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Unit Art Unit 1 Art By: XieYongqing ( 下载整理 ) Warming up --Brainstorming If you were an artist, what kind of pictures would you paint? modern traditional realistic colourful pictures abstract religious kinds of painting oil painting water color landscape cartoon

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Unit art l.jpg

Unit Art

Unit 1 Art

By: XieYongqing

(下载整理)


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Warming up --Brainstorming

  • If you were an artist, what kind of pictures would you paint?

modern

traditional

realistic

colourful

pictures

abstract

religious


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kinds of painting

  • oil painting

  • water color

  • landscape

  • cartoon

  • charcoal drawing

  • brush drawing

  • wash drawing

  • figure drawing

  • graphic art

  • imitating

  • life drawing

  • sketch



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abstract--realistic

  • Abstract art contains no recognizable real-life objects but is more concerned with such painterly qualities as colour, texture, shape and line. Some painters are semi-abstract, such as much of Picasso’s art.

  • “Realistic” has been used to encompass all recognize figurative art, that is art in which objects are recognizable as real objects. This category covers many styles from



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Abstract art

  • is defined as art that has no reference to any figurative reality. In its wider definition the term describes art that depicts real forms in a simplified or rather reduced way - keeping only an allusion of the original natural subject. The abstract paintings of Joan Miro are a good example of this wider definition. The term non-figurative is used as a synonym.


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The Renaissance

  • This was a period in European history of great intellectual and cultural change and marks the end of the middle ages and the beginning of modern times. This period was determined by a renewal of interest in the art and culture of Ancient Greece and Rome (the classical period) and an educational system that valued the humanities ,athletics, science arts and craft, and athletics and sport. The Renaissance valued “free thought’ and the extension of knowledge in all fields. Great artists, writers, scientists and explorers proliferated in Europe during this time. A questioning of traditional values eventually led to a questioning of religious doctrines which culminated in the Reformation, when protestant religions developed to challenge Roman catholic doctrine.


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Renaissance

  • The term adopted from the French equivalent of the Italian word rinascita, meaning literally "rebirth," describes the radical and comprehensive changes that took place in European culture during the 15th and 16th centuries, bringing about the demise of the Middle Ages and embodying for the first time the values of the modern world.

  • The consciousness of cultural rebirth was itself a characteristic of the Renaissance. Italian scholars and critics of this period proclaimed that their age had progressed beyond the barbarism of the past and had found its inspiration, and its closest parallel, in the civilizations of ancient Greece and Rome.

  • The term Renaissance, describing the period of European history from the early 14th to the late 16th century, is derived from the French word for rebirth, and originally referred to the revival of the values and artistic styles of classical antiquity during that period, especially in Italy.


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  • During the interval of relative peace from the mid-15th century until the French invasions of 1494, Italy experienced a great flowering of culture, especially in Florence and Tuscany under the MEDICI. The brilliant period of artistic achievement continued into the 16th century--the age of Leonardo da Vinci, Raphael, Titian, and Michelangelo--but as Italy began to fall under foreign domination, the focus gradually shifted to other parts of Europe.


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Influence of century until the French invasions of 1494, Italy experienced a great flowering of culture, especially in Florence and Tuscany under the MEDICI. The brilliant period of artistic achievement continued into the 16th century--the age of the Renaissance

  • The Renaissance lived on in established canons of taste and literature and in a distinctive Renaissance style in art, music, and architecture, the last often revived. It also provided the model of many-sided achievement of the creative genius, the "universal man," exemplified by Leonardo da Vinci or Leon Battista ALBERTI. Finally, the Renaissance spawned the great creative vernacular literature of the late 16th century: the earthy fantasies of RABELAIS(French humanist and writer ), the worldly essays of MONTAIGNE, the probing analysis of the human condition in the plays of William SHAKESPEARE.


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Impressionism century until the French invasions of 1494, Italy experienced a great flowering of culture, especially in Florence and Tuscany under the MEDICI. The brilliant period of artistic achievement continued into the 16th century--the age of

  • French Impressionnisme, a major movement, first in painting and later in music, that developed chiefly in France during the late 19th and early 20th centuries. Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques. The most conspicuous characteristic of Impressionism was an attempt to accurately and objectively record visual reality in terms of transient effects of light and colour. The principal Impressionist painters were Claude Monet, Pierre Auguste Renoir, Camille Pissarro, Alfred Sisley, Berthe Morisot, Armand Guillaumin, and Frédéric Bazille, who worked together, influenced each other, and exhibited together independently. Edgar Degas and Paul Cézanne also painted in an Impressionist style for a time in the early 1870s. The established painter Édouard Manet, whose work in the 1860s greatly influenced Monet and others of the group, himself adopted the Impressionist approach about 1873.


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  • Impressionism is a light, spontaneous manner of painting which began in France as a reaction against the restrictions and conventions of the dominant Academic art. Its naturalistic and down-to-earth treatment of its subject matter, most commonly landscapes, has its roots in the French Realism of Camille Corot and others.The movement's name was derived from Monet's early work, Impression: Sunrise, which was singled out for criticism by Louis Leroy upon its exhibition.The hallmark of the style is the attempt to capture the subjective impression of light in a scene.The core of the earliest Impressionist group was made up of Claude Monet, Alfred Sisley and Pierre-Auguste Renoir. Others associated with this period were Camille Pissarro, Frederic Bazille, Edgar Degas, Gustave Caillebotte, Edouard Manet, and the American Mary Cassatt.


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the impressionist style of painting which began in France as a reaction against the restrictions and conventions of the dominant

  • is characterized chiefly by concentration on the general impression produced by a scene or object and the use of unmixed primary colors and small strokes to simulate actual reflected light. Impressionist artist

  • The impressionist aim to capture the atmosphere of an instantaneous moment in time. The artist creates the effect of light on the surface of the subject using complimentary colour. Realizing that you cant reproduce natures effects in two dimension they result to using colour side by side (rather than mixed colour) to enhance the effect of a fleeting moment thus leaving the viewer to perceive colour in their mind


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Impressionism which began in France as a reaction against the restrictions and conventions of the dominant

  • Impressionist art originated in France in the 1860s and dominated European in France and American art up to the end of the 19th century. Impressionist artists wanted to capture the way light plays on objects in nature. Main impressionist artists were Monet, Renoir, Sisley, Cezanne and Degas. From the 1880s onwards, artists began to move away from the pure impressionist theories and their style were described as post-impression.


