Óïð.3 Ìîäóëü 8 Across the curriculum ÃÄÇ Spotlight 11 êëàññ
Çàäàíèå â ó÷åáíèêå 2023 ãîäà:
3 Ïðî÷èòàéòå òåêñò è âûáåðèòå ïðàâèëüíîå ñëîâî (1-4) äëÿ êàæäîãî ïðîïóñêà (1-7). Ïðîñëóøàéòå è ïðî÷òèòå òåêñò åùå ðàç. Çàòåì îáúÿñíèòå ñëîâà, âûäåëåííûå æèðíûì øðèôòîì.
Îòåö ñîâðåìåííîãî èñêóññòâà
Ïîëü Ñåçàíí 1) ñ÷èòàåòñÿ õóäîæíèêîì, êîòîðûé ñòàë ìîñòîì ìåæäó èìïðåññèîíèçìîì êîíöà XIX âåêà è íà÷àëîì ñîâðåìåííîãî èñêóññòâà â íà÷àëå XX âåêà. È Ïèêàññî, è Ìàòèññ — äâà âåëè÷àéøèõ õóäîæíèêà XX âåêà — 2) íàçûâàëè Ñåçàííà «íàøèì îáùèì îòöîì». Âåëè÷àéøèì âêëàäîì Ñåçàííà â æèâîïèñü ñòàëî åãî ðàçâèòèå öâåòà, êîìïîçèöèè è ïåðñïåêòèâû â ïîèñêå èäåàëüíîãî áàëàíñà ìåæäó ïðèðîäîé è èñêóññòâîì, à òàêæå òî, êàê îí íàâñåãäà èçìåíèë ïîäõîä õóäîæíèêîâ ê õîëñòó.
Ñåçàíí ðîäèëñÿ â áîãàòîé ôðàíöóçñêîé ñåìüå, ïîýòîìó åìó íå 3) ïðèõîäèëîñü áîðîòüñÿ çà ñâî¸ èñêóññòâî èç-çà ôèíàíñîâûõ òðóäíîñòåé. Íà ñàìîì äåëå èìåííî åãî áîãàòñòâî ïîçâîëèëî åìó ïðîäîëæàòü ðàáîòàòü â ñâî¸ì ñîáñòâåííîì ñòèëå, äàæå íåñìîòðÿ íà òî, ÷òî ôðàíöóçñêèå õóäîæíèêè â îñíîâíîì èãíîðèðîâàëè åãî. Ëèøü â 4) ïîñëåäíèå ãîäû æèçíè ìèð èñêóññòâà íàêîíåö íà÷àë ïðèçíàâàòü åãî òàëàíò.
Âñêîðå 5) ïîñëå åãî ñìåðòè, â 1906 ãîäó, â Ïàðèæå ïðîøëà êðóïíàÿ âûñòàâêà åãî êàðòèí, êîòîðàÿ ïðîèçâåëà íàñòîÿùèé 6) ôóðîð. Èñêóññòâî Ñåçàííà ïðèâåëî ê òîìó, ÷òî õóäîæíèêè íà÷àëè âñ¸ áîëüøå èíòåðåñîâàòüñÿ èçîáðàæåíèåì îáúåêòà ñ ðàçíûõ òî÷åê çðåíèÿ. Ýòî òàêæå îñâîáîäèëî ïîñëåäóþùèõ õóäîæíèêîâ îò çàâèñèìîñòè îò åñòåñòâåííûõ è ðåàëèñòè÷íûõ ôîðì ïðè èçîáðàæåíèè ìèðà âîêðóã.
Ñåçàíí áûë, áåç 7) ñîìíåíèÿ, ãèãàíòîì â ìèðå èñêóññòâà. Åãî íàñëåäèå — ýòî âîçìîæíîñòü äëÿ ïîñëåäóþùèõ õóäîæíèêîâ âçãëÿíóòü íà ìèð ñîâåðøåííî ïî-íîâîìó.
Ðåøåíèå #
1 – 4 (as – êàê)
2 – 3 (referred – íàçûâàëè)
3 – 3 (had to – ïðèõîäèëîñü)
4 – 2 (final – ïîñëåäíèå)
5 – 1 (after – ïîñëå)
6 – 4 (storm – ôóðîð)
7 – 2 (doubt – ñîìíåíèå)
Çàäàíèå â ó÷åáíèêå 2019 ãîäà:
3 Ïðî÷èòàéòå òåêñò è çàïîëíèòå ïðîïóñêè (1-12).
