G. River Scene

V. Translate the text into English and Figures.

Станковая живопись - основное достижение голланд­ского искусства XVII в. Бытовая живопись стала одним из ведущих жанров. В истории искусства создатели этого жанра называются " малыми голландцами". Голландцы хотели ви­деть в картинах весь мир. Каждый состоятельный (well-to-do) голландец считал картину лучшим украшением своего жи­лища. Большой спрос и связанная с этим конкуренция вызва­ли специализацию художников по отдельным видам темати­ки: одни писали портреты, другие - жанровые сцены, натюрморты, пейзажи: городские, сельские, дорожные. Рас­цвет пейзажной живописи в голландской школе относится к середине XVII в. Крупнейшим мастером реалистического пей­зажа был Якоб ван Рейсдал.

Наивысшего расцвета достиг натюрморт. Виллем Хеда чаще всего изображает " завтраки": блюда с окороком или пи­рогом на скромно сервированном столе. С течением времени " завтраки" Хеды сменяются роскошными " десертами" Калфа. На смену простой утвари приходят мраморные столы, ковровые скатерти, серебряные кубки, хрустальные бокалы.

VI. Summarize the text.

VII. Topics for discussion.

1. Dutch landscape.

2. Dutch genre painting.

3. Dutch still-life.

UNIT XV HALS (1581/85-1666)

Recognized today as one of the most brilliant of all portrait­ists, Frans Hals was probably born in Antwerp and was brought to Haarlem as a child. Interested in human face and figure, Hals was blessed with a gift for catching the individual in a moment of action, feeling, perception, or expression and recording that mo­ment with unerring strokes. Among his early commissions were group portraits of the militia companies that had been largely re­sponsible for defending the new Dutch republic in the hostile world; these paintings radiate its self-confidence and optimism. Hals usually shows the citizen-soldiers in the midst of the ban­quets. The compositions, picturing a dozen or more males, mostly corpulent and middle-aged, each of whom had paid equally and expected to be recognizable, were not conductive to imaginative painting. The predecessors of Hals had composed these group portraits in alignments hardly superior compositionally to a mod­ern class photograph. It was the genius of Rembrandt to raise them to a level of high drama. But Hals in his Banquet of the Offi­cers of the Saint George Guard Company, of 1616 has a superb job within the limitations of the traditional type. The moment is re­laxed, the gentlemen turn toward each other or toward the painter as if he had been painting the whole group at once, which was not certainly the case. Massive Baroque diagonals - the curtain pulled aside, the flag, the poses, the ruffs - tie the picture together into a rich pattern of white and flashing colours against the black cos­tumes. Broad brushstrokes indicate the passage of light on colour with a flash and sparkle unknown even to Rubens.

The warmth of Hals's early style is seen in The Laughing Cavalier. The date 1624 and the subject's age 26 are inscribed in the background, and since the Cavalier's diagonal shadow also falls on it, it is clearly a wall. The Caravaggesque nowhere is thus converted into a definite here. The wall is irradiated with light and seems insubstantial. The armours proclivities of the young man are indicated by the arrows, torches and bees of Cupid and the winged staff and hat of Mercury embroidered in red, silver and gold on the dark brown of his slashed sleeve, with his glowing complexion, dangerous moustaches, snowy ruff and dashing hat, the subject is the symbol of Baroque gallantry. The climax of the painting is the taunting smile on which every compositional force converges.

The opposite of this glittering portrait is the sombre Malle Babbe, of about 1630-33. Nobody knows who the old creature was or the meaning of her nickname. Often called an " old crone" she might be from forty to sixty years old. Hals has caught her in the midst of a fit of insane laughter. Possibly she is a town idiot and the owl on her shoulder is a symbol of foolishness. The expression seized in a storm of strokes is rendered with a demonic intensity.

About 1664 when he was past 80, Hals showed a still differ­ent side of his character and ability in the Regentesses of the Old Man's Almshouse. Painted almost entirely in black and white and shades of grey, this solemn picture is united by diagonal move­ments. The painter had only devastated faces and white collars of the women as component elements. Each of the subjects has re­acted in a separate way to age and experience, yet all participate in a calm acceptance of the effects of time. In its simplicity the composition shows an expressive depth unexpected in the generally excited Hals.

Make sure you know how to pronounce the following words:

Hals [h{ls]; Haarlem [PhÓ l@m]; Antwerp [P{ntwý p]; cavalier [k@v@Pli@]; banquet [Pb{nkwit]; regentess [PrÖ dÆ @ntis]

NOTES

Banquet of the Officers of the Saint George Guard Company - " Портрет офицеров гильдии святого Георгия "

The Laughing Cavalier - " Портрет молодого офицера"

Malle Babbe - " Мале Бабе"

Regentesses of the Old Man's Almshouse - " Регентши приюта для престарелых"

TASKS

I. Read the text. Mark the following statements true or false

1. Today Hals is recognized as the most brilliant portraitist.

2. Hals shows citizen-soldiers in the midst of the banquets.

3. Malle Babbe is a glittering portrait.

4. The warmth of Hals's early style is seen in the Regentesses of the Old Man's Almshouse.

5. The Laughing Cavalier is the symbol of Baroque gallantry.

6. The subjects of the Regentesses of the Old Man's Alms­house participate in a calm acceptance of the effects of time.

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

1. What gift was Hals blessed with?

2. What were Hals's early commissions? Why were not Hals's portraits conductive to imaginative painting? How did Hals's predecessors compose their group portraits? Who could raise group portraits to a level of high drama?

3. What is the Banquet of the Officers of the Saint George Guard Company noted for? What has Hals pictured in this work of art? What ties the picture together?

4. Where is the warmth of Hals's early style seen? How old is the subject? What makes the subject the symbol of Baroque gallantry? How did Hals interpret the Caravaggesque nowhere?

5. What is the opposite of The Laughing Cavalier? When was it painted? Whom has Hals depicted in it?

6. In what painting did Hals show a different side of his character? How old was he at that time? What did the painter show in this work?

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

to catch the individual in a moment of action; group por­traits in alignments; unerring strokes; a moment of perception; to be blessed with the gift; effects of time; to radiate one's self-confidence; Caravaggesque nowhere; a slashed sleeve; sketchy brushstrokes; armours proclivities; a taunting smile; to be irradiated with light; snowy ruff; a dashing hat; devastated faces; to be conductive to; the predecessors of the painter; show the citizen-soldiers in the midst of the banquets; to raise the portraits to a level of high drama; to tie the picture together; a glittering portrait; militia companies; a solemn picture; component elements.

ii. Give English equivalents of the following phrases:

опустошенные лица; быть наделенным даром; широкие мазки; сияющий портрет; лихо заломленная шляпа; круглый плоеный жесткий воротник; стрелковые гильдии; предшествен­ники художника; след времени; полные, средних лет мужчины; связать картину воедино; насмешливая улыбка; изображать стрельцов в разгар веселого застолья; склонность к военному искусству; сиять самоуверенностью; групповой портрет, постро­енных в шеренгу людей; рукав с разрезами; эскизная манера письма; поздний период творчества; поднять на уровень драмы.

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

iv. Arrange the following in the pairs of synonyms:

a) strokes; radiate; traditional; indicate; predecessor;

b) conventional; precursor; brushwork; shimmer; show.

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

1. The model was caught in the midst of a fit of insane laughter.

2. The painter had only devastated faces and white collars of the figures as component elements.

3. The climax of the painting is the taunting smile.

4. Broad brushstrokes indicate the passage of light on colour with a flash and sparkle unknown even to Rubens.