План-конспект урока английского языка в 10 классе «Русская живопись 19 века»

План-конспект урока по теме « Русская живопись 19 века. Художники и жанры».

Автор: Киселева Ирина Ивановна, учитель английского языка МБОУ СШ № 2 г. Пошехонье Ярославской области

Класс: 10

Тип урока: коммуникативно-ориентированный

УМК: Учебник « EnjoyEnglish» автор М.З. Биболетова

Уровень: базовый

Формы работы : фронтальная, парная, индивидуальная, групповая

Учебные задачи урока:

Расширение знаний учащихся по теме, развитие мотивации и интереса к восприятию произведений искусства

Развитие у учащихся умений описывать известные живописные полотна, сравнивать и различать отобранные изображения, используя лексику по теме; расширение тематического вокабуляра школьников

Совершенствование навыков говорения, аудирования, письма, лексических и грамматических навыков

Развитие культуры монологической и диалогической тематической речи.

Формирование языковой догадки.

Воспитательные задачи урока:

Формирование у учащихся осознания богатства наследия родной культуры и его значимости для человека в современном мире

Формирование у учащихся культуры восприятия произведений искусства

Совершенствование умений работать в паре и группе.

Ожидаемые результаты (предметные, метапредметные, личностные):

Обогатить речевую практику школьников при изучении наследия отечественной культуры

Развить умение переводить вербальную информацию в схематическую с представлением интересующей информации в виде таблицы

Сформировать мотивацию к использованию полученных знаний в тематических проектах, устных презентациях.

Расширить ценностно-ориентационные представления учащихся через проблемные вопросы и задания

Развить навыки сотрудничества со сверстниками.

Уметь спонтанно и осознанно строить речевое высказывание

Уметь адекватно оценить свою работу и результат.

Оборудование урока : проектор, стационарный экран, рабочие листы, портреты художников и репродукции картин, выставка книг и художественных альбомов с репродукциями наиболее значимых работ этого периода..

Ход урока

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STUDENT HANDOUT

Portrait Art is a genre inpainting, where the intent is to depict the visual appearance of the subject (The Online Free Dictionary).

Valentin Alexandrovich Serov ( 1865 –1911)

Valentin Serov is one of the most prominent and highly gifted portrait painters of the turn of the century. He was the only child in the family and was brought up in artistic atmosphere.

His father was a composer and a well-known music critic. His mother was also a composer and a musician. Musicians, sculptors, artists were visitors to the Serov home. He got education in Paris and later in St. Petersburg. Serov was a pupil of Ilya Repin and succeeded in investing his portraits with progressive humanistic ideals.

While abroad He became aware French impressionists and began to use bright colours, sunlight and shade in his portraits. Having been established as an artist Serov joined the Peredvizhniky. Among his models were creative artists, writers, actors, and musicians. He became the first portrait painter of Russia of that time. In his canvas he not only fixed the outward features of the person portrayed but the artist’s personal assessment of the model. The full-blooded magnificence of works by Serov revealed new psychological depths of the artistic image which were previously unseen in Russian painting. The problem of character study in Serov’s work is closely connected with that of artistic excellence. He tries to resolve the problems of composition, form and style. The composition, colour, light, line and brushwork became active participants in a magical drama performed by the artist. The world of childhood, the charm of human beauty are all conveyed in his portraits with a compelling vigour. Serov’s approach to portraiture had a tremendous influence on his pupils and on the subsequent generations of artists. Serov, along with his talented contemporaries, led the Russia art of his time not only into the 20^th century ,but onto the world cultural scene as well.

Valentin Serov died in Moscow on 5 December 1911. He is buried at the Novodevichy Cemetery.

“Girl with Peaches”(1887)

T he canvas is dated 1887 and is one of the best Serov’s artworks . It shows a portrait of Vera Mamontova, the daughter of the great patron of the arts Savva Mamontov . We can see, that is a girl at a

young age, sitting at the table, positioned in a three quarter view. The girl welcomes us with a warm smile. She has dark hair, brown eyes, her tanned cheeks are pink, her eyebrows are arched. She wears a pink dress. She has just come running into the room. The colours used in this painting are mainly light- pink, yellow, white. The painting itself is a very bright as there is very much light and the colours add to the happy mood. The artist uses very soft and gentle lines and shapes to make the portrait look more realistic and real.The girl's pretty features make this portrait one of the most endearing of the artist's works.

Answer the questions:

- Have you ever seen this painting ( in a gallery, on a poster, postcards…)?

- In your opinion, is it one of the best paintings in the world?

