Название: ЗАПАДНОЕВРОПЕЙСКОЕ ИСКУССТВО от ХОГАРТА до САЛЬВАДОРА ДАЛИ

Жанр: Филология

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Unit ix courbet (1819-1877)

The most aggressive apostle of the new school was Gustave Courbet. Born in the bleak village of Ornans in the mountainous region of eastern France, he came to Paris determined to create a lasting effect on the art of the capital, not only through his devotion to concrete reality, but also through his study of the art of the past. Courbet was a strong republican and champion of working-class rights and ideas. Courbet wanted his art to embody his ideas concerning society. At the start Courbet was completely consistent. "The art of painting should consist only in the representation of objects which the artist can see and touch..." he declared; "I hold that the artists of the century are completely incapable of reproducing the things of a preceding or a future century... It is for this reason I reject history painting when applied to the past. History painting is essentially contemporary."

Courbet's paintings were concerned with events of hisown time. The Stone Breakers, of 1849, fully embodied his artistic and social principles, and caused a scandal when it was exhibited at the Salon of 1850. A public accustomed to the grandiloquence of the Neo-classicists and the Romanticists did not understand such a direct and hard study of reality. Courbet depicted the dehumanising labour of breaking stones into gravel for road repairs, undertaken by an old man and a boy with perfect dignity. Proudhon, a Socialist writer, called it a parable from the Gospels. The simplicity of the relief-like composition is deeply Classical. Yet its objectivity betrays Courbet's own devotion to the new art of photography, which he practised as an amateur. The power of Courbet's compositions was matched by the workmanliness of his methods. His paint was first laid on with the palette knife. When the knife-work was dry, he worked up the surface with effects of light and colour with a brush, but it is the underlying palette-knife construction that gives his figures their density and weight.

In the same Salon of 1850 Courbet showed A Burial at Ornans, which fulfilled his requirements for true history painting. The inescapable end of an ordinary inhabitant of the village is represented with sober realism. Accompanied by altar boys, pallbearers, and women the parish priest reads the Office for the Dead before the open grave, around which stand family and friends some with handkerchiefs to their eyes. The canvas, about twenty-two feet long, was so large that the artist could not step back in his studio to see the whole work. In a great S-curve in depth, the figures stand with the simple dignity of the Apostles in Masaccio's Tribute Money. Locked between the rocky escarpment above and the grave beneath, these people realise their destiny is bound to the earth, yet they seem to comprehend and to accept their fate. Each face is painted with all of Courbet's dignity and sculptural density recalling the prophets of Donatello. This is one of the strongest and noblest works of all French painting.

In 1855 Courbet's paintings were rejected by the Universal Exposition. These works included the Burial and a more recent programme work The Studio: A Real Allegory Concerning Seven Years of My Artistic Life, painted in 1854-55. A special shed for a large exhibition of Courbet's paintings, including the rejected works was constructed. The artist called this building The Pavilion of Realism. For the catalogue he wrote a preface setting forth the principles of his art. In The Studio the relationship between artist and sitters as seen by Velazquez and Goya is exactly reversed Instead of playing a subsidiary role at one side, the artist displays himself in the centre, at work on a completely visible landscape, similar to those that adorn the walls of the dim studio. A model who has just shed her clothes, probably representing Truth Iooks on approvingly, her figure is beautifully revealed in light. The group at the left remains obscure, but it comprises figures drawn from "society at its best, its worst, and its average," with whom the painter had come into contact. Few of the figures look at the artist; all are silent. Delacroix called the picture a masterpiece, reproaching the jury for having "refused one of the most remarkable works of our times."

When Courbet reached material success, something of the rude power of his early works vanished from his portraits of the French aristocracy.

After the revolution of 1870 Courbet joined the short-lived Paris Commune, and took part in the commission that decreed the dismantling of the Colonne Vendome. For this he was sentenced under the Third Republic to six months in prison, which he spent in painting still lifes of extraordinary clarity and simplicity and landscapes from photographs. Later he was charged a huge sum for rebuilding the monument, fled to Switzerland, and died in exile, his belongings were sold by the authorities to pay the debt.