Ïîñëóøàéòå è ïðî÷èòàéòå òåêñò ñíîâà. Çàòåì îáúÿñíèòå ñëîâà, âûäåëåííûå æèðíûì øðèôòîì.
Îòåö ñîâðåìåííîãî èñêóññòâà
Ïîëü Ñåçàíí ðàññìàòðèâàåòñÿ 1) êàê õóäîæíèê, êîòîðûé ñîåäèíèë ðàçðûâ (bridged the gap) ìåæäó øêîëîé èìïðåññèîíèçìà êîíöà 19 âåêà è ñ íà÷àëîì ñîâðåìåííîãî èñêóññòâà â íà÷àëå 20 âåêà. È Ïèêàññî è Ìàòèññ, äâîå èç âåëè÷àéøèõ ñîâðåìåííûõ õóäîæíèêîâ 20-ãî âåêà, èìåíîâàëè Ñåçàííà êàê «îòöà íàñ âñåõ». Ñàìûì áîëüøèì âêëàäîì (contribution) Ñåçàííà â æèâîïèñü 2) áûëî åãî ðàçâèòèå öâåòà, êîìïîçèöèè (composition) è ïåðñïåêòèâû (perspective) â åãî ïîèñêàõ èäåàëüíîãî ðàâíîâåñèÿ 3) (of) ïðèðîäû è èñêóññòâà, è îí èçìåíèë íàâñåãäà òî, êàê õóäîæíèêè, ñëåäîâàâøèå çà íèì, ðàáîòàëè 4) (a) ñ õîëñòîì.
Ñåçàíí ðîäèëñÿ â áîãàòîé ôðàíöóçñêîé ñåìüå, ïîýòîìó åìó íèêîãäà íå ïðèõîäèëîñü áîðîòüñÿ çà åãî èñêóññòâî 5) â ñâÿçè (due to) ñ ôèíàíñîâûìè òðóäíîñòÿìè. Ôàêòè÷åñêè, èìåííî åãî áîãàòñòâî ïîçâîëèëî åìó ïðîäîëæàòü ðàáîòàòü íàä åãî 6) ñîáñòâåííûì ñòèëåì æèâîïèñè, äàæå ïðè òîì, ÷òî ýòî áûëî â îñíîâíîì ïðîèãíîðèðîâàíî 7) (by) äðóãèìè ôðàíöóçñêèìè õóäîæíèêàìè. Òîëüêî â ïîñëåäíèå ãîäû ñâîåé æèçíè îí íàêîíåö áûë ïðèçíàí ìèðîì èñêóññòâà.
Âñêîðå ïîñëå åãî ñìåðòè, â 1906 ãîäó, ñîñòîÿëàñü áîëüøàÿ âûñòàâêà åãî êàðòèí â Ïàðèæå, è îíà çàíÿëà øòóðìîì ìèð èñêóññòâà. Èñêóññòâî Ñåçàííà ïðèâåëî õóäîæíèêîâ ê âñå 8) áîëüøåé çàèíòåðåñîâàííîñòè â èñïîëüçîâàíèè íåñêîëüêèõ ïðåäñòàâëåíèé îá îäíîì è òîì æå ïðåäìåòå. Ýòî òàêæå îñâîáîäèëî ïîçäíèõ õóäîæíèêîâ 9) îò çàâèñèìîñòè ïðèðîäíûõ è ðåàëèñòè÷íûõ ôîðì â èçîáðàæåíèè (depiction) ìèðà âîêðóã 10) íèõ.
Ñåçàíí áûë, 11) áåç ñîìíåíèÿ, òèòàíîì ìèðà èñêóññòâà. Åãî íàñëåäèå (legacy) äîëæíî áûëî 12) äàòü õóäîæíèêàì, êîòîðûå ïðèøëè ïîñëå íåãî, âîçìîæíîñòü âçãëÿíóòü íà ìèð â ñîâåðøåííî íîâîì ñâåòå.
Ðåøåíèå #
1 as
2 was
3 of
4 a
5 to
6 own
7 by
8 more
9 from
10 them
11 without
12 give
bridged the gap (ñîåäèíèòü ðàçðûâ): reduced/got rid of the gap (ñîêðàòèòü/èçáàâèòñÿ îò ðàçðûâà)
contribution (âêëàä): sth that you do or give to help make sth successful (÷òî-òî, ÷òî âû äåëàåòå èëè äàåòå, ÷òîáû ïîìî÷ü ñäåëàòü ÷òî-òî óñïåøíûì)
composition (êîìïîçèöèÿ): the technique or skill involved in creating a work of art (òåõíèêà èëè íàâûê, ñâÿçàííûé ñ ñîçäàíèåì ïðîèçâåäåíèÿ èñêóññòâà)
perspective (ïåðñïåêòèâà): the art of making some objects or people in a picture look further away then others (èñêóññòâî ñîçäàíèÿ íåêîòîðûõ ïðåäìåòîâ èëè ëþäåé íà èçîáðàæåíèè, ÷òîáû îíî âûãëÿäåëî äàëüøå, ÷åì îñòàëüíûå)
depiction (èçîáðàæåíèå): a picture or description of sth (èçîáðàæåíèå èëè îïèñàíèå ÷åãî-ëèáî)
legacy (íàñëåäèå): the direct result of sb's life and work which continues to exist after it is over (ïðÿìîé ðåçóëüòàò ÷üåé-ëèáî æèçíè èëè ðàáîòû, êîòîðûé ïðîäîëæàåòñÿ ïîñëå òîãî, êàê îíà çàâåðøåíà)
Ïðèâåäåì âûäåðæêó èç çàäàíèÿ èç ó÷åáíèêà Þëèÿ Âàóëèíà, Äæóííè Äóëè 11 êëàññ, Ïðîñâåùåíèå:
3 Read the text and choose the correct word (1-4) for each gap (1-7). Listen to and read the text again. Then, explain the words in bold.
The Father of Modern Art
Paul Cézanne is regarded 1) … the artist who bridged the gap between the school of Impressionism of the late 19th century and the beginning of Modern Art in the early 20th century. Both Picasso and Matisse, two of the greatest Modern artists of the 20th century, 2) .... to Cézanne as ‘the father of us all’. Cézanne's greatest contribution to painting was his development of colour, composition and perspective in his search for the perfect balance of nature and art, and the way he changed forever how artists who followed after him approached a canvas.
Cézanne was born into a rich French family, so he never 3) ... struggle for his art due to financial difficulties. In fact, it was his wealth that allowed him to continue to work on his own style of painting, even though it was largely ignored by the other French artists. It was not until the 4) ..... years of his life that the art world finally began to recognise his talent.
Not long 5) ..... his death, in 1906, a major exhibition of his paintings was held in Paris and it took the art world by 6) ..... . Cézanne's art led to artists becoming more and more interested in using multiple views of the same subject. It also freed later artists from a dependence on natural and realistic forms in their depiction of the world around them.
Cezanne was, without 7) ... , a titan of the art world. His legacy was to give the artists who came after him the opportunity to look at the world in a completely new light.
3 Read the text and fill in the gaps (1-12 .
Listen and read the text again. Then explain the words in bold.
Paul Cezanne is regarded 1 ...the artist who bridged the gap between the school of Impressionism of the late 19th century and the beginning of Modern Art in the early 20th century. Both Picasso and Matisse, two of the greatest Modern artists of the 20th century, referred to Cezanne as 'The father of us all".
Cezanne's greatest contribution to painting 2 ... his development of colour, composition and perspective in his search for the perfect balance 3 ...nature and art and the way he changed forever how artists who followed after him approached 4 ...canvas.
Cezanne was born into a rich French family, so he never had to struggle for his art due 5 ...financial difficulties. In fact, it was his wealth that allowed him to continue to work on his 6 ) ... style of painting, even though it was largely ignored 7) ... the other French artists. It was not until the final years of his life that the art world finally began to recognise his talent.
Not long after his death, in 1906, a major exhibition of his paintings was held in Paris and it took the art world by storm. Cezanne's art led to artists becoming 8 ...and more interested in using multiple views of the same subject. It also freed later artists 9) ... a dependence on natural and realistic forms in their depiction of the world around 10 ...
Cezanne was 11 ...doubt a Titan of the art world. His legacy was to 12 ... the artists who came after him the opportunity to look at the world in a completely new light.
Ïîïóëÿðíûå ðåøåáíèêè 11 êëàññ Âñå ðåøåáíèêè
*ðàçìåùàÿ òåêñòû â êîììåíòàðèÿõ íèæå, âû àâòîìàòè÷åñêè ñîãëàøàåòåñü ñ ïîëüçîâàòåëüñêèì ñîãëàøåíèåì