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1. Christ points along the beam of light with a strikingly real hand whose gesture repeats that
of God the Father in the Creation of Adam.
2. Against a background of nowhere he has fallen from his horse toward us, drastically
foreshortened.
a. Conversion of Saint Paul
b. Calling of Saint Matthew
V. Translate the text into English.
Микеланджело Меризи, известный как Караваджо, дал название реалистическому
течению в искусстве, которое нашло последователей во всей Западной Европе. Караваджо
брал темы из окружающей действительности. Реалистические принципы сделали Караваджо
наследником Ренессанса, даже несмотря на то, что он часто выражал свое презрение к
великим художникам Ренессанса. Караваджо утверждал принципы реалистического
искусства, бросив вызов общепринятым нормам. Картины на религиозные сюжеты он писал
как жанровые. Герои произведений Караваджо — картежники, гадалки, авантюристы. Их
изображениями Караваджо положил начало бытовой живописи. Караваджо накладывал
краску широкими мазками, выхватывая из мрака светом наиболее важные части композиции.
Эта контрастность световых пятен создавала атмосферу внутреннего драматизма. Герои
Караваджо помещены в простую обстановку. Иногда произведения Караваджо были
настолько реалистичны, что заказчики отказывались от них. Искусство Караваджо породило
истинных последователей его художественного метода, получившего название
"караваджизма".
VI. Summarize the text.
VII. Topics for discussion.
1. Caravaggio's style and characters.
2. Caravaggio's mode of life and work.
3. Caravaggio's artistic legacy.
UNIT XI POUSSIN (1593/94-1665)
Nicolas Poussin is the embodiment of the Classical spirit. His paintings are the product not
only of great imagination and pictorial skill but also of a discipline and control that grew firmer as
the painter aged. Born in the small town in Normandy, Poussin went to Paris in his late
adolescence. He had access to the royal collection of paintings where he was impressed by the
works of Raphael and Titian, and to the royal library where he studied engravings after Raphael.
After two trips to Italy, Poussin settled down in Rome in 1624. It was unlikely that he would ever
enjoy official success. The world of nobles, popes, and monarchs was not for him. Poussin made
only one large altarpiece for St. Peter's, and was dissatisfied with it.
An attempt by King Louis XIII to have Poussin work on ceiling painting for the Long Gallery
of the Louvre ran afoul of the artist's refusal to consider ceiling paintings different from those on
walls, and to turn over the execution of vast projects to assistants. The latter objection ruled out the
customary colossal Baroque monumental commissions.
Poussin's paintings reflect his interest in antiquity and in Stoic philosophy. In his early work
the Inspiration of the Poet, painted about 1628-29, Classical figures are arranged before a landscape
in low afternoon light. Poussin attempted to recapture the magic of Titian through warm colouring
unified by soft glazes and through subtle and surprising passages of lights and darks, especially the
way light touches the edge of Apollo's lyre and part of his cheek, leaving the rest in shadow. This is
an allegorical scene in keeping with seventeenth century ideas, the poet (it is easy to view him as a
painter) owes his gifts to divine inspiration. About 1630 an illness gave Poussin a break during
which he could formulate the theoretical basis of his art. Poussin abandoned his earlier lyrical style
in favour of the grand manner, which required first of all a subject - drawn from religion, history or
mythology -that avoided anything 'base' or 'low'. Poussin maintained that the subject must be so
clarified in the painter's mind, that he will not block the essence of narrative with insignificant
details. Then the painter must consider the conception, that is, the recounting of the story in an