Form 11
Maths Class
Task 1. Read the text, translate it, make up 2o questions about it.
During the 18th and 19th centuries, young members of the British upper
classes extended their education with the Grand Tour of continental Europe. There
they were introduced to a sophisticated level of artistic achievement that
influenced their tastes as adult art patrons. To ensure such high standards in
the visual arts, the Royal Academy opened in London in 1769; until the 1800s
virtually every major artist in Britain was elected a member or, at least,
submitted work for its annual exhibitions.
The history of British painting is intimately linked with the broader
traditions of European painting. Kings and queens commissioned portraits from
German, Dutch, and Flemish artists. Holbein, Van Dyck, and other eminent
foreign portraitists imparted an aura of perfection even to the most insipid of
their sitters. British painters found inspiration and guidance from their
journeys abroad, in Italy especially.
Beginning in the early eighteenth century, English artists began to
develop their own styles in marine and allegorical painting. In William
Hogarth's satirical and moralizing scenes of contemporary life one senses the
evolution of a new and inherently British idiom. Emphatically propounding the
Englishness of his art, Hogarth promoted an academy for the arts, the
predecessor of the Royal Academy of Arts. The latter was founded by Sir Joshua
Reynolds, whose influential Discourses stressed the preeminence of history
painting. Ironically, perhaps the key figure in the development of English
history painting was the American-born Benjamin West, who became the second
president of the Royal Academy after Reynolds' death. Other American painters,
such as John Singleton Copley, followed West's example and relocated to London.
Copley became one of the most celebrated artists of the day and painter to the
king.
The late eighteenth century saw a growing interest in landscape
painting. Some artists, such as Richard Wilson, painted idealized scenes imbued
with the spirit of the classical past, while others, such as Joseph Wright of
Derby, pursued more individual and personal visions of the natural world.
Thomas Gainsborough, although known best for his fashionable portraits, painted
highly imaginative landscapes and seascapes that relate to no specific time or
place.
The great flowering
of English landscape painting came during the first half of the nineteenth
century, primarily in the works of two masters, John Constable and J. M. W.
Turner. Constable's true-to-life views of the English countryside expressed
romantic ideals about the essential harmony and purity of nature. Turner, on
the other hand, was a romantic who sought to project the way in which sun,
fire, smoke, wind, and water affected and transformed the physical world. With
their fresh vision and powerfully original styles, Constable and Turner
profoundly influenced the work not only of many subsequent British painters,
but of countless American and European artists as well.
Task 2. Write summary of the text as if you were an experienced painter talking to young painters.
Task 3. Revise forms of the Passive Voice. (Continuous)
Task 4.Rewrite the sentences in passive voice.
1. Is she preparing the
party?
2. Sheila is drinking a cup of tea. -
3. A cup of tea is being drunk by Sheila.
4. My father is washing the car. -
5. Farmer Joe is milking the cows. -
6. She is taking a picture of him. -
7. I am writing a poem. -
8. We are not playing football. -
9. He is not wearing a tie --
10. Are they talking about the meeting? -
12, Is she watering the flowers? -
Task 5.Rewrite the sentences in passive voice.
- We were not eating dinner. -
- We were not painting the gate. -
- You were notWe were talking about Francis. -
- Francis was being talked about by us.
- He was playing the guitar. -
- She was watching a film. -
- I was repairing their bikes. -
- They were driving him home. -
- He was not feeding the dogs. -
- Was she reading these lines? -
- Were they carrying bags?
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