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Post-Impressionism which began in France as a reaction against the restrictions and conventions of the dominant

  • The Impressionist style was probably the single most successful and identifiable "movement" ever, and is still widely practiced today. But as an intellectual school it faded towards the end of the 19th century, branching out into a variety of successive movements which are generally grouped under the term Post-Impressionism.

  • Post-Impressionism is an umbrella term that encompasses a variety of artists who were influenced by Impressionism but took their art in other directions.There is no single well-defined style of Post-Impressionism, but in general it is less idyllic and more emotionally charged than Impressionist work.The classic Post-Impressionists are Paul Gauguin, Paul Cezanne, Vincent van Gogh, Henri Rousseau and Henri de Toulouse-Lautrec. The Pointillists and Les Nabis are also generally included among the Post-Impressionists.


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Giotto di Bondone which began in France as a reaction against the restrictions and conventions of the dominant (1267 - 1337).

  • Florentine painter and architect. Outstanding as a painter, sculptor, and architect, Giotto was recognized as the first genius of art in the Italian Renaissance. Giotto lived and worked at a time when people's minds and talents were first being freed from the shackles of medieval restraint. He dealt largely in the traditional religious subjects, but he gave these subjects an earthly, full-blooded life and force.


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The Mourning of Christ which began in France as a reaction against the restrictions and conventions of the dominant


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Michelangelo - Portrait which began in France as a reaction against the restrictions and conventions of the dominant


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Michelangelo ------ which began in France as a reaction against the restrictions and conventions of the dominant Italian Renaissance sculptor, painter, architect, and poet who exerted an unparalleled influence on the development of Western art.

  • I cannot live under pressures from patrons, let alone paint. -- Michelangelo, quoted in Vasari's Lives of the Artists

Delphes Sylphideceiling of the Sistine Chapel in Vatican City


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  • Gigantic marble, started in 1501 and completed in 1504. which began in France as a reaction against the restrictions and conventions of the dominant

  • Michelangelo began work on the colossal figure of David in 1501, and by 1504 the sculpture (standing at 4.34m/14 ft 3 in tall) was in place outside the Palazzo Vecchio. The choice of David was supposed to reflect the power and determination of Republican Florence and was under constant attack from supporters of the usurped Medicis. In the 19th century the statue was moved to the Accademia.


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Creation of the Sun and Moon Doni Tondo)

The Creation of Man (Fragment of the Sistine Chapel ceiling)1511-12


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  • Tommaso di ser Giovanni di Mone Cassai (San Giovanni Valdarno 1401- Rome 1428). He was one of the most important painters of the 15th century and the founder of Renaissance painting. He took up the inheritance of Giotto, developing it according to the new techniques and methods of perspective, thus giving the human figure a completely new, freer and more concrete position in the world.


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  • the series of frescoes in the Brancacci Chapel in Santa Maria del Carmine. They are considered to be the first real paintings of the Renaissance. Masaccio was to condense the ideas behind the new naturalistic revolution in his stories of St. Peter and the Original Sin: the space was divided up according to the rules of scientific perspective, light came from a precise direction and the shadows gave depth and great intensity to the figures; this was a holy story which found itself in the reality of the moment and was told with great simplicity.This cycle of frescoes found immediate fame and is extremely important in the history of painting

Frescoes in St. Maria del Carmine - Brancacci Chapel


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Edouard Manet Maria del Carmine. They are considered to be the first real paintings of the Renaissance. Masaccio was to condense the ideas behind the new naturalistic revolution in his stories of St. Peter and the Original Sin: the space was divided up according to the rules of scientific perspective, light came from a precise direction and the shadows gave depth and great intensity to the figures; this was a holy story which found itself in the reality of the moment and was told with great simplicity.

  • On the bridge between Realism and Impressionism is Edouard Manet. Born in Paris in 1832, he preferred a more classical approach to painting. However, his subject matter in paintings such as Le Dejeuner Sur L'herbe and Olympia gave him the reputation as a nonconformist. Manet places the Olympia we see in classical paintings in a contemporary setting rather than an allegorical one and she looks directly at the viewer. The refusal of the salon to show these paintings earned him the dubious title, "Father of Impressionism".


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The Monet Family in Their Garden at Argenteuil Maria del Carmine. They are considered to be the first real paintings of the Renaissance. Masaccio was to condense the ideas behind the new naturalistic revolution in his stories of St. Peter and the Original Sin: the space was divided up according to the rules of scientific perspective, light came from a precise direction and the shadows gave depth and great intensity to the figures; this was a holy story which found itself in the reality of the moment and was told with great simplicity., 1874Édouard Manet (French, 1832–1883)Oil on canvas; 24 x 39 1/4 in. (61 x 99.7 cm)Bequest of Joan Whitney Payson, 1975 (1976.201.14)


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  • In the summer of 1874, Manet stayed at his family's house in Gennevilliers, just across the Seine from Monet in Argenteuil. The Monet family was living in a house that Manet had helped them find the year before. The two painters saw each other often that summer and Manet attempted twice to paint Monet and his wife Camille as Monet worked aboard his floating studio. While Manet painted the Monet family, Renoir painted beside him and Monet worked nearby. Monet painted Manet at his easel (present location unknown), while Renoir, like Manet, painted Madame Monet, Jean Monet, and the rooster (National Gallery of Art, Washington, D.C.). Monet later recalled that as Renoir painted, Manet glanced at his canvas from time to time, and at one point the older artist walked over to Monet and whispered: "He has no talent, that boy! Since you're his friend, tell him to give up painting!"


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Claude Monet ---Impressionism Gennevilliers, just across the Seine from Monet in Argenteuil. The Monet family was living in a house that Manet had helped them find the year before. The two painters saw each other often that summer and Manet attempted twice to paint Monet and his wife Camille as Monet worked aboard his floating studio. While Manet painted the Monet family, Renoir painted beside him and Monet worked nearby. Monet painted Manet at his easel (present location unknown), while Renoir, like Manet, painted Madame Monet, Jean Monet, and the rooster (National Gallery of Art, Washington, D.C.). Monet later recalled that as Renoir painted, Manet glanced at his canvas from time to time, and at one point the older artist walked over to Monet and whispered: "He has no talent, that boy! Since you're his friend, tell him to give up painting!"

French Impressionist painter, who brought the study of the transient effects of natural light to its most refined expression.

