Конспект урока по английскому языку в 11 классе по теме "Modern Art"

_{Lesson Plan Teacher: Belskaya S.A.}

Modern Painting

Level - A2+ (Intermediate) (10 Form)

Objectives:

• to develop students' skills in reading, listening and speaking;

• to teach them to emphasize the essence in the text,

• to make them understand the role of modern art

• to teach pupils critical thinking.

Equipment: PowerPoint presentation, pictures, posters.

PROCEDURE

I. INTRODUCTION

Т: Visual art is a vast subject, including all kinds of pictures and sculptures. Artists make art for many reasons. Hundreds of years ago – when many people couldn’t read – paintings were often designed to illustrate stories. And a lot of paintings were made to decorate churches. More recently, artists have begun to paint to express their own feelings or explore ideas, or just to create something beautiful. People have always argued about art – how to make it? What it should like and why. But there are no wrong answers. What kind of art you enjoy is up to you.

So, today we are going to speak about art, painting in particular. We shall learn interesting information about famous artists and pictures, we shall visit the Museum of Modern Art in New York, we shall practice our skills in describing pictures.

• Are you interested in art? What art in particular?

• What world-famous artists do you know?

• Have you ever been to any picture galleries or museums?

• Have you ever tried your hand at any of the arts?

Now look at the quotation of a well-known English writer W. Somerset Maugham.

“There is nothing but art. Art is living. To attempt to give an object of art life by dwelling on its historical, cultural or archaeological association is senseless…” (W. Somerset Maugham “The Summing Up”) What do you think about it?

II. WARMING-UP

Let’s revise the vocabulary of this theme.

1. Styles of Painting.

Put the letters in correct order

Lireasm, Resurlism, Thgoic, Presnismioex, Bicusm, Coroco, Mancismroti, Ctstraab

Keys: Realism, Surrealism, Cubism, Rococo, Romanticism, Abstract, Gothic, Expressionism

2) Guess what style it is

1. It’s the art that doesn’t represent recognizable objects.

2. It promotes accurate, detailed depiction of nature or contemporary life. It rejects imaginative idealization in favour of close observation.

3. It’s the conception of art as imitation of nature. Its subject included landscapes, tress, houses, street scenes. The artists paid attention to effects of light and movement.

4. The key concept of this style is that essence of the object can only be shown from different points of view at once. Its works reject perspective in favour of geometric forms.

5. The art in which common objects (such as comic strips, soup cans, road signs, and hamburgers) were used as subject matter.

Keys: Abstract Realism Impressionism Cubism Pop Art

1. Match the pictures and their names

1. “The Rooks Have Come”

2. “Lilacs”

3. “Flora”

4. “At Madam Jenoa’s Café”

5. “Madonna Benois”

6. “Rye”

7. “Artist’s Studio”

8. “Remember!”

a) Leonardo da Vinci

b) Ivan Shishkin

c) Rembrandt van Rijn

d) Henri Matisse

e) Alexei Savrasov

f) Paul Gauguin

g) Michail Vrubel

h) Nikolay Roerich

Keys:

The Rooks Have Come”

“Lilacs”

“Flora”

“At Madam Jenoa’s Café”

“Madonna Benois”

“Rye”

“Artist’s Studio”

“Remember!”

e) Alexei Savrasov

g) Michail Vrubel

c) Rembrandt van Rijn

f) Paul Gauguin

a) Leonardo da Vinci

b) Ivan Shishkin

d) Henri Matisse

h) Nikolay Roerich

3. Listening Watching Video presentation "Pablo Picasso”

Pablo Picasso was born on October 25,1881, in the town of Malaga (Spain, Andaluzia). His christened full name was Pablo Diego Jose' Francisco de Paula Juan Nepomuceno Mari'a de los Remedios Crispi'n Crispiniano de la Santi'sima Trinidad Ruiz y Picasso That were the sequence of the names of holy men and his family relatives. Picasso was the maiden surname of his mother which he took for himself. His father’s name was Hose Ruis, it was too ordinary and at the same time he was also an artist.

Pablo showed his drawing talent since early childhood. He studied at his father’s since 7. He had to draw paws of pigeons on the father`s pictures. But once his father asked him to complete the picture of the quite large still life, and he was surprised at his son`s technique so much, that he by legend left off his own painting

When Pablo was 13 he brilliantly entered the Barselona Academy of Arts. The preparation for the exam took usually one month for others students. Pablo used only one week. The examiners were surprised at his mastership and he was taken to the Academy in spite of his adolescent age. His father and uncle settled to send Pablo to Madrid Academy "San Fernando" known as the main School of Art in Spain. So Pablo came to Madrid in 1897 when he was 16. However classes at School of Art lasted not a long time (less than one year). He was captured with the charm of the style of Madrid life and studied works of the impressionists of those days: Diego Velaskes, Fransisco Goya and particularly El Greko4

4. Reading T: As you know Modern art is a general term used for most of the artistic production from the late 19th century until approximately the 1970s. Read the text “Modern Art” and be ready to answer the questions

Modern Art

Modern art refers to the then new approach to art where it was no longer important to represent a subject realistically — the invention of photography had made this function of art obsolete. Instead, artists started experimenting with new ways of seeing, with fresh ideas about the nature, materials and functions of art, often moving further toward abstraction.

