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A. Madonna of the House ofPesaro

b. Portrait of Pope Paul III and his Grand­sons

C. Crowning with Thorns

D. Sacred and Profane Love

E. Venus of Urbino

F. Assumption of the Virgin

G. Bacchanal of the Andrians

H. Man with the Glove

V. Replace the expressions in italics in the following sentences with expressions from the text which have the same meaning.

1.Titian helped Giorgione to restore the external murals of the Venetian palaces. 2. When Titian became free he succeeded in establishing colour as the main element. 3. The painting worships the protecting power of love 4. The people of the island of Andros entertain themselves in a dark forest. 5. A pose of reclining Venus was initially invented by Giorgione. 6. The Assumption of the Virgin is Titian's single endeavour into the realm of the tremendous. 7. The smooth and carefully modelled hands and features are typical for Titian's portraits. 8. Titian's late works of art of heathen subjects are free in their power and beauty.

VI. Insert the missing prepositions. Translate the text. Retell the text.

Susannah at her Bath, ... Jacopo Robusti, called Tintoretto, ... 1560, can be considered as one ... the great works ... Venetian Mannerism. The story ... Susannah, the Biblical "Heroin ... Chas­tity", is taken ... the Old Testament. Two men secretly entered her garden while she was ... her bath unaware ... their presence. When she rejected their advances they accused her falsely ... her husband. Only the prophet Daniel's wise judgement saved her ... the death sentence which had been passed ... her alleged adultery. Here Tin­toretto uses the characteristic Mannerist device ... exaggeration and distortion in his drawing to portray the innate tension ... that moment... the story. The sharp contrast... light and darkness, ... terrifying proximity and the far distance, all contribute ... the sur­prise and admiration that the picture evokes. Over and above all these Mannerist tricks lies the magic of Venetian painting ... its preference ... brownish-hues expressed ... clearly visible brush­strokes.

VII. Insert the article wherever necessary. Translate the text. Retell the text.

The Raising of the Widow's Son in Nian, around 1565/70, was painted by ... Veronese when his colour achieved ... clarity and brilliance hitherto unknown in ... Venice. He uses ... sky and architecture as ... cool foil for ... jewel-like colour of... clothing. It gives ... worldly, festive atmosphere to ... New Testament story of how Christ raised ... young man from ... dead. Veronese has put ... figure of... grateful mother into ... centre of ... picture and ... young man who has been raised from ... dead is only just visible in ... lower left-hand corner. ... picture is thought as if it were ... quotation from ... play with ... figures and architecture scattered around. In this way Veronese draws ... observers into ... action and, as so often in ... Mannerist art, mixes ... levels of reality.

VIII. Translate the text into English.

Тициан Вечелло - величайший художник венецианского Возрождения - создал произведения на мифологические и христианские сюжеты. Тициан оставил после себя богатейшее творческое наследие. Оно оказало огромное влияние на ху­дожников последующих веков.

Слава рано пришла к Тициану. Уже в 1516 г. он стал первым живописцем Венецианской республики. Около 1520 г. герцог Феррарский заказал Тициану цикл картин на мифоло­гические сюжеты. Богатые венецианцы заказывали Тициану алтарные образа. Тициан создал монументальные компози­ции: "Вознесение Марии" и "Мадонна Пезаро". Громадная картина "Вознесение Марии" изображает вознесение Мадон­ны на небо. Насыщенные цвета одежды Марии на фоне свет­лого неба передают радость.

Много сил Тициан отдавал портретной живописи. В "Венере" Тициана многие видят портрет Элеоноры Урбинской. Введение бытовой сцены в интерьер картины вместо пейзажного фона передает ощущение реальной жизни. Бле­стящий портретист, Тициан раскрывал черты характера сво­их моделей. Групповой портрет впервые созданный Тициа­ном получил свое развитие только в эпоху барокко.

IX. Summarize the text.

X. Topics for discussion:

1. Titian's mythological paintings.

2. Titian's religious paintings.

3. Titian's portraits.


The pioneers of Baroque monumental painting in Rome were the brothers Agosto and Annibale Carracci and their cousin Ludovico. They all came from Bologna, a city with a long artistic tradition, a heritage of Renaissance masterpieces and a direct cul­tural connection with the Eternal City. Between 1585 and 1590 the Carracci founded the Academy of the Incamminati, which was to play an important part in the Italian artistic culture of the seven­teenth century.

Annibale (1560-1609) was historically the most significant artist of the Carracci family and artistically the most gifted. At first he was fond of Correggio and Veronese, but later he devel­oped new power under the influence of the antique, and of Michelangelo and Raphael, Annibale Carracci presents a variety of motives and themes. To the exhausted schemes of Mannerism he opposed a combination of classical beauty and the respect for the real fact.

In Bologna in the 1580s all three Carracci had been helpful in the formation of a new kind of Renaissance - not a revival of Classical antiquity nor a discovery of the world and of man, but a revival of the Renaissance itself after a long Mannerist interlude. The Carracci aimed at a synthesis of the vigour and majesty of Michelangelo, the harmony and grace of Raphael, and the colour of Titian.

The first major undertaking of Baroque painting in Rome was the gallery of the Palazzo Fornese, painted almost entirely by Annibale Carracci. The frescoes were commissioned by Cardinal Odoardo Farnese. The ceiling frescoes adopted from the Sistine Ceiling such ideas as large scenes, small scenes, seated nudes, simulated marble architecture and both marble and bronze sculp­ture. But these were organised according to a new principle in the illusionistic tradition of Mantegna. The simulated architecture applied to the barrel vault is "supported" by the simulated sculp­tural caryatids and youths that flank pictures into the structure. Four additional paintings with gilded frames are made to look as if they had been applied later. The complex layer of forms and illusions comes to a climax in the central scene.