Sunrise


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  • 1883 Monet settled at Giverny where he created a magnificent garden. This garden was the inspiration for most of his later work and inspired the series Water Lilies and the Japanese Bridge (begun in 1899). As age and deteriorating eyesight descended upon the artist his works lost almost all sense of form and are now referred to as 'Abstract Impressionism'. someone once said that Monet was "only an eye, but my God, what an eye." Monet died on December 5, was known to have said that he "feared the dark more than death."

The only merit I have is to have painted directly from nature with the aim of conveying my impression in front of the most fugitive effects.

Claude Monet


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Wheatstacks (End of Summer) garden. This garden was the inspiration for most of his later work and inspired the series Water Lilies and the Japanese Bridge (begun in 1899). As age and deteriorating eyesight descended upon the artist his works lost almost all sense of form and are now referred to as 'Abstract Impressionism'. someone once said that Monet was "only an eye, but my God, what an eye." Monet died on December 5, was known to have said that he "feared the dark more than death."1890-91,Oil on canvas, 60 x 100 

  • Claude Monet is best known for his paintings of his garden at Giverny. In the 1890's he began to build a water garden around his house. There he painted his famous water lily paintings. By 1909 he had conceptualized an idea for a vast project of water lily canvases that would envelop an entire room. From 1916 almost until his death he worked on these canvases. He spoke of this endeavor, "In the night I am constantly haunted by what I am trying to realize. I rise broken with fatigue every morning." In these canvases perspective is reduced to the water lilies floating on the surface of the water.


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  • Monet paints thick with strange combination of colour in later life probably because his eyesight was failing. He naturally was having difficultly coming to terms with blindness, every artist nightmare. he had an accurate memory for colour and would get his stepdaughter to help with the colour before applying it to the canvas.

  • Monet has crystallized a sound knowledge of the theories of colour perception, intentionally using warm nest to cool and yellow next to blue to vitalized his painting

Garden at Sainte-Adresse

"I prefer enjoying  my bad sight, renouncing to paint if necessary, but at least see a bit what I like."

Claude Monet


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Haystacks at Chailly at Sunrise later life probably because his eyesight was failing. He naturally was having difficultly coming to terms with blindness, every artist nightmare. he had an accurate memory for colour and would get his stepdaughter to help with the colour before applying it to the canvas.1865, oil on canvas, 30 x 60 cm San Diego Museum of Art


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"My sensitivity, far from diminishing, has been sharpened by age, which holds no fears for me so long as unbroken communication with the outside world continues to fuel my curiosity, so long as my hand remains a ready and faithful interpreter of my perception."

Claude Monet

Poplars at Giverny


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  • Rouen Cathedral: The Portal (in Sun) age, which holds no fears for me so long as unbroken communication with the outside world continues to fuel my curiosity, so long as my hand remains a ready and faithful interpreter of my perception.", 1894Claude Monet (French, 1840–1926)Oil on canvas; 39 1/4 x 25 7/8 in. (99.7 x 65.7 cm)Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915 (30.95.250)


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The Houses of Parliament at Sunset age, which holds no fears for me so long as unbroken communication with the outside world continues to fuel my curiosity, so long as my hand remains a ready and faithful interpreter of my perception."

Water Lilies


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Pierre Auguste Renoir age, which holds no fears for me so long as unbroken communication with the outside world continues to fuel my curiosity, so long as my hand remains a ready and faithful interpreter of my perception."

  • French Impressionist painter. He is recognized as one of the greatest and most independent painters of his period, and is noted for the brilliance of his colour and the intimate charm of his work, which takes in a wide variety of subjects. Unlike other Impressionists, he was as much interested in painting the human figure or portraits as he was in landscapes; unlike them, too, he did not subordinate composition and form to a fascination with rendering the effect of light.


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  • Renoir age, which holds no fears for me so long as unbroken communication with the outside world continues to fuel my curiosity, so long as my hand remains a ready and faithful interpreter of my perception." was especially concerned with the play of light and shadow as they danced across the surface of an object. The fondness for impressionism exists today because these images capture forever the changing moments of time that we can all relate to in our contemporary world.


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Raphael --- age, which holds no fears for me so long as unbroken communication with the outside world continues to fuel my curiosity, so long as my hand remains a ready and faithful interpreter of my perception."Italian painter whose works, including religious subjects, portraits, and frescoes, exemplify the ideals of the High Renaissance.


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  • Raphael is best known for his Madonnas and for his large figure compositions in the Vatican in Rome. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur.

  • While we may term other works paintings, those of Raphael are living things; the flesh palpitates, the breath comes and goes, every organ lives, life pulsates everywhere.


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Leonardo da Vinci (Italian, 1452–1519) figure compositions in the Vatican in Rome. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur. ItalianCharcoal, black and red chalks; traces of framing line in pen and brown ink at upper right; 8 x 6 1/8 in. (20.3 x 15.6 cm)

Head of the Virgin in Three-Quarter View Facing Right, 1508–12


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  • This hauntingly beautiful drawing closely relates to an oil painting on panel of the Virgin and Child with Saint Anne from around 1508–12, and may have been a preparatory study for it. The head seen here appears to be exactly the size of the Virgin's head in the Louvre painting. The delicately finished drawing focuses on the atmospheric dissolution of her relieflike forms, and vividly illustrates the depth of Leonardo's explorations of optical phenomena late in his career. The artist would increasingly rely on complex pictorial techniques of drawing to articulate his scientific research on the perspective of color, the disappearance of form, and the gradations of light and shadow. Here, Leonardo reworked the charcoal and black chalk drawing with red chalk, especially evident in the face (but also extending less noticeably to the locks of hair in the underdrawing). He softly smudged all the strokes of drawing to achieve a seamlessly blended tone "in the manner of smoke" (fumo), as he called it in his notes. It conforms with the observable phenomenon of disappearing edges in the secondary planes of a perspectival space, a subject that he amply discussed in his scientific writings. Further preparatory studies for the Virgin and Child with Saint Anne composition are at the Royal Library (Windsor Castle), and these transform scientific principles into a pictorial language of magical force and nuance.


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Fauvism painting on panel of the

  • The word Fauvism comes from the French word fauve, which means "wild animals". And indeeed - this new modern art style was a bit wild - with strong and vivid colors. Paul Gauguin and the Dutch painter Vincent van Gogh had carried Impressionism to its limits by using expressive colors. Fauvism went one step further in using simplified designs in combination with an "orgy of pure colors" as it was characterized by their critics.


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Gogh, Vincent Willem van (1853-1890), Dutch postimpressionist painter, whose work on canvas represents the archetype of expressionism, the idea of emotional spontaneity in painting.

