Пояснительная записка к учебному пособию образец. Рекомендации в помощь преподавателю при написании пояснительной записки к учебно-методическим материалам

Федеральное бюджетное образовательное учреждение
высшего профессионального образования
«Морской государственный университет им. адм. Г. И. Невельского»

Кафедра философии и философской антропологии

М. М. Бойко

«ЛОГИКА»

Морского государственного университета

Владивосток

Позиция №

учебной литературы

МГУ на 2011 г.

Марина Михайловна Бойко
«ЛОГИКА»

Учебное пособие

Компьютерная верстка Т. Н. Головачевой
Лицензия ИД № 05693 от 27.08.01
3,0 уч.-изд. л. Формат 6084/16

Тираж 100 экз. Заказ №
Отпечатано в типографии МГУ им. адм. Г. И. Невельского

Владивосток, 59, ул. Верхнепортовая, 50а

УДК 16 (075)

Бойко М. М. «Логика». – Владивосток: Мор. гос. ун-т, 2011. – с.63

Излагаются основные формы фиксации и преобразования знания на уровне абстрактного мышления. Практические задачи и упражнения, ролевые игры предполагаются как элементы формирования логической культуры, а также как показатели связи с эристикой и риторикой.
Предназначен для студентов всех специальностей.

Библиогр. 17 назв.

Рецензенты:

В.А. Сакутин, профессор,

С.А. Данченко, доцент

МГУ им адм. Г. И. Невельского;

ISBN © Бойко М. М.

© Морской государственный университет

Федеральный компонент Государственного образовательного стандарта высшего профессионального образования

Требования к знаниям и умениям

Понимать сущность познания, роль и значение абстрактного (логического) мышления в научном познании, основные формы фиксации и преобразования знания на уровне абстрактного мышления, связь мышления с языком и роль последнего в мыслительных процедурах.

Знать основное содержание классической дедуктивной логики, основные разновидности неклассических логик, познавательные приемы правдоподобных рассуждений, особенности аргументационного процесса, приемы и способы ведения дискуссий и полемики.
Пояснительная записка
Учебное пособие к изучению курса «Логика» разработано для студентов всех специальностей МГУ им. адм. Г. И. Невельского.

Цель курса – научить студентов анализу рассуждений с точки зрения законов и правил логики. Это возможно, если теоретические знания претворяются в умение решать логические задачи.

Задачи курса:

• 
  Дать четкие научные знания по основным актуальным проблемам современной формальной логики:

б) законам (принципам) правильного мышления (закону тождества, закону непротиворечия, закону достаточного основания, закону исключения третьего);

в) показать многогранную роль аргументации, доказательства и опровержения, правила и логические ошибки, встречающиеся в процессе аргументации и опровержения, различные «уловки», применяемые в ходе полемики, дискуссий, диспутов и других форм диалога;

г) отразить применение логики научного познания (факт, гипотеза, теория и др. ее аспекты).

• 
  Изучить связь логики с эристикой (искусством спора) и риторикой (ораторским искусством).
• 
  Выработать у студентов умения и навыки решения логических задач; научить студентов иллюстрировать различные виды понятий, суждений, умозаключений новыми примерами, найденными в художественной, научной, учебной литературе.
• 
  Предложить студентам оптимальное сочетание традиционной формальной логики и символической логики. Научить их использовать аппарат символической (математической логики).

Курс «Логика» рассчитан на 100 часов:

• 
  лекции – 34 ч.
• 
  семинары – 17 ч.
• 
  самостоятельные занятия – 49 ч.

ДЕПАРТАМЕНТ ОБРАЗОВАНИЯ ГОРОДА МОСКВЫ

Государственное образовательное учреждение

Высшего профессионального образования города Москвы

«Московский городской педагогический университет»

(ГОУ ВПО МГПУ)

Институт психологии, социологии и социальных отношений

Кафедра прикладной социологии

ИСПОЛЬЗОВАНИЕ SPSS В СОЦИОЛОГИИ

(Учебно-методическое пособие)

Москва

УДК 316.3

Составитель:

Кандидат социологических наук Е.А. Татаринцев

Рецензент:

Доктор социологических наук, заведующий кафедрой прикладной социологии Института психологии,

социологии и социальных отношений ГОУ ВПО МГПУ, профессор В.М. Ананишнев

Использование SPSS в социологии: Учебно-методическое пособие. Специальность: 050708.65«Социолог. Преподаватель социологии». Факультет: социологический. 4 курс, 8 семестр. Очная форма обучения / Сост.: Е.А. Татаринцев. – М.: МГПУ, 2009. – 81 с.

© Е.А. Татаринцев, 2009.

© ГОУ ВПО МГПУ, 2009.