Out of the naturalist ethic of Realism grew a major artistic movement, Impressionism. The Impressionists pioneered the use of light in painting as they attempted to capture light as seen from the human eye. Edgar Degas, Edouard Manet, Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir, were all involved in the Impressionist movement.

Following the Impressionists came Fauvism, often considered the first "modern" genre of art. Just as the Impressionists revolutionized light, so did the fauvists rethink color, painting their canvases in bright, wild hues. After the Fauvists, modern art began to develop in all its forms, ranging from Expressionism, concerned with evoking emotion through objective works of art, to Cubism, the art of transposing a three-dimensional reality onto a flat canvas, to Abstract art. These new art forms pushed the limits of traditional notions of "art" and corresponded to the similar rapid changes that were taking place in human society, technology, and thought.

Surrealism is often classified as a form of Modern Art. However, the Surrealists themselves have objected to the study of surrealism as an era in art history, claiming that it oversimplifies the complexity of the movement (which is not an artistic movement), misrepresents the relationship of surrealism to aesthetics, and falsely characterizes ongoing surrealism as a finished, historically encapsulated era.

Other forms of Modern Art (some of which border on Contemporary art) include: Dada, Suprematism, Futurism, Constructivism, Lettrisme, Abstract expressionism, Minimalism, Performance art, Video art, Op art, Pop art, Concept Art Time Period: First half of the 20th century

Contemporary and Postmodern art

Recent developments in art have been characterised by a significant expansion of what can now deemed to be art, in terms of materials, media, activity and concept. Conceptual art in particular has had a wide influence. This started literally as the replacement of concept for a made object, one of the intentions of which was to refute the commodification of art. However, it now usually refers to an artwork where there is an object, but the main claim for the work is made for the thought process that has informed it. The aspect of commercialism has returned to the work. There has also been an increase in art referring to previous movements and artists, and gaining validity from that reference.

Post-modernism in art, which has grown since the 1960s, differs from Modernism in as much as Modern art movements where primarily focused on their own activities and values, while Postmodernism uses the whole range of previous movements as a reference point. This has be definition generated a relativistic outlook, accompanied by irony and a certain disbelief in values, as each can be seen to be replaced by another. Another result of this has been the growth of commercialism and celebrity.

Some surrealists (in particular Joan Miró, who called for the "murder of painting") have denounced or attempted to "supersede" painting, and there have also been other anti-painting trends among artistic movements, such as that of Dada and conceptual art. The trend away from painting in the late 20th century has been countered by various movements, for example Stuckism.

1. T: What is the term modern art used for?

2. Where did Impressionism originate from? What is it characterized by?

3. What was the contribution of fauvists to the modern art?

4. What were the main genres developing in the modern art? What was common for all of them?

5. What did you get to know about Surrealism movement?

6. What are the recent developments in art characterised by?

7. What is conceptual art?

8. What is Post-modernism in art?

9. What modern trends can be observed in art nowadays?

5. Discussion

Discuss the following questions in small groups. Exposed! The fine art of Artspeak

1. What kind of pictures do you have decorating your house or room? Who are your favorite artists? Why do you like their work?

2. Are there any members of the class who are artistically talented? Is there a great diversity of taste and talent within the class?

3. You are going to read a newspaper article on ‘Artspeak’. What do you think this is?

4. Three paintings illustrate the article, which is on the next page. Exchange opinions on the paintings and try to give a title to each work.

1. Scan reading Read the text quickly and answer the questions.

1. What is the aim of the course given by William Quinn?

2. What is your opinion of the course?

3. What is your opinion of William Quinn?

4 What is the purpose of the text? Choose from the alternatives below, as many as you think appropriate.

• - to criticize - to amuse - to make fun of

• - to inform - to surprise - to mock

• - to warn - to educate - to shock

  • to cause discussion

Text organization

The following four sentences have all been removed from the text. Read it again more carefully and decide where each sentence should go. Work in pairs.

a. 'You needn't waste a minute listening to tunes you don't instantly recognize,' it says.

b. If so, what do you say when you visit an art gallery?

c. In other words, places where the public can hear you.

d. 'One should speak of the boldness of the interpretation.'