Self Portrait


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Wheatfield with Crows postimpressionist painter, whose work on canvas represents the archetype of expressionism, the idea of emotional spontaneity in painting. (Auvers-sur-Oise, July 1890)Vincent van Gogh (Dutch, 1853–1890)Oil on canvas; 50.5 x 103 cm

  • Early in life he displayed a moody, restless temperament that was to thwart his every pursuit. By the age of 27 he had been in turn a salesman in an art gallery, a French tutor, a theological student, and an evangelist among the miners at Wasmes in Belgium. His experiences as a preacher are reflected in his first paintings on canvas of peasants and potato diggers; of these early works, the best known is the rough, earthy Potato Eaters (1885, Rijksmuseum Vincent van Gogh, Amsterdam). Dark and somber, sometimes crude, these early works evidence van Gogh's intense desire to express on canvas the misery and poverty of humanity as he saw it among the miners in Belgium.


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  • Nursery on the Schenkweg postimpressionist painter, whose work on canvas represents the archetype of expressionism, the idea of emotional spontaneity in painting. , April 1882Vincent van Gogh (Dutch, 1853–1890)Reed pen and iron gall ink; brush and wash; touches of gouache and scraping on laid paper; 11 5/8 x 23 1/16 in. (29.6 x 58.5 cm)Bequest of Walter C. Baker, 1971 (1972.118.281)  Van Gogh's first commission came from his uncle Cornelis Marinus, an art dealer, for drawings of views of the Hague, where he was then living. This large view of a nursery close to Van Gogh's studio was among those he sent.


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Museum, Amsterdam postimpressionist painter, whose work on canvas represents the archetype of expressionism, the idea of emotional spontaneity in painting. The Potato Eaters (Nuenen, April – May 1885)Vincent van Gogh (Dutch, 1853–1890)Oil on canvas; 82 x 114 cmImage courtesy of Van Gogh Museum Foundation, Amsterdam / Vincent van Gogh


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  • Van Gogh's admiration for the Barbizon artists, in particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition The Potato Eaters) (Rijksmuseum Vincent van Gogh, Amsterdam); in this gritty portrayal of a peasant family at mealtime, Van Gogh wrote that he sought to express that they "used the same hands with which they now take food from the plate to dig the earth." Its dark palette and coarse application of paint typify works from the artist's Nuenen period


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  • The Potato Peeler (recto: Self-Portrait with a Straw Hat) particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition , 1885Vincent van Gogh (Dutch, 1853–1890)Oil on canvas; 16 x 12 1/2 in. (40.6 x 31.8 cm)Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967 (67.187.70b)

  • This painting of February–March 1885, with its restricted palette of dark tones, coarse fracture, and blocky drawing, is typical of the kind of works Van Gogh painted in Nuenen, the year before he left Holland for France. Van Gogh's peasant studies of 1885 culminated in his first important painting, The Potato Eaters (Rijksmuseum Vincent van Gogh, Amsterdam).


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  • Enlarge particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition Shoes, 1888Vincent van Gogh (Dutch, 1853–1890)Oil on canvas; 18 x 21 3/4 in. (45.7 x 55.2 cm)Purchase, The Annenberg Foundation Gift, 1992 (1992.374)

  • Van Gogh painted several still lives of shoes or boots during his Paris period. This picture, painted later in Arles, evinces a unique return to the earlier motif. Unlike the first works, Van Gogh has here placed the shoes within a specific spatial context, namely, the red-tile floor of the Yellow House. Not only may we identify the setting, but perhaps the owner of the boots as well. It has been suggested that "this still life of a peasant's old boots" may have been those of the peasant Patience Escalier, whose portrait Van Gogh executed around the same time, in late summer 1888.


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  • The Flowering Orchard particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition , 1888Vincent van Gogh (Dutch, 1853–1890)Oil on canvas; 28 1/2 x 21 in. (72.4 x 53.3 cm)The Mr. and Mrs. Henry Ittleson Jr. Purchase Fund, 1956 (56.13)

  • This painting belongs to a series of fourteen blossoming orchards that Van Gogh painted in spring 1888, shortly after his arrival in Arles, the Provençal town in the south of France where he worked from February 1888 until May 1889. The present example, which includes a scythe and rake, is one of only two orchards that allude to human presence or labor. The motif and Van Gogh's stylized treatment are related to Japanese prints.

  • The composition and calligraphic handling of The Flowering Orchard (56.13) suggest the influence of Japanese prints, which Van Gogh collected


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  • First Steps, after Millet particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition , 1890Vincent van Gogh (Dutch, 1853–1890)Oil on canvas; 28 1/2 x 35 7/8 in. (72.4 x 91.1 cm)Gift of George N. and Helen M. Richard, 1964 (64.165.2)

In fall and winter 1889–90, while a voluntary patient at the asylum in Saint-Rémy, Van Gogh painted twenty-one copies after Millet, an artist he greatly admired. He considered his copies "improvisations" or "translations" akin to a musician's interpretation of a composer's work. He let the black-and-white images—whether prints, reproductions, or, as here, a photograph that his brother Theo had sent—"pose as subject," then he would "improvise color on it." For this work of January 1890, Van Gogh squared up a photograph of Millet's First Steps, which he then transferred to the canvas.


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Portrait of Picasso, 1912, by Juan Gris particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition


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Hand Painted Original Oil on Canvas particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • Figure out Chinese meanings.


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Double Joy & Happiness particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition


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Good Fortune particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition


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Longevity particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition


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Bamboo, Pine, Plum Under Moonlight particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition


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Introduction of particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition Three Friends in Winterandother Chinese paintings


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Chinese Bamboo Paintings particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • Always green in color, bamboo is a symbol of old age and modesty. Chinese paintings with bamboo and plums together represent man and wife. As Bamboo does not die in the winter but remains upright and evergreen even in the harshest of weather, bamboo symbolizes long friendship and a bringer of great happiness. Bamboo, pine trees, and plums commonly seen together in Chinese paintings are known as the "Three Friends in Winter". In Chinese paintings of plants, the four noble plants are the bamboo, orchid, chrysanthemum, and plum blossom. A bamboo twig or branch is one of the emblems of the goddess of mercy, Guanyin.Bamboo is one of the first subjects a Chinese artist will learn to paint yet it is said painting bamboo takes a lifetime to master.