- What are some character traits that the girl possesses?

- How old do you think the girl is?

- What is the girl’s facial expression?

- Would you like to meet the girl? Why? Why not?

- What do you think the girl was thinking about while her portrait was being made.

- To better understand the girl’s story and personality what questions would you ask her?

C ompare two paintings depicting Vera Mamontova . Map out the similarities and differences between the paintings. Fill in a Venn Diagram.

different

same

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STUDENTHANDOUT

Landscape  Painting - a genre of art dealing with the depiction of natural scenery (The Online Free Dictionary).

Ivan Ivanovich Shishkin ( 1832- 1898)

Ivan Shishkin was born in Yelabuga, a small provincial town situated on the high bank of the Kama River amidst majestic forests. The impressions of childhood left a deep imprint on his mind. When the boy was 12 he enrolled in the Moscow School of Painting and Sculpture. Three years at school were very fruitful for shaping Shishkin’s artistic individuality. In 1856 he entered the Academy of Arts in St. Petersburg. Among the Academy students Shishkin very soon distinguished himself for his ingenuity, solid knowledge and brilliant abilities. Between 1862 and 1865 he lived on an Academy grant in Germany and Switzerland and studied West-Europian painting. There he improved his professional skills. In 1866 he undertook a trip to the village of Bratsevo near Moscow. As a result of the trip the picture Midday in the Neighbourhood of Moscow appeared in 1869. This painting marked the beginning of his career as an original, national landscape artist. Within the genre of landscape painting the artist had his own specialty - forest scenes. With the picture Pine Forest in Vyatka Province (1872) Shishkin established his basic theme in art- that of magnificent Russian pine forests. The 1870s were an important and the most fruitful period in his career. The canvas Rye (1878) is a epic poem about Russia. It was the peak of Shishkin’s fame. The artist produced many works. He was inspired with the life of Russian forests, meadows, fields. Ivan Shishkin holds a place of honour in the history of Russian art.

Rye (1878)

Rye… A fine, calm day. Deep blue sky arches high over the cornfield. Here and there, high, high in the blueness small clouds of snow-white fleece are floating. A field of riping corn looks like a wide expanse of an ocean, majestic and expansive, and amid this ocean of golden rye there are giant pine-trees standing like caretakers of the Russian richness with their tops pointing at the blue sky. Some travelers are walking along the road but we hardly can see them. They are not main figures in the picture. Unusual silence reigns in the landscape. It seems as if every spike of rye were breathing. We can feel equable, slow breath of the cornfield. Twittering of small swallows breaks the stillness. In the blue-gray mirage above the horizon bulks of cumulus clouds are crowding. Sunshine…No one twig of pine-trees, no one spike is moving in the breeze. But you feel- thunderstorm is about to begin. The sky, which takes up almost two thirds of the entire painting, gives us an idea of what the weather is about to do. The heavy, dark clouds bring thunderstorm closer and give the painting a cold, almost spooky feeling.The trees in the background are silhouetted against the sky and emphasize the horizon. A lonely burnt framework of a tree on the left strengthens the vague state of the viewer’s anxiety. The remains of the pine-tree are looming in the distance- strangely and drearily as if they reminded us about misfortune and troubles of the artist’s life. The landscape isn’t an idyllic one. The image is a reminder that life is fragile and short-lived, not always understandable and clear. And the landscape certainly gives the viewer a nostalgic feeling for the Russian summertime.

Answer the questions.

What season is shown in the picture? How can you tell it?

What can we see in the foreground?

Can we see the whole field or only part of it?

Did the artist depict any people in the picture?

If you were in this picture, what would you smell, hear, feel, taste, touch?

What clothing would you like to be wearing?

Where would you like to be in the picture?

Do you think this place is real or imaginary? Why or why not?

What is the mood of this canvas?

These are covers of two books. Comment on them.

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STUDENT HANDOUT

 Still Life Painting-  is a work of art depicting mostly inanimate  subject matter, typically commonplace objects which may beeither natural (food, flowers, plants, rocks, orshells) or man-made (drinking glasses, books,vases, jewelry, coins, pipes, and so on ( The Online Free Dictionary).

