Task 2. Find in the text the key phrases, characterizing each art movement. Give your own laconic definition of it. Make up and fill in the table.

Realism. Mid-19th Century.

Realism is an approach to art in which subjects are depicted in as straightforward a manner as possible, without idealizing them and without following rules of formal artistic theory. The earliest Realist work began to appear in the 18th century, in a reaction to the excesses of Romanticism and Neoclassicism. This is evident in John Singleton Copley's paintings, and some of the works of Goya. But the great Realist era was the middle of the 19th century, as artists became disillusioned with the artifice [ ] = trick of the Salons and the influence of the Academies. Realism came closest to being an organized movement in France, inspiring artists such as Camille Corot, Jean-Francois Millet and the Barbizon School of landscape painters. Besides Copley, American Realists included the painters Thomas Eakins, and Henry Ossawa Tanner, both of whom studied in France. French Realism was a guiding influence on the philosophy of the Impressionists. The Ashcan School artists, the American Scene painters, and, much later, the Contemporary Realists are all following the American Realist tradition.

Academic Art. The 19^th century.

Academic Art is art of painting and sculpture produced under the influence of the Academies in Europe and especially France, where many artists received their formal training. It is characterized by its highly polished style, its use of mythological or historical subject matter, and its moralistic tone. Neoclassical Art was also closely associated with the Academies. The term "Academic Art" is associated particularly with the French Academy and the 19th century salons at which art was submitted for display and prizes were awarded. Artists such as Jean-Leon Gerome and Bouguereau (Бугро́) epitomize this style.

Impressionism. France, 1860's to 1880's.

Impressionism is a light, spontaneous manner of painting which began in France as a reaction against the restrictions and conventions of the dominant Academic art. Its naturalistic and down-to-earth treatment of its subject matter, most commonly landscapes, has its roots in the French Realism of Camille Corot and others. The movement's name was derived from Monet's early work, 'Impression: Sunrise', which was singled out for criticism by Louis Leroy upon its exhibition. The hallmark= stigma of the style is the attempt to capture the subjective impression of light in a scene. The core of the earliest Impressionist group was made up of Claude Monet, Alfred Sisley and Pierre-Auguste Renoir. Others associated with this period were Camille Pissarro, Frederic Bazille, Edgar Degas, Gustave Caillebotte (Кайботт), Edouard Manet, and the American Mary Cassatt. The Impressionist style was probably the single most successful and identifiable "movement" ever, and is still widely practiced today. But as an intellectual school it faded towards the end of the 19th century, branching out into a variety of successive movements which are generally grouped under the term Post-Impressionism.

Post-Impressionism. France, 1880's to 1900.

Post-Impressionism is an umbrella term that encompasses a variety of artists who were influenced by Impressionism but took their art in other directions. There is no single well-defined style of Post-Impressionism, but in general it is less idyllic and more emotionally charged than Impressionist work. The classic Post-Impressionists are Paul Gauguin, Paul Cezanne, Vincent van Gogh, Henri Rousseau and Henri de Toulouse-Lautrec. The Pointillists and Les Nabis are also generally included among the Post-Impressionists

Pointillism. France, 1880's. пуантилизм

Pointillism is a form of painting in which tiny dots of primary-colors are used to generate secondary colors. It is an offshoot= branch of Impressionism, and is usually categorized as a form of Post-Impressionism. It is very similar to Divisionism, except that where Divisionism is concerned with color theory. Pointillism is more focused on the specific style of brushwork used to apply the paint.

The term "Pointillism" was first used with respect to the work of Georges Seurat (Сёра́), and he is the artist most closely associated with the movement. The relatively few artists who worked in this style also included Paul Signac and Henri-Edmond Cross.

Cubism. Europe, 1908-1920.

Cubism was developed between about 1908 and 1912 in a collaboration between Georges Braque and Pablo Picasso. Their main influences are said to have been Tribal Art – родовое искусство (although Braque later disputed this) and the work of Paul Cezanne. The movement itself was not long-lived or widespread, but it began an immense creative explosion which resonated through all of 20th century art. The key concept underlying Cubism is that the essence of an object can only be captured by showing it from multiple points of view simultaneously. Cubism had run its course by the end of World War I, but among the movements directly influenced by it were Orphism, Precisionism, Futurism, Purism, Constructivism, and, to some degree, Expressionism.

Vocabulary

conventions - обычаи, традиции, устои

to render in a realistic manner – передать в реалистичной манере

straightforward – прямой, простой, откровенный

the excesses - избытки, излишки, крайности

to become disillusioned - разочароваться, утратить иллюзии

the artifice - изобретение, выдумка, хитрость

the Salon [ ] - ежегодная выставка изобразительного искусства в Париже

to be a guiding influence on smth - оказывать ведущее влияние на

polished style - изысканный (элегантный, безупречный) стиль

to submit - представлять на рассмотрение

display - показ, демонстрация, выставка

down-to-earth treatment - преземленная трактовка, (подход)

commonly landscapes - обычные (привычные) пейзажи

the hallmark of the style - отличительный признак (критерий) стиля

the core - суть, ядро, сердцевина

identifiable - узнаваемый

to fade - постепенно исчезать, вянуть

to branch into - разветвляться на

successive movements - последующие направления

to encompass - заключать в себе

idyllic - идиллический

emotionally charged – эмоционально заряженный

an offshoot - ответвление, боковая ветвь

to categorize - распределять по категориям, зд. определять

the focal point - центральное место

an emphasis on - особое внимание

with respect to - что касается, зд. относительно

in a collaboration between – в сотрудничестве

to dispute - подвергать сомнению, противиться

to dispute with (against) smb on (about) smth - спорить с кем-либо о чем-либо

long-lived - долговечный

to resonate through - резонировать, отдаваться

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