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Chinese Plum Blossom Paintings particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • One of the most famous flowers in China, the plum flower has a bright color and gives off a fragrant aroma. It is pretty and has a delicate fragrant smell. The flower has been loved by the people since ancient times. Noble and unsullied, the plum flower braves snow and frost to bloom in the cold winter, bringing vigor and vitality to the world and encouraging the people. Men of letters in China often compared plum flower to human personality. The flower consists of five petals, symbolizing five auspiciousnesses. Plum flower, pine, bamboo, and chrysanthemum form the “four plants of virtue.” When the plum flower, pine, and bamboo are together, they are known as the three durable friends of winter. In Chinese, the characters plum and eyebrow have the same pronunciation. When a magpie bird perches in a plum tree, the tree and the bird form a design meaning happiness and appears on the eyebrows.


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Chinese Peony Paintings particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • Chinese peony paintings are hung in the home for good luck and in the office place for a good, prosperous business. The tree peony bears the title of “The King of Flowers” although it is sometimes referred to as “The Queen of Flowers”. Known as the flower of riches and honor, the peony is a emblem of wealth and distinction. It is also regarded as an omen of good fortune.An emblem of love and affection and a symbol of feminine beauty, the Chinese tree peony represents the season of Spring (Lotus of Summer, Chrysanthemum of Autumn, Wild Plum of Winter). The Chinese tree peony is a flower of the Yang principle, that of brightness and masculinity.Deep red peonies are known as “ink”, the white peony as “jade” and the cream peony as “bright”. Most highly prized are the red “ink” peonies with a yellow mark on the petal edge. Red Chinese peonies are typical found on Chinese paintings although other colors may accompany them.


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Chinese Lotus Paintings particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • Very popular within the Chinese culture, the lotus is one of the most often painted flowers. Mainly thanks to the Buddhist influence, the lotus (or sea-rose) is of unique importance in Chinese folklore and symbolism. It is the symbol of purity. The lotus comes out of the dark mire but is not itself soiled. It is inwardly empty yet outwardly upright. It has no branches but yet smells sweet. The words for lotus in Chinese have the same meanings as "to bind, connect (in marriage), one after the other, uninterrupted, to love, and modesty". It is one of the Eight Auspicious Symbols of Buddhism. Chinese paintings with lotus are typically very elegantly painted and many include birds or fish.


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Chinese Horse Paintings particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • Renowned in legend and story, the horse is a popular theme found on traditional Chinese paintings. The horse is the seventh creature in the Chinese zodiac and regarded as a noble animal. In Chinese mythology the Chinese horse is used to symbolize the male principle (Yang) and the cow to symbolize the female principle (Yin).

  • The most recognized Chinese horse paintings are by the famous Chinese artist Xu Beihong (1895-1953). Many Chinese horse paintings found today were inspired by this famous artist’s Chinese paintings.


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Chinese Fish Paintings particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • Chinese paintings depicting fish are very popular for the home and business. The Chinese word for fish sounds much like the Chinese word for "abundance and affluence" so the fish symbolizes prosperity and wealth. A Chinese painting with nine fish symbolizes long term prosperity and wealth.

  • A Chinese fish painting that depict fish and lotus has the meaning "Year after year may you live in affluence". The fish most seen in Chinese paintings for business is the carp. The carp symbolize a wish for benefit or advantage in business. A Chinese painting showing a child with a fish means “May you have an abundance of high ranking sons.


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Chinese Landscape Paintings particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • The two Chinese written characters for the word landscape translate to “mountain” and “water”. Chinese landscape painting dates back to the Han dynasty but greatly flourished during the T’ang dynasty. Until the T’ang dynasty, landscapes were mainly used as backdrops to the popular figure painting. During the T’ang dynasty, Chinese landscape painting transformed into its own form of art due to changes in Chinese philosophy, and also due to the importance of landscape in Chinese literature. Both provided fertile ground for the later development of Chinese landscape painting.

  • A traditional Chinese painting commonly depicts mountains, water, mist or clouds, woods and trees, and sometimes dwellings or pavilions, figures, and animals. The mountains in a Chinese landscape painting represent longevity, and water representing the sea of happiness. Mist or clouds symbolize good fortune and happiness, especially when they have more than one color. Clouds with five colors are emblems of five-fold happiness. Clouds arise from a union of the two main principles of Yin and Yang.


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Pre-reading- particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition a short history of Western painting

  • Do you ever visit art galleries?

  • What are the names of some famous Western or Chinese artists?

  • Do you know in which century they lived?


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Fast reading-skimming particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • Skim the first paragraph to find the sentence that tells the reader what the text is going to be about.

  • The last sentence in the paragraph.

  • What is the topic sentence and how is the information organized?

  • It is about western painting and the information is organized in the time periods, from the earliest and present time.

  • What’s the writer’s purpose?

  • Make the reader understand how culture affects artistic styles. (introduces some of the major movements in western art and demonstrates how art has changed stylistically over the centuries)


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What have you learnt from the text? particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • I learnt that impressionist paintings were so different from earlier art that many people were angry about them.

  • I learnt that in the middle ages painters were more interested in teaching people about God than in making realistic pictures……..


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Second reading-comprehending particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • What have you learnt from the passage?

  • 1. I learnt that artistic style changes as a society’s culture and values change.

  • 2. I learnt that in the middle ages most paintings had religious subjects.

  • 3. I learnt that before 1428 Western painters didn’t know how to draw in perspective.

  • 4. I learnt that at first people hated impressionist painters.

  • 5…….


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  • Ex2.FTFTTFTT particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition

  • Ex3.western art has changed more often than Chinese art because the way of life and beliefs and values of people in the West has changed more often than in China.


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Differences between the development of Western art and Chinese art

  • The style of Western art has changed many times since the 4th Century AD. Chinese art, on the other hand, has changed less often, and most traditional styles still remain. Art is influenced by the way of life and beliefs of the people. Unlike Europe, China has been united by language, writing, religion (especially Taoism and Buddhism) dynastic rule and the philosophy of Confucianism for a very long time. Also , the past is more valued in China than it is in the West.


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Discussion of the text structure Chinese art

  • What is the text structured?

  • It is a historical report, which is structured in a way that is typical of many reports. The first paragraph introduces the topic and the theme of the text and then state what the rest of the text will be about. The rest of the report presents the information in chronological order and relates this to the them of the change in artistic style reflecting cultural change.

  • Why do you think the writer put the headings in the text?