Exposed! The fine art of Artspeak

Or the instant way to be a classic bluffer

ARE you one of those unfortunates who knows little about art and, worse still, hasn't the foggiest idea what you like or why you like it?

It's obvious. You look at the pictures and declare sagely:

That's very nice or Yes, I like that, or

Mmm . . . interesting,

Well, sorry, that just isn't good enough.

In New York, discussions about art are the currency of social life. Just like in the Woody Allen films, your worth is measured by your Artspeak.

Which is why William Quinn, a young Irishman from County Mayo, is the new hero of the smart set.

He is running a £33 course on how to say intelligent things about works of art in public places. And people are queuing to join his remedial class in art bluffery.

Quinn – an increasingly well-known artist who paints giant versions of the computer bar codes on supermarket products – aims to reach the ‘basic but critical vocabulary’ of art.

‘People like to feel sophisticated’, he says. ‘But they can’t unless they know at least something about art.’

‘If they are at a dinner party and start talking about the Modigliani heads being inspired by the example of Brancusi, other people pay attention.’

As one student says: 'This course teaches you how to sound halfway intelli­gent about art when you're not.'

Indeed, after a few evenings on Quinn's course, you can be an 'expert' without even seeing works you discuss. And everyone defers to an 'expert'.

Just like Liberace - who once revealed that his gift was to play Tchaikovsky by leaving out the boring bits - Quinn's protégés go into New York's social whirl armed with just the interesting snippets they need.

For this is the age of art for survival, where people would rather die than have nothing to say about something, so A huge TV advertising campaign is running in America for a series of records of the most tuneful pieces of 100 classical music favourites.

Quinn gets very shirty at his students' go-for-it attitude to art consumption. Yet he agrees that his course title – called Meeting People at the Great Museums - does not sound, well enormously deep.

Warmth

Meanwhile, over in the Metropolitan Museum of Art, one student gazes lamely at Pierre Bonnard's The Terrace at Vernon and says: 'I like this one.' 'Insufficient', says Quinn. 'And if you're with a sophisticate, you should add: "The daily intimacies of family life add warmth to Bonnard's art.'

See, it’s easy when you get the hang of it!(Daily Mai! 22 February 1987)

Which of the following statements are true or false, or don't you know?

1. It is important to be able to speak sensibly about art in New York.

2. William Quinn is one of New York's smart set.

3. William Quinn gives courses on art appreciation.

4. The courses are extremely popular.

5. They produce experts on art who everyone listens to.

6. After doing Quinn's course you can speak with seeming authority about paintings you have never seen.

7. There is a series of records of 100 complete classical music favourites.

8. Quinn gets annoyed by the course participants' superficial attitude to art.

7. Dramatization

Read the dialogue and reproduce it

ART INSTITUTE

A: Monet, Gauging, Cézanne, Degas, they’re all here.

B: Yes. Renoir, Van Gogh… They have quite a collection.

A: I love the Impressionists. They had a really fresh lively colorful way of painting.

B: I like all sorts of paintings, belonging to all the movements. Even the very old ones.

A: So do I really. They all have their appeal. But I think the Impressionists are my favourite painters.

B: You can get a bit too much of them though. Just about every office has a reproduction of a Van Gogh or Cezanne.

A: Or of Monet’s ‘Waterlilies’ for example.

B: Yes, I think the original of that is at the national Gallery in London.

A: Well, especially for an office you can’t really go wrong with the Impressionists. They are mostly pleasant, with lots of light and no naked bodies to distract you while you’re working!

B: Except some of Renoir’s works of course.

A: It’s funny that the Art Institute of Chicago should have so many nice paintings.

B: In my opinion, it’s good to have famous works of art dispersed all over the world. Like that, all the major museums have some to display and people everywhere can admire them.

A: There is more to see in Chicago itself. Works by Picasso or Chagall.

B: There’s a mosaic by Chagall called “The Four Seasons”.

A: Yes, you have to go to the square in front of the First National Bank building.

B: Did you know there was so much art to see in this city? Anyway, I’ve seen enough paintings here now. You can’t take in too much in one go.

A: All right, let’s go and have a bite to eat somewhere.

B: And sit down and rest our legs. We’ve been walking around the city and the museum non-stop for four hours.

WHO IS IT BY?

1. The painting of the blue period are Monet

2. The paintings with waterlilies are Picasso

3. The painting with sunflowers is BY Rubens

4. The paintings with floppy clocks are Van Gogh

5. The paintings with mounds with naked flesh are Dali

Т: I would like to finish our lesson with the words of a famous English poet John Keats (1795 – 1821):

A thing of beauty is joy for ever:

Its loveliness increases: it will never

Pass into nothingness…

V. HOME ASSIGNMENT: Retell the text “Modern Art” in great detail.

VI. SUMMING-UP