Практика англоязычной межкультурной коммуникации. Залялеева А.Р. - 11 стр.

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mid-13th through the 14th cent. little art flourished under the Tatar invaders ex-
cept in Novgorod and Pskov, which remained free and were the dominant cul-
tural centers until the rise of Moscow at the end of the 15th cent.
      Icon painting was brought to its highest achievement as a Russian art form
in the late 14th and 15th cent. with the expressive frescoes of the Greek painter
Theophanes, in the church of the Transfiguration in Novgorod (1378), and with
the Hellenized works of the Russian artist Andrei Rublev (e.g., Trinity, c.1410;
Tretyakov Gall., Moscow). The master Dionysius introduced new iconographical
motifs, scenes of miracles, which he imbued with great vitality. A high level of
quality was maintained in icon painting until the 17th cent., when it deteriorated
into an ornate, extremely detailed, convention-ridden art.
      The Twentieth Century
      Around the turn of the century Mir Iskusstva (World of Art Group) was initi-
ated, a movement akin to art nouveau. It served as the background for some of
the first truly abstract artists who prevailed briefly in Russia after the 1917 revolu-
tion (constructivism and suprematism). Among the more radical modern artists
were Casimir Malevich, Vladimir Tatlin, Chaim Soutine, Aleksey von Jawlensky,
Antoine Pevsner, Naum Gabo, Wassily Kandinsky, Mikhail Larinov, Marc Cha-
gall, and Alexander Archipenko. Most of them left the country after 1923 and set-
tled in Western Europe and the United States.
      The Ministry of Culture soon took over the direction of Russian art, and a
standardized literal style known as socialist realism was enforced while abstrac-
tion was renounced as decadent. Socialist realist artists include Georgi Nisski
and Vera Mukina. Only with the death of Stalin was there a slight relaxation of
government strictures, although artists working in an abstract idiom continued to
be rarely exhibited and harshly criticized. From the mid-1950s to the decline of
the Soviet empire in the late 1980s, so-called nonconformist art was widely prac-
ticed in the USSR. This late Soviet art encompassed a number of styles, met with
official disapproval, was infrequently seen by the public, and often dealt with the
harshness of life in the USSR. Among the leading artists of the period were Ilya
Kabakov, Leonid Lamm, and Yevgeny Rukhin. Under Mikhail Gorbachev's lead-
ership and with the subsequent dissolution of the Soviet Union, artistic freedom
has increased markedly. Russian architecture in the 20th cent., after a brief
phase of constructivist experimentation in the 1920s, tended toward an unimagi-
native combination of neoclassicism and skyscraper construction.
    Exercise13. Translate the following articles into English making historical and cultural
comments where necessary.
     ЛЕВИЦКИЙ Дмитрий Григорьевич (1735-1822) - русский художник-порт-
ретист, который в своих произведениях с наибольшей полнотой и художе-
ственной выразительностью воплотил многогранное восприятие человече-
ской личности и создал глубокие образы представителей разных слоев рус-
ского общества.
     Первые известные нам зрелые портреты художника (А.Ф.Кокоринова,
1769; Н.А.Сеземова, 1770; П.А.Демидова, 1773) пред-ставляли собой характер-
ные для эпохи образы. Люди, которых он писал, занимали крупные официаль-
ные посты или же играли видную роль в обществе. В подобных портретах ху-
дожник подчеркивал прежде всего общественное и сословное положение чело-
века, его заслуги перед государством. Фигуры изображались почти в полный