance.

CONVERSATION AND DISCUSSION

^

PAINTING

Topical Vocabulary

1. Painters and their craft: a fashionable/self-taught/mature artist, a portrait/landscape painter, to paint from nature/memory/

imagination, to paint mythological/historical subjects, to specialize in portraiture/still life, to portray people/emotions with moving

sincerity/with restraint, to depict a person/a scene of common life/the mood of..., to render/interpret the personality of..., to reveal the

person's nature, to capture the sitter's vitality/transient expression, to develop one's own style of painting; to conform to the taste of

the period, to break with the tradition, to be in advance of one's time, to expose the dark sides of life, to become famous overnight, to

die forgotten and penniless.

2. Paintings. Genres: an oil painting, a canvas, a water-colour/ pastel picture; a sketch/study; a family group/ceremonial/inti-

mate portrait, a self-portrait, a shoulder/length/half-length/knee- length/full-length portrait; a landscape, a seascape, a genre/his torical

painting, a still life, a battle piece, a flower piece, a masterpiece.

3. Composition and drawing: in the foreground/background, in the top/bottom/left-hand corner; to arrange symmetrically/asym-

metrically/in a pyramid/in a vertical format; to divide the picture space diagonally, to define the nearer figures more sharply, to em -

phasize contours purposely, to be scarcely discernible, to convey a sense of space, to place the figures against the landscape back -

ground, to merge into a single entity, to blend with the landscape, to indicate the sitter's profession, to be represented standing.../sit-

ting.../talking..., to be posed/ silhouetted against an open sky/a classic pillar/the snow; to accentuate smth.

4. Colouring. Light and shade effects: subtle/gaudy colouring, to combine form and colour into harmonious unity; brilliant/low-

keyed colour scheme, the colour scheme where ... predominate; muted in colour; the colours may be cool and restful/hot and agi-

tated/soft and delicate/dull, oppressive, harsh; the delicacy of tones may be lost in a reproduction.

5. Impression. Judgement: the picture may be moving, lyrical, romantic, original, poetic in tone and atmosphere, an exquisite

piece of painting, an unsurpassed masterpiece, distinguished by a marvellous sense of colour and composition.

The picture may be dull, crude, chaotic, a colourless daub of paint, obscure and unintelligible, gaudy, depressing, disappoint ing,

cheap and vulgar.

1. Read the following text for obtaining its information:

Thomas Gainsborough was born in Sudbury, Suffolk, in 1727, the son of John Gainsborough, a cloth merchant. He soon evinced a

marked inclination for drawing and in 1740 his father sent him to London to study art. He stayed in London for eight years, working

under the rococo portrait-engraver Gravelot; he also became familiar with the Flemish tradition of painting, which was highly prized

by London art dealers at that time. "Road through Wood, with Boy Resting and Dog", 1747 is a typical 'genre painting', obviously in-

fluenced by Ruisdael. In Many aspects this work recalls Constable's "Cornfield".

In 1750 Gainsborough moved to Ipswich where his professional career began in earnest. He executed a great many small-sized

portraits as well as landscapes of a decorative nature. In October 1759 Gainsborough moved to Bath. In Bath he became a much

sought-after and fashionable artist, portraying the aristocracy, wealthy merchants, artists and men of letters. He no longer produced

small paintings but, in the manner of Van Dyck, turned to full-length, life-size portraits. From 1774 to 1788 (the year of his death)

Gainsborough lived in London where he divided his time between portraits and pictorial compositions, inspired by Geior- gione,

which Reynolds defined as "fancy pictures" ("The Wood Gatherers", 1787). As a self-taught artist, he did not make the traditional

grand tour or the ritual journey to Italy, but relied on his own remarkable instinct in painting.

Gainsborough is famous for the elegance of his portraits and his pictures of women in particular have an extreme delicacy and re-

finement. As a colourist he has had few rivals among English painters. His best works have those delicate brush strokes which are

found in Rubens and Renoir. They are painted in clear and transparent tone, in a colour scheme where blue and green predominate.

The particular discovery of Gainsborough was the creation of a form of art in which the sitters and the background merge into a

single entity. The landscape is not kept in the background, but in most cases man and nature are fused in a single whole through the

atmospheric harmony of mood; he emphasized that the natural background for his characters neither was, nor ought to be, the

drawing-room or a reconstruction of historical events, but the changeable and harmonious manifestations of nature, as revealed both