Make sure you know how to pronounce the following words:

Courbet [@]; Paris Commune []; Switzerland [@@]; Ornans []; mountainous [@]: subsidiary [@@]; pavilion [@@]; exile []; France []; obscure [@@]; escarpment [@]; extraordinary []; catalogue [@]; amateur [@@]; requirements [@]; dehumanising [@]; region [@]

NOTES

The Stone Breakers - "Каменотесы"

A Burial at Ornans - "Похороны в Орнане"

The Studio: A Real Allegory Concerning Seven Years of My Artistic Life - "Ателье: реальная аллегория, определяющая семилетний период моей художественной жизни"

The Pavilion of Realism - "Павильон реализма"

The Universal Exposition - Всемирная выставка

Office for the Dead - заупокойная служба

TASKS

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

1. Courbet favoured Neo-classicism.

2. Courbet's art embodied the High Renaissance ideals.

3. Courbet's pictures dealt with historical events.

4. Goya had a strong impact on Courbet's works of art.

5. A special shed for a large exhibition of Courbet's paintings was called The Pavilion of Realism.

6. Courbet set forth the principles of his art in a special monograph.

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

1. How was Gustav Courbet characterised? What did he determine to create when he came to Paris? What were Courbet's ideas concerning art? What paintings did the Parisian public favour at that time?

2. What subjects did Courbet prefer to paint? Did the public understand The Stone Breakers. What is depicted in this painting? What does its objectivity betray? What methods did Courbet use to achieve the effect? How did Proudhon call this work of art?

3. What Courbet's work of art fulfilled his requirements for true history painting? What does it represent? What does the arrangement of the figures recall? What did Courbet want to express by placing the figures within these landscape limits? How did Courbet paint the faces? What makes this canvas one of the strongest and noblest works of all French painting?

4. What happened in 1855? What is depicted in The Studio Why did Courbet show the relationship between the artist and the sitters in such an unconventional way? What does the nude model symbolise? How did Courbet group the figures? What did Delacroix say about this painting?

5. What did Courbet do during and after the revolution of 1870? Why was Courbet imprisoned? What did Courbet do when he was in prison?

6. What happened to Courbet later in life?

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

to remain obscure; the representation of objects; a champion of working-class rights; to embody the ideas; to reject history painting; the paintings are concerned with events of; to practise as an amateur; dehumanising labour; to lay paint on with a palette knife; the inescapable end; an ordinary inhabitant; altar boys; pallbearers; the parish priest; simple dignity; sculptural density recalling the prophets; in exile; the rocky escarpment; a parable from the Gospels.

ii. Give English equivalents of the following phrases:

оставаться в тени; отвергать историческую живопись; изложить принципы реализма; скалистая стена; в ссылке; скульптурная масса, напоминающая пророков; неизбежный конец; приходской священник; евангельская притча; защитник прав рабочего класса; простой деревенский житель; изображение предметов; поддерживающий концы покрова (на похоронной процессии); мальчик, прислуживающий в алтаре; наносить краску шпателем; воплотить идеалы реализма.

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

iv. Arrange the following in the pairs of synonyms:

a) escarpment; extraordinary; amateur; betray; destiny; to decree; dismantle;

b)  non-professional; fate; exceptional; wall; reveal; break down; to announce.

IV. Here are descriptions of some of Courbet's works of art. Match them up to the titles given below.

1. The artist placed himself in the centre, at work on a completely visible landscape.

2. The inescapable end of an ordinary inhabitant of the village is represented with sober realism.

3. The simplicity of this relief-like composition is deeply classical.

a. The Stone Breakers

b. The Studio: A Real Allegory Concerning Seven Years of My Artistic Life

c. A Burial at Ornans

V. Translate the text into English.

Становление критического реализма связано с именем Гюстава Курбе. Он приехал в Париж в 1840, чтобы "завоевать его". В 1842 г. художник дебютировал в Салоне. Курбе обращался к темам труда и нищеты. В картине "Каменотесы" выражено сочувствие к доле смирившихся со своей судьбой людей.

Во время революции 1848 г. Курбе подружился с некоторыми будущими участниками Парижской Коммуны. После разгрома революции Курбе уехал в родные места, в Орнан, где создал прекрасные живописные произведения.

Самая крупная работа Курбе - "Похороны в Орнане" Это монументальное произведение на современный сюжет. Курбе передал типичное через индивидуальное. Картина "Похороны в Орнане" считается одним из лучших произведений классического европейского искусства.

В 1855 г., когда Курбе не был принят на Всемирную выставку, он открыл свою экспозицию в деревянном бараке, названном "Павильоном Реализма" и предпослал ей каталог, в котором изложил свои принципы реализма. Декларация Курбе вошла в искусство как программа реализма. В этом же году Курбе создал программное произведение "Ателье", посвященное проблеме места художника в обществе.

Курбе принимал активное участие в Парижской Коммуне. Последние годы художник жил в изгнании, в Швейцарии.

VI. Summarize the text.

VII. Topics for discussion.

1. Realism in art.

2. Courbet's mode of life and work.

3. Courbet's revolutionary art.