Isaak Ilyich Levitan ( 1860- 1900 )

Levitan was bowas born in Poland, a part of the Russian Empire,into a poor but educated Jewish family. In 1873 he entered the Moscow School of Painting, Sculpture and Architecture. There Levitan studied landscape painting.His teachers wereAlexei Savrasov, Vasily Perov and Vasily Polenov. In 1891 he became a member of the Peredvizhniki. Levitan was captured by the lyrical charm of the Russian landscape. He was fond of poetic places in the forest or modest countryside. The Vladimirka Road; Evening Bells; Eternal Rest- wonderful pastoral landscapes, all in the Tretyakov Gallery. In 1897 he was elected to the Imperial Academy of Arts and in 1898 became the head of its Landscape Studio . His works are filled with light and reflect the eternal beauty of Russian nature. The majority of Levitan's works are landscapes, and he spent a great deal of time in the countryside. But for a brief period he concentrated on still lifes.

Bouquet of White Lilac ( 1895)

In the late 1890s Levitan acquired a passion for representation the wonderful world of flowers. Bouquet of White Lilac is one of the artist’s wonderful images in the

genre of “flowers still life”. In the foreground of the picture there is a nice blooming branch of white lilac. The branch is in a vase of dark blue colour and is so close to a viewer that gives the sense that the spectator can actually feel the heady aroma of the lilac and touch it on the canvas and appreciate the freshness of lilac.

The still life displays the artist’s pleasure and skill in the manipulation of colour and light, brilliant light effects. The main colour within the picture is definitely the black-gray of the background which sets off the bouquet. It contrasts well with the white of lilac which is the centre of the painting. Hope, sunlight, warmth are there in the bouquet of lilac! Lilac has always been a symbol of freshness, youth and blooming forth in Russia. It reminds us about spring and the wonderful month of May. The picture looks so beautiful that it’s impossible to dislike it. The lilac seems to be real.

1. Answer the questions.

-What did you see first: the vase or the branch of lilac? Why?

-We can see glimpses of sunshine on the vase, can’t we? Where do they come from?

-Why did the artist use a dark, unclear background?

Where do you think the vase with lilac is placed? Are there any “hidden” things in the picture?

Here are two word clouds of vases for still lifes. Search for phrases that match the painting above. Make up your own sentences using the phrases.

We are going to organize our own exhibition. Respond to the picture by choosing a still life from the Internet.

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STUDENT HANDOUT

History Painting is a genre in painting defined by its subject matter rather than artistic style ( The Online Free Dictionary).

Viktor Michailovich Vasnetsov (1848-1926)

He was born in Vyatka and grew up in a northern Russian village and to the age of 20 lived in an environment where the folkloric outlook was still alive. Vasnetsov’s career spanned a period of about 60 years. From 1868-1874 he studied at the Academy of Art in St. Petersburg. On Repin’s invitation he spent over a year in Paris where he studied painting. He understood that his fellow-Wanderers preferred the future to the past in their canvases. He also understood that it wasn’t a plot-matter but the way of artists’ thinking. In his opinion the treasures of the Russian people inner development hadn’t reached the limit of its resources. To express the Russian national character he turned to historical and folklore motifs. A Knight at the Crossroads (1878), the painting After Igor’s Battle with the Polovtsy (1880),Alionushka (1881) and the cycle of watercolours for the production of Snow Maiden (1881-82, 1885) signified Vasnetsov’s departure from contemporary subject matter. He disclosed a new aspect in his interpretation of Russian history, of the unity of its past and present.

AKnight at the Crossroads (1878)

The plot of the painting was taken from the Russian legend “ Ilya Muromets and the Robbers”. Vasnetsov invited the viewer to imagine Russia’s historic past.

A wild, endless Polovetsky steppe covered with lush grass. Age-old boulders with yellow lichen all over. A big black bird that always brings tidings about a misfortune stands out against the gray sky. The place isn’t pleasant. The things lying around produce a terrifying scene. A skull and bones remind about death. There’s horror in every detail of the picture. Dangerous is the endless steppe expanse. No one stranger could find his way out of this steppe. In the foreground we can see the Russian epic bogatyr Ilya Muromets dressed in armour. He is on horseback facing the steppe with his back towards the viewer. In his right hand he is holding a spear and has a shield attached to his back. He might have been riding for some days and has paused for a moment in front of a big stone. There is a writing on it. It says:

«Налевуехати-богатомубыть,

На праву ехати- женату быть,

Как прямо ехати- живу не бывати,-

Нет пути ни прохожему, ни проезжему.

Нипролетному».

The knight has to decide where to go next: to go left or right, or to go straight ahead. It’s almost impossible to explain how the artist had managed to create the impression that the knight becomes aware of what would happen. We can’t see his face but we feel the knight has already made a decision. He would not pause at the crossroads for a long time.

The artist’s message is: the ominous prediction on the stone has no power over the knight. He would break the steppe’s spell: he wouldn’t stop until he succeed in getting to the place where he wants to be- no matter what horrors he would come across, how many enemies he would defeat.

The artist reverently believed in the power, will and might of Russian people. In his deep old age he told that he had wanted to show the essence of Russian people, to show their features that distinguish them from other peoples of the world.

Answer the questions.

The mood of painting is strongly influenced by its colour, isn’t it?

How would you describe it?

What might the knight be thinking?

If the knight were speaking, what would he say?

What do you think happened just before this moment?

What particular actions did the knight perform?

What character traits do you think the knight possesses?

Might he be considered heroic?

What moment of Russian history has the artist chosen to depict?

Does the painting pay tribute to the heroic past of Russia?

Write the names of two or three folklore heroes/heroines. Next to each person put down characteristics and adjectives to describe them.

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STUDENT HANDOUT

Genre Painting- a realistic style of painting in which everyday life forms the subject matter

(The Online Free Dictionary).

Pavel Andreyevich Fedotov ( 1815 – 1852)

is one of the most renowned Russian artists of the 19th century. Fedotov’s artistic development covers a very short period, from 1844 to 1852. In 1843, after a long period of doubt, Fedotov resigned his commission in the army in order to become a professional artist. In 1844 he produced a series of satirical drawings. They marked his transition to critical realism. In fact, he was the founder of it. The subject matter of the drawings was gathered from the contemporary city life. Realism is an art style that was popular in the 19^th century. Realists painted ordinary objects, people and scenes as they appeared in real life.At that time Fedotov began to paint in oils and produced a series of portraits and his first genre composition, the Newly Decorated (1846). If you look at the painting you’ll see that it’s a satire. The artist understood and used to advantage the possibility of replacing the dreadful by the ridiculous. Then came the Difficult Bride (1847), but the supreme achievement of this period is the Major’s Marriage Proposal.

Major’s Marriage Proposal ( 1848)

The themes of betrothal and marriage repeatedly recur in Fedotov’s paintings. Marriage became a profitable enterprise at that time. It could characterize not only human relations but also one’s career, success, or failure. Sometimes marriage and betrothal created comic situations. Fedotov was able to notice amusing and dramatic elements of the event . He combined them and expressed sardonic humour. The characters in his picture- the major, the merchant and his wife- look like characters in literature created by Gogol. Actually, they are not evil. They are placed in the world of comfort. But the viewer can realize the imperfection of their life. The artist wants to tell a story and depicts a single moment from it. The action focuses on the major’s marriage proposal.Inthe foreground we can see the merchant’s daughter and his wife. The interior seen here is relatively simple, but it displaysthe higher living standards of the merchant’s family: the walls are decorated with pictures, a big chandelier is hanging from the mosaic ceiling. The things and the merchant’s daughter’s and wife’s gowns refer to the family’s material wealth. On the left there is the family’s cook and two servants. They enjoy the scene. The major is waiting in another room leaning against the door.

Answer the questions:

What do you think the story is about?

Can you name the characters involved in the story?

Which moment from the story is represented?

What is happening at this moment in the painting?

What is the location of the painting?

What is the time period? How do you know?

Who is the most important figure in the picture?

What is the major’s idea of the marriage?

What do you notice in the background?

What do you think the ending of this story will be?

What would you do if you were there?

Use the chart below to list people, objects and activities in the picture.

Divide the picture into quadrants. List what you can see in every quadrant . What new details become visible.

Act out a conversation between the different sitters in the picture.

Pretend you are the artist who created this picture. Tell why you created it, what the message is.

Choose a person from a painting, imagine the person's life and write about it from that person's point of view.

Describe two things you might find in the room.

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Ресурсы:

Долгополов И. Мастера и шедевры, в 3-х томах// И. Долгополов.- М.: «Изобразительное искусство», 1988, т.2, стр.392

Лазуко А.К. Русские живописцы 19 века. Васнецов. Художественный альбом//Ленинград: « Художник РСФСР», 1990, стр. 196-197

Островский Г.С. Рассказ о русской живописи, издание второе.- М.: «Изобразительное искусство», 1990

Сарабьянов Д.В. Федотов. Художественный альбом, издание второе// Ленинград: « Художник РСФСР»,1990, ср.95-96

http://www.eflmagazine.com/art/

http://iteslj.org

http://www.getty.edu

en.wikipedia.org

ru.wikipedia.org

Изображения для приложений взяты с https://yandex.ru/images

Адрес публикации: https://www.prodlenka.org/metodicheskie-razrabotki/258626-plan-konspekt-uroka-anglijskogo-jazyka-v-10-k