Пояснительная записка к учебно-методическому пособию……...….4

Глава 1. Особенности обработки данных в среде SPSS …...………...5

1.1. Введение……………………………………………………….....5

1.2. Роль исследователя и возможности SPSS……………….……..8

1.3. Основы работы в SPSS………………………………………....14

1.4. Определение переменных и ввод данных в программу SPSS……………………………………………………………………..24

1.5. Определение и ввод данных для переменных с множественными ответами……………………………………………36

1.6. Основы анализа данных…………………………………..……40

1.7. Анализ переменных с множественными ответами…………..47

1.8. Отбор данных и формирование подвыборок в SPSS….……..50

1.9. Анализ связей между переменными……….………………….58

1.10. Сравнение выборок и проверка гипотез о равенстве средних………………………………………………………………….66

Глава 2. Программа курса «Использование SPSS в социологии»..………………………………………………………...…75

ПОЯСНИТЕЛЬНАЯ ЗАПИСКА К УЧЕБНО-МЕТОДИЧЕСКОМУ ПОСОБИЮ

Дисциплина «Анализ данных в SPSS» предназначена для студентов педагогических вузов, обучающихся по специальности «Социология». Курс базируется на знаниях, приобретенных студентами в процессе освоения таких дисциплин как «Методы социологических исследований», «Статистика», «Общая социология», «Маркетинг», «Социологии управления» и др. Дисциплина изучается в девятом семестре.

Цели и задачи пособия: данное пособие призвано сформировать у студентов систему навыков работы со статистическим пакетом обработки информации SPSS.

В рамках дисциплины ставятся следующие задачи: дать представление об особенностях пакета SPSS и его возможностях; ознакомить с интерфейсом программы; сформировать систему навыков по вводу данных для последующей обработки; научить основам статистической обработки и анализа данных с использованием пакета SPSS; сформировать навыки подготовки аналитических отчетов.

Студент, изучивший дисциплину, должен знать основные характеристики пакета SPSS, основные процедуры ввода данных для последующего анализа, процедуры анализа данных, способы проверки гипотез с использованием пакета SPSS.

Студенты также должны уметь работать с пакетом SPSS, вводить данные и осуществлять их последующую обработку, составлять аналитические отчеты по проведенному исследованию.

Кроме того, прошедшие обучение по данному курсу должны владеть навыками преобразования исследовательской анкеты в формат SPSS, первичного анализа данных, составления аналитических отчетов.

Структура учебно-методического пособия представлена пояснительной запиской и двумя главами. В первой главе изложен основной материал по освоению программы SPSS. Вторая глава представляет собой содержание программы по курсу «Использование SPSS в социологии». В программе курса по каждой теме имеется: краткое содержание темы, вопросы для самостоятельной работы, задания, список рекомендуемой основной и дополнительной литературы.

Н.И. Жукова

ГРАЖДАНСКОЕ ПРАВО

Учебно-методическое пособие

Екатеринбург 2008

Жукова Н.И. Гражданское право : Учебно-методическое пособие. Екатеринбург: Уральский финансово-юридический институт, 2008. – 114 с.

Рецензенты:

А.М. Жуков , доцент кафедры права Уральского государственного горного университета, кандидат юридических наук;

В.В. Маслов , зав. кафедрой права Уральского государственного горного университета

Данное учебно-методическое пособие содержит тематический план с распределением общего числа объема часов на изучение предмета, содержание основных положений лекционного курса и семинарских занятий с указанием относящихся к ним нормативно-правовых актов и литературы, тематику курсовых и контрольных работ, рефератов, научных сообщений и докладов, тематику дипломных работ, а также перечень вопросов для подготовки к зачету, экзамену и задания для составления процессуальных документов.

Обсуждено на кафедре гражданско-правовых дисциплин Уральского финансово-юридического института

Одобрено Ученым советом Уральского финансово-юридического института

© Уральский финансово-юридический институт, 2008

Пояснительная записка

Рабочая программа курса «Гражданское право» является основным нормативно-методическим документом, определяющим содержание, объем, структуру, а также порядок освоения студентами данной учебной дисциплины в соответствии с Государственным стандартом, законодательной базой и анализом правоприменительной деятельности. Программа разработана с учетом характера и уровня развития социально-экономических, общественно-политических и гражданско-правовых отношений современной России, действующего законодательства в области гражданского права и предпринимательского права и призвана конкретизировать положения курса гражданского права.

Цель изучения дисциплины: усвоение студентами совокупности знаний в области гражданского права в условиях развития современной России, овладение нормами гражданского права и практикой их применения, ознакомление с понятийным аппаратом, правилами применения этих норм.

Достижению данной цели служит реализация следующих задач :

– рассмотрение основных теоретических концепций, возникающих на современном этапе развития науки гражданского права;

– ознакомление студентов с содержанием курса гражданского права и практикой реализации его норм;

– выработка у студентов навыков и умений правильного применения действующего гражданского законодательства в служебной деятельности.

В результате изучения курса студенты должны:

иметь представление о роли и месте гражданского права в общей структуре права Российской Федерации;

знать:

– понятие и предмет гражданского права;

– виды гражданских правоотношений;

– понятие и виды гражданских норм;

– формы (источники) гражданского права;

– вопросы гражданского нормотворчества;

– виды гражданского нормотворчества;

– вопросы ответственности за нарушение норм гражданского права;

– понятие и виды субъектов и объектов гражданского права;

– понятие и виды юридических лиц;

– понятие и недействительность сделок по гражданскому праву;

– понятие и общие положения вещного права в системе гражданского права;

– понятие и основные вопросы обязательственного права;

– понятие отдельных видов обязательств.

При освоении курса «Гражданское право» важны как лекции, так и семинарские занятия. Преподавание предусматривает внедрение в учебный процесс активных форм обучения, таких как разбор конкретных жизненных ситуаций и проведение деловых игр с участием студентов. Особое значение должно придаваться самостоятельной работе студентов, в процессе которой они готовят рефераты, доклады.

Кроме того, в ходе проведения семинарских занятий студентам могут предлагаться такие формы обучения, как написание контрольной работы и проверка знаний с помощью теста по ч.1 Гражданского права.

В зависимости от учебного плана студенты различных форм обучения выполняют курсовые работы и сдают зачеты и экзамены.

Кроме того, гражданское право является учебной дисциплиной, выносимой для сдачи итогового государственного экзамена.

Используемые сокращения

СЗ РФ – Собрание законодательства РФ.

БНА ФОИВ – Бюллетень нормативных актов федеральных органов исполнительной власти.

САПП РФ – Собрание актов Президента и Правительства РФ.

Ведомости ВС РФ (СССР) – Ведомости Верховного Совета РФ (СССР).

БВС РФ – Бюллетень Верховного Суда РФ.

СП РСФСР – Сборник постановлений РСФСР.

Химия

Учебно-методическое пособие

для студентов, обучающихся по нехимическим специальностям

Издательский дом «Астраханский университет»

Рецензенты: доктор медицинских наук, профессор, зав. кафедрой общей и биоорганической химии ГОУВПО Астраханской государственной медицинской академии Николаев Александр Аркадьевич

доктор химических наук, профессор, зав. кафедрой неорганической и биоорганической химии Астраханского государственного университета Тырков Алексей Георгиевич

кандидат химических наук, доцент, зав. кафедрой естественно-научных дисциплин Астраханского государственного инженерно-строительного института Реснянская Анна Станиславовна

Учебно-методическое пособие «Химия» / авторы В.В. Шакирова, О.С. Садомцева - Астрахань: Издательский дом «Астраханский университет», 2010. – ….. с.

В состав УМП вошли набор вопросов, упражнения, задачи. Предназначается студентам 1 и 3 курсов заочного отделения специальностей: 150202 – Оборудование и технология сварочного производства, 050502 – Технология и предпринимательство. Данное учебно-методическое пособие может быть также рекомендовано для студентов нехимических специальностей ВУЗов, аспирантов и преподавателей.

ã В.В. Шакирова,

О.С. Садомцева,

Пояснительная записка

Учебно-методическое пособие по дисциплине «Химия» предназначается в качестве учебно-методического пособия для студентов заочного отделения обучающихся по специальностям 150202 – Оборудование и технология сварочного производства, 050502 – Технология и предпринимательство и написано в соответствии с программами ВПО этих специальностей.

Усвоение студентами всех аспектов дисциплины, самостоятельное приведение изучаемого материала в систему, аккумулирование самой важной и нужной информации для последующего ее использования на практике довольно затруднительно, потому нередко вызывает чисто психологические препятствия. Специфика дистанционных форм обучения направлена на формирование навыков самостоятельной работы студента с учебной литературой. Именно эти задачи и ставит перед собой данное учебное пособие.

В пособии содержатся основные разделы, соответствующие рабочей программе, по которым предусмотрено решение контрольных задач. Каждый из этих разделов включает краткое изложение основных теоретических положений, систематизирующее самостоятельно изученный студентом материал учебника и акцентирующее его внимание на узловые моменты рассматриваемого раздела и его положение в общей структуре дисциплины.

Подбор задач в контрольных работах направлен на то, чтобы студент мог использовать этот материал и для контроля знаний, и в качестве обучающего материала. Для выполнения заданий приведены справочные данные, а также список литературы.

Примерный тематический план

* – темы для самостоятельного изучения

ГОСУДАРСТВЕННОЕ ОБРАЗОВАТЕЛЬНОЕ УЧРЕЖДЕНИЕ

ВЫСШЕГО ПРОФЕССИОНАЛЬНОГО ОБРАЗОВАНИЯ

«КАРЕЛЬСКАЯ ГОСУДАРСТВЕННАЯ ПЕДАГОГИЧЕСКАЯ АКАДЕМИЯ»

OF ART AND DESIGN

ст. преподаватель кафедры ИЯ;

ст. преподаватель кафедры ИЯ

Рецензенты:

доцент кафедры английского

ст. преподаватель кафедры

специальности

Петрозаводск,

Пояснительная записка к учебно-методическому пособию по английскому языку для студентов факультета Технологии и Предпринимательства

Данное учебно-методическое пособие по дисциплине «иностранный язык » разработано для студентов ФТиП с учетом специфики факультета. Учебное пособие составлено для работы со студентами, обучающимися по