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.
Unit IX The Carracci
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.