The subject matter of the Love of the Gods, incompatible with the ecclesiastic status of its patron, veils a deep Christian meaning that accounts for the complex organisation and for cen­tral climax. The four smaller lateral scenes represent incidents in which the loves of gods for mortals were accepted, the two hori­zontal framed pictures depict episodes in which mortals refused, the two end ones reproduce the love of Cyclops Polyphemus for the nymph Galatea, and the central panel portrays the Triumph of Bacchus and Ariadne. This central scene is flanked by Mercury and Paris and by Pan and Selena. The composition in which the chariots of the god and the mortal are borne along in splendid procession, accompanied by deities and Loves explains the framed pictures and justifies the four unframed lateral scenes. The entire complex structure of eleven scenes symbolises the Triumph of Di­vine Love. After the Mannerist interlude of public prudery, it was typical of the new Baroque attitude that a cardinal could commis­sion a monumental Christian interpretation of ancient erotic myths. It is essential for our understanding of the Baroque that divine love, conceived as the principle at the heart of the universe, should be the motive power that draws together all the elements of the ceiling and resolves all conflicts in an unforeseeable act of re­demption. The painting of the Farnese Gallery is a superb crea­tion. The substance and the drive of the Farnese Gallery had a great impact on other ceiling compositions of the seventeenth cen­tury, and on Baroque monumental painting in general; especially the work of Peter Paul Rubens was greatly influenced by Annibale's style.

In addition to the principles of ceiling painting, Annibale Carracci excelled in his painting of romantic landscapes as well as historical subjects. He established a new type of landscape with figures in his Landscape with the Flight into Egypt, of about 1603-4. The sacred figures in relation to the vastness of the landscape are tiny. They are on a level with the observer and the landscape is no longer fantastic but based on a real one. The landscape was derived from studies made outdoors but constructed in the studio. Although a prolific artist Annibale Carracci painted little later in life. He died at Rome and was buried in the Pantheon near Raphale.

Make sure you know how to pronounce the following words:

Baroque [b@Prok]; chariot [PtS{ri@t]; Bologna [b@Pl@unj@]; Pan [p{n]; caryatid [k{riP{tid]; Cyclops [Psaiklops]; Selena [siPlÖn@]; Paris [Pp{ris]; nymph [nimf]; Polyphemus [poliPfÖm@s]; Galatea [g{l@Pti@]; Bacchus [Pb{k@s]; Ariadne [{riP{dni]


Love of Gods - "Метаморфозы"

Landscape with the Flight into Egypt - " Пейзаж с Бегством в Египет"


I. Read the text. Make sure you understand it. Mark the fol­lowing statements true or false.

1. The pioneers of Baroque monumental painting in Flor­ence were the brothers Carracci.

2. The major undertaking of Baroque painting in Rome was the gallery of the Palazzo Fornese, painted entirely by Ludovico Carracci.

3. The subject matter of the Love of the Gods was incom­patible with the ecclesiastic status of its patron.

4. After the Mannerist interlude of public prudery a cardinal could commission frescoes on the subjects of ancient myths.

5. Divine love, conceived at the heart of the universe, is re­garded as the motive power that draws together all the elements of the ceiling.

6. In the Love of Gods the Carracci established a new land­scape with figures.

II. How well have you read? Can you answer the questions?

1. What was in progress in sixteenth-century Bologna? What kind of Renaissance did the Carracci try to form? What was the Carracci's aim?

2. What did the Carracci adopt for their ceiling frescoes from the Sistine Ceiling? Why did the Carracci apply simulated architec­ture and sculpture to the barrel vault?

3. What does the subject matter of the Love of Gods veil? How is the Love of Gods interpreted?

4. What gods and goddesses are pictured in the Love of Gods'?

5. What do the four smaller lateral scenes in the Love of Gods depict? What do the two horizontal framed pictures show? What do the end scenes represent? What does the central panel show? What comes to a climax in the central scene? What is flanked by Mercury, Paris, Pan and Selena? How are these gods pictured?

6. What else did the Carracci establish in addition to the princi­ples of ceiling painting? Where were these principles applied?

III. i. Give Russian equivalents of the following phrases:

a revival of the Renaissance; a long Mannerist interlude; to commission ceiling frescoes; vigour and majesty; caryatids; illusionistic tradition; simulated marble and bronze statues; chariots of the god and the mortal; a barrel vault; gilded frames; the complex layer of forms; the subject matter; to flank pictures; to be incompatible with an ecclesiastic status; a heritage of masterpieces; accompanied by deities; to veil a deep meaning; horizontal framed pictures; a central panel; lateral scenes; unframed pictures; the triumph of divine love; public prudery; sacred figures; conceived at the heart of the universe; the motive power; to resolve all conflicts; an unforeseeable act of redemption; a superb creation; the substance and the drive; on the level; derive the landscape from studies made outdoors; to construct the landscape in the studio.

ii. -Give English equivalents of the following phrases:

материя и энергия; картины в рамах; цилиндрический свод; великолепное творение; всеобщее ханжество; продолжительный период Маньеризма; сила и мощь; в сопровождении божеств; священные образы; наследие шедевров Ренессанса; колесницы богов и смертных; не соответствовать духовному статусу за­казчика; искупление грехов; кариатиды; нарисованные мра­морные и бронзовые статуи; сложный ряд форм; движущая сила; боковые сцены; зарожденный в центре вселенной.

iii. Make up sentences of your own with the given phrases.

iv. Arrange the following in the pairs of synonyms:

a) lateral; antiquity; to account for; to flank; to accept; to resolve; conceive; superb; sacred; to panel;

b) divine; sidelong; ancient times; to explain; to connect; to receive; originate; excellent; to line; to solve.

IV. Match the names of the mythological personalities with the stories given below.

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