Vocabulary notes

§ 8. plane n плоскость: on a slanting ~ в наклонной плоскости, on a different ~ в другой плоскости

chisel ['t∫izl] n резец, долото скульптора; chisel vt высекать, вырезать, обрабатывать резцом, долотом; chiselling n вырезание, высекание

elaborate [i'læbərit] a сложный, разработанный в деталях; elaborate [i'læbəreit] vt, vi раскрывать с большой подробностью

downward movement нисходящие линии, also: upward, sideways, etc. movement

contorted a 1) искаженный (o чертах лица); 2) изломанный (о фигуре); ~ figures (those rep­resented in twisted, unnatural, violent poses), cf. distorted a искаженный (для большой выразительности)

§ 9. de-emphasise details не выделять деталей

sensual ['sensjuəl] a 1) чувственный; 2) относящийся к чувствам, воспринимаемым каким-л. из пяти органов чувств. Syn. sensuous

rich a (about colour) сочный (краска, тон), e.g. Rembrandt's col­our is rich and warm, richness n сочность, насыщенность

But: богатство красок is a ri­ot of colour, a wide range of colours, a wide colour-scheme.

glaze n лессировка, тонкий слой краски (один из многих слоев, накладываемых друг на друга)

carry the eye from отводить взор от чего-л.

nude a обнаженный (в живописи и скульптуре) ; a semi- nude figure полуобнаженная фигура; nude n обнаженная фигура

voluptuous [və'lλptjuəs] a пышные формы: a ~ figure

Work on the texts

I. Translate the italicised words and phrases from the texts. Give a back trans­lation without consulting the texts.

II. Paraphrase or explain the following:

§ 8 — by exaggerating slightly the scale of the Virgin; the rigid lines of Christ angle across and around the graceful curves of the Madonna; he achieved the difficult transition from normal scale to the colossal; building out the nose and forehead;

§ 9 — to enhance the fantastic quality of the colour; the fabrics are rendered with a regard for their actual quality as materials.

III. Answer the following questions:

a) 1. How was the subject of the Pieta treated by Renais­sance sculptors before Michelangelo? 2. What solution did Mich­elangelo find in the execution of his Pieta? 3. How did Mich­elangelo achieve the difficult transition from normal scale to the colossal in his "David"? What effect does he achieve with the sharp turn of the neck? 4. How did Michelangelo and certain other painters of the High Renaissance convey emotion in the fig­ures they painted? 5. Why did he sign his paintings "Michel­angelo, Sculptor"? 6. Give several reasons why the painting of the ceiling in the Sistine Chapel was such a challenge to Michel­angelo? 7. What means did Michelangelo use to convey the sad, reflective mood of the Prophet Jeremiah? 8. What were some of the devices he used to give the illusion of volume and three-dimensional space?

b) 1. What is Venetian art noted for? 2. What is the dis­tinctive quality of Titian's portraits and how is this revealed in his painting of Pietro Aretino? 3. What aspect of Titian's art can be seen in the "Venus and the Lute Player"? 4. How does the eye follow the lines of the composition? 5. How is the figure of the Venus treated?