  • To make the text easier to understand, the author has used headings within the text to mark the change to a different time period. In addition, each section begins with a topic sentence which acts as an introduction to the theme and the content of that section.

  • Underline the topic sentence in each paragraph.

  • The last sentence of the report functions as a conclusion by asking the reader to reflect on the major theme of the text and to predict what might happen in the future.

  • Underline some of the time expressions in the text.

  • A feature of historical reports is the abundance of time expressions.


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Find out the time expressions Chinese art

  • The style of Western art has changed many times, while Chinese art has changed less often.

  • ….china, unlike Europe, has followed a similar way of life for a very long time.

  • …this text will describe only a few of the main styles, starting from the 4th century AD.

  • During the Middle Ages, the main aim of painters was to represent religious themes.

  • Things had begun to change by the 13th century…

  • In the Rennaissance, new ideas and values took the place of those that were held in the Middle Ages.

  • One of the most important discoveries during this period was how to draw things in perspective.

  • The first person to use perspective in his paintings was Masaccio in 1428.


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  • When people first saw his paintings Chinese art they were convinced they were looking….

  • During the Renaissance oil paints were also developed,…..

  • In the late 19th century, Europe changed a great deal….

  • At first, most people hated this new style of painting.

  • At the time they were created, the impressionists’ paintings were controversial….

  • Nowadays, there are scores of modern art styles….It is interesting to predict what styles of painting there will be in the future.


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T or F Chinese art

  • A painting reflects the artist’s vision, but it is also a product of its time.

  • Landscape artists pay close attention to the perspective in trying to capture a particular outdoor scene.

  • Abstract painters are interested in mood over subject matters.

  • By using light and shade, the artists gave their images depth.

  • Giotto dealt largely in traditional religious subjects in a more realistic style.

  • Masaccio was the first person to use prospective in his paintings.

  • The impressionists attempted to accurately and objectively record visual reality in terms of transient effects of light and colour.


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Ex.2 Chinese art

  • In the 5th century

  • Until the 15th century

  • Renaissance

  • In the Middle Ages

  • 1428

  • From the 15th to 16th century

  • In the late 19th century

  • Nowadays

  • In the future


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Ex3/Ex4 Chinese art

Aim

Symbol

Possessions

Europe

Abstract

Focus on

  • Real

  • Impress

  • Symbol

  • Shadow

  • Religious

  • Attempt

  • Value

  • Aim

  • Predict

  • Believe

  • Europe

  • Ridicule



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Scanning- Chinese art

  • What is the title of the text?

  • What does the map show?

  • What do you think the numbers on the map are for?

  • How many galleries are featured in this text?

  • What do you think the purpose of this text is?

  • To give people information about various art galleries in New York and to show them where they are.

  • Who do you think the text was written for?

  • Tourists, art gallery visitors.

  • Where might you see such a text?

  • Possibly in a guide book.


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Scanning-Match the numbers on the map with the names of the museums

Guggenheim Museum

1

2

Metropolitan Museum of Art

Whitney Museum of American Art

3

4

The Frick Collection

5

Museum of Modern Art


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Pre-listening museums

  • Study the map and name the galleries that are grouped close together.

  • Tell us something about each gallery-what kind of art each contains and from what countries and period.

  • Do you think they will agree at the beginning of the tape which galleries they will visit?

  • What kind of differences of opinion might they have?

  • Whether to visit a museum with only modern or only traditional art, how many galleries to visit altogether


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listening museums

  • Ex 1. Metropolitan Museum of Art

  • the Frick Collection

  • Museum of Modern Art

  • Whitney Museum of American Art

  • Guggenheim museum


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Ex.2 listen and answer questions museums

  • 1.John.

  • 2.Susan.

  • 3.He wants to see the exhibition of Chinese art.

  • 4.Small galleries.

  • 5. It is big, crowded and too expensive.

  • 6.Modern art.

  • 7.The Frick collection and Metropolitan Museum on Friday and the Whitney and the Guggenheim on Saturday.


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What's happening in Manhattan Art and Culture museums

  • Don't miss out on New York City's best art and culture. See what's new at Manhattan's galleries, museums, theaters and performance spaces. Uptown, downtown, and underground.


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The Frick Collection museums

  • is located in the former mansion of Mr. Frick, whose private art collection was made into a museum after his death in the early twentieth century; the museum is designed to feel more like a private home than a public place. The mansion is a true work of art; the low stone building and courtyard take up almost an entire city block and statues stand prominently by the entranceway. Some of the rooms of the house have painted walls like the frescoes of a Renaissance church or castle, and the furniture that adorns all the rooms of the house is almost entirely from the sixteenth century. All the other rooms have rich wood walls and floors, marble fireplaces and decorative columns, giving visitors the sense of being in an old, musty castle or cathedral. It seems impossible that people actually lived here, but they did.


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The Guggenheim Museum museums

  • of painting and modern sculpture in New York, completed in 1959, can be found at number 1071 Fifth Avenue. From an urbanistic point of view it contradicts the usual chess board type of building, typical of New York, the outside of which presents strong links to the past with flower boxes at street level and the possibility of seating, the large curved overhang of the first floor underlining an invitation to the loggia underneath, the bridge being a link between the two bodies of the Museum acting as a kind of middle road between the outside and the inside. The inside space is a continual upwards movement using a six-floor spiral with galleries which spread out from the first ramp indicated by a large water fountain in the central room on the ground floor.


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  • For the Guggenheim, this occurred in 1937, when Solomon R. Guggenheim established a foundation empowered to operate a museum that would publicly exhibit and preserve his holdings of non-objective art. Today, the Guggenheim is a museum in multiple locations with access to shared collections, common constituencies, and joint programming. Nevertheless, it is the permanent collection that constitutes the very core of the institution, no matter how far-reaching its activities may be.


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Metropolitan Museum of Art Guggenheim established a foundation empowered to operate a museum that would publicly exhibit and preserve his holdings of non-objective art. Today, the Guggenheim is a museum in multiple locations with access to shared collections, common constituencies, and joint programming. Nevertheless, it is the permanent collection that constitutes the very core of the institution, no matter how far-reaching its activities may be. 1000 Fifth AvenueFifth Ave at 82nd StreetNew York, NY 10028-0198


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  • The story of the Guggenheim Museum is essentially the story of six very different private collections—

  • Solomon R. Guggenheim's collection of non-objective painting premised on a belief in the spiritual dimensions of pure abstraction;

  • his niece Peggy Guggenheim's collection of Surrealist and abstract painting and sculpture;

  • Justin K. Thannhauser's array of Impressionist, Post-Impressionist, and early Modern masterpieces;

  • Karl Nierendorf's holdings in German Expressionism;

  • Katherine S. Dreier's paintings and sculptures of the historic avant-garde;

  • and Dr. Giuseppe Panza di Biumo's vast holdings of European and American Minimalist, Post-Minimalist, Environmental, and Conceptual art.


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1929 of six very different private collections— | The Museum of Modern Art opens in the Heckscher Building (corner of Fifth Avenue and 57 Street). Six rooms rented for galleries and offices.

1932 | Museum moves to townhouse at 11 West 53 Street (part of present site).


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  • The world's first curatorial department devoted to architecture and design was established in 1932 at The Museum of Modern Art. From its inception, the collection has been built on the recognition that architecture and design are allied and interdependent arts, so that synthesis has been a founding premise of the collection.

  • The collection provides an extensive overview of modernism. Starting with the reform ideology established by the Arts and Crafts movement, the collection covers major movements of the twentieth century and contemporary issues. The architecture collection documents buildings through models, drawings, and photographs.

  • The design collection comprises more than 3,000 objects, ranging from appliances, furniture, and tableware to tools, textiles, sports cars—even a helicopter. The graphic design collection includes over 4,000 examples of typography, posters, and other combinations of text and image.


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Portrait of Joseph Roulin. Arles architecture and design was established in 1932 at The Museum of Modern Art. From its inception, the collection has been built on the recognition that architecture and design are allied and interdependent arts, so that synthesis has been a founding premise of the collection.

  • Vincent van Gogh.

  • early 1889.

  • Oil on canvas, 25 3/8 x 21 3/4" (64.4 x 55.2 cm).


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Starry night architecture and design was established in 1932 at The Museum of Modern Art. From its inception, the collection has been built on the recognition that architecture and design are allied and interdependent arts, so that synthesis has been a founding premise of the collection.


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  • Van Gogh's night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. "Looking at the stars always makes me dream," he said, "Why, I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star."

  • The artist wrote of his experience to his brother Theo: "This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big." This morning star, or Venus, may be the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh's native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist painting.


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The Olive Trees exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. "Looking at the stars always makes me dream," he said, "Why, I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star."

Vincent van Gogh.


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Whitney Museum of American Art exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. "Looking at the stars always makes me dream," he said, "Why, I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star."

  • is the leading advocate of 20th-century and contemporary American art. Founded in 1930, the Whitney Museum emerged out of Gertrude Vanderbilt Whitney's active role in supporting the American artists of her day and, over the course of 69 years, the Museum's holdings have grown to include approximately 12,000 works of art representing more than 1,900 artists.

  • The Permanent Collection is the preeminent collection of 20th-century American art and includes the entire artistic estate of Edward Hopper, as well as significant works by Marsh, Calder, Gorky, Hartley, O'Keeffe, Rauschenberg, Murphy and Johns among other artists.

  • The Whitney Museum of American Art is located at 945 Madison Avenue at 75th Street, New York, New York 10021.


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  • Hopper's paintings of empty streets, storefronts, and solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as Early Sunday Morning (1930), Seven A.M. (1948), and A Woman in the Sun (1961) have made Hopper one of America's most beloved artists. These cornerstones of the Whitney Museum's Hopper collection, as well as the numerous early paintings, loosely painted watercolors, and revealing charcoal and pencil studies, have made the Whitney a crucial center for the study and exhibition of this important American artist's life and work.


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Discussion- solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as how to set out a business letter

  • It is usual to state the reason for writing in the first paragraph.

  • Take suggestions about a suitable opening and write the one they like best on the board.


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Sample writing solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

  • Dear Committee members,

  • I wish to make a suggestion about the kind of art that should go into our new gallery. As I have carefully researched the subject and have had many discussions with residents in our district, I believe my suggestion will be popular with most people.

  • I have discovered that we have many fine artists in our district. We have many painters, both modern and traditional, some sculptors and a few excellent potters. We also have a group of people who meet regularly to practice traditional folk art. At present, none of these groups have a place to display their work. The gallery would provide such a place and would help people in the district to learn more about our artists.

  • I believe a gallery of local art and craft would encourage the artists and would also make others proud of our local talent. I do hope you will consider my suggestion.

  • Your faithfully,

  • Tina Francis


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Language points solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

  • 1. The style of Western art has changed many times, while Chinese art has changed less often.

  • while用来表示对比或相反的情况。

  • 我爱喝清咖啡而他喜欢加奶油的。

  • I drink black coffee while he prefers it with cream.

  • 英语世界通用,但土耳其语离开本国就很少有人说了。

  • English is used all over the world, while Turkish is spoken by a few people outside Turkey itself.


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while solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

  • While in prison, he wrote his first novel.

  • He listens to the radio while driving to work.

  • While I admit that there are problems, I didn’t agree that they can’t be solved.

在…期间,当…时候

与…同时

虽然


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Art is influenced by the way of life and solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as beliefs of the people.

  • belief 信条,信仰—beliefs (pl.)

  • He acted in accordance with his strongly held beliefs.

  • 他按照自己坚定的信念行事。


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wolf solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

loaf

leaf

self

shelf

grief

knife

half

-f/-fe

----ves

belief

chief

wife

life

dwarf

cliff

thief

直接加-s

reef

safe

roof

proof

gulf


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take place-- solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as take the place of

  • In the Rennaissance, new ideas and valuesthose that were held in the middle ages.

  • When did the accident exactly?

  • I’llmy father for a while=

  • I’ll for a while.

  • The wedding yesterday.

took the place of

take place

took the place of

take my father’s place

took place


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focus on solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

focused

  • People became more on humans and less on religion.

  • I’llthe main group of people over there.

  • All the eyes him.

focus on

were focused on


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a great deal=a good deal solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

  • In the late 19th century, Europe changed a great deal.

  • He ate a great deal for supper yesterday.

  • He ran a great deal faster than I.

  • A great deal of money was spent on the project.

adv.

adv.

adv.

adj.后接不可数名词


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shadow--shade solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

影子

shadow

  • As the sun set, the became longer.

  • Under the floodlight, each player in the football match has four .

  • Let’s find some and take a rest.

shadows

shade

『U』—任何遮住阳光的地方


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scores of solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

scores of

  • I have heard that (很多)times.

  • Nowadays, there are (好几十种)modern art styles.

  • (很多) people attended the special performance.

  • (有40人)those people wanted to fly there.

  • (有20人)people were present at the party.

scores of

Scores of

Two score of

A score of


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attempt solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

attempt to

  • The painter does not paint objects as we see them with our eyes.

  • The second question was different I didn’t

  • it.

  • I speak but was told to be quiet.

attempt

attempted to


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Listening-p41 solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

  • Which subject do you think would be the most expensive?

  • If you could have one of these objects as present, which would you choose? Why?

  • If you had to buy a present for someone who was an art teacher, which present do you think she would like best?

  • How many boys and how many girls did you hear speaking?

  • Did all three students arrive at the same time?

  • Did they find it easy to decide on a present?

  • At the end of the tape, do we know which present they choose?


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  • 1 1.vase solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as

  • 2.paints and brushes

  • 3.book

  • 4.wall hanging

  • 2. Steve Lee=4 times

  • Wang Pei=7 times

  • Xiao Wei=7 times

  • 3.1.Xiao Wei.

  • 2.it was too expensive.

  • 3.Mrs Hang would probably have known what to get mr. hang.

  • 4.At first he liked the book but later he thought the wall hanging would be first.

  • 5.I think they will probably seem to get the wall hanging because the others seem to respect Wang Wei’s opinion. Also, they know Mr Hang likes that type of wall hanging.


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Listening-p44 solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as


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Using words and expressions solitary figures in urban settings evoke a sense of such profound loneliness and alienation that they seem to transcend their particular time and place. Iconic in their stillness and psychological force—achieved as much through composition and palette as through outright theme or subject—paintings such as


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Ex.3 common ending)

  • collective

  • predictable

  • attempt

  • exhibit

  • symbolize

  • abstraction

  • photographer

  • influence

  • profession


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Using language-ex.4 common ending)

  • 1.She knows a great deal more about contemporary modern art than I do.

  • 2.Impressionist painters broke away from traditional ideas about art.

  • 3.Today we will focus on the art works of the Renaissance.

  • 4.If I had a permanent address, you would be able to send me those paintings.

  • 5. I have scores of CDs at home. Would you like to come and listen to some of them?

  • 6. I have not only seen Picasso in the flesh, but also know a lot about his life experiences and all his art works.


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Reading task common ending)

  • Who wrote the letter?

  • Who was the letter written to?

  • When was it written?

  • What three purposes of the letter?

  • What three things do students want to do?

  • What is the purpose of the second last paragraph?

  • To argue the case/ give reasons to support the students’ request.

  • What is the purpose of the last paragraph?

  • To summarize their requests and to finish the letter in a polite way.


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Letter from common ending)Jo ryan, Class president

Asking for the permission and a donation of $500

Reason: To make the back of the school more attractive.

Their plan:

1 make a nature garden that has trees, grass, paths and a pond.

2. Paint the back wall of the school.

3. Paint the rubbish bins.

Work will be done by: Parents and students.


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Discovering useful structure common ending)—subjective mood

  • The situation being referred is not real, it is hypothetical.

  • Hypothetical situations arte exoressed using the subjective mood.


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If someone gave you a valuable painting as a present, what would you do with it?

  • I’d hang it on the wall of my bedroom/

  • I’d sell it and buy something useful for my family.

  • I’d give it to our town’s art gallery so lots of people could enjoy it.


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further practice would you do with it?

  • If you were the mayor of Guangzhou City, what changes would you make first?

  • If you were the headmaster of our school, what changes would you make first?

  • If you could travel anywhere in the world, where would you go and what would you do?


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  • Ex.2 would you do with it?

  • 1. were, would drink

  • 2. were, would be

  • 3. were, would be

  • 4. could, would draw

  • 5. were, would help

  • 6. were, would visit

  • 7. knew, would send

  • 8. were, would be

  • 10. came, would go


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Using structures would you do with it?

  • I wish I were the principal of this school, then I’d give us all a holiday today.

  • I wish I could do magic, then I’d wave my wand and turn you all into cute little pussy cats.

  • I wish I could read your thoughts, then I’d know what you are thinking right now.


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Ex.1 would you do with it?

  • I wish I were taller enough to play basketball.

  • I wish you could come.

  • I wish he could/ was able to visit us next week.

  • I wish I could draw well.

  • I wish I could go to Paris with you.


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Ex.3 would you do with it?

  • If I ran into a dinosaur in the forest, I would run away as fast as I could.

  • If I met Pavarotti in the flesh, I would tell him how much I enjoyed his painting.

  • If I know more about Beijing opera, I would probably enjoy it more.

  • If I were good at paper cutting, I would make greeting cards for all my friends.

  • If I lived in Beijing, I would go to the opera all the time.


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Grammar-wish would you do with it?后的宾语从句


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wish-hope would you do with it?

  • I wish Tessa were here now.

  • I hope you weren’t late.

  • I hope you are ready.

  • I hope he comes tomorrow.

  • We hope you’ll be very happy.

wish后的宾语从句常用were代替was

hope后面不用虚拟语气,而用相应的时态表达过去、现在或将来的有关愿望


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  • 2. would you do with it?表示现在、将来的情况的虚拟条件句


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说明: would you do with it?

  • If I were rich, I would buy you anything you want.

  • (虚拟条件从句种常用were代替was)

  • Were she in charge (=if she were in charge), she would do things differently.

  • (含有were的虚拟条件句中的if可能被省略,这时从句要采用倒转语序)

  • It’s raining. We’ll get wet if we go out.

  • (不是所有的条件句都用虚拟语气,有可能发生的假设不用虚拟语气,而用相应的时态表达与过去、现在或将来有关的假设)


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could be would you do with it?

abstract

were

could buy

focused more on

could make

wouldn’t finish

don’t have

  • I wish I(can) clever enough to work out the

  • (abstract /easy) geometry problem.

  • If I(be) you, I(will)buy abstract painting.

  • If you(focus more on) your study, I believe you

  • (can make) great progress.

  • If we (have) a great deal of time, we(will finish) the project as you wish.

  • If I(have) enough money, I(buy) that beautiful sculpture.

  • I wish you(can) go to the art gallery with us. If there(be) enough tickets, I’d let you know.

  • I go to my favourite art gallery, if I(pass) the terrible maths exams this Friday.

  • He (will) paint objects in a different style if he (know) modern art.

would buy

had

were

could

passed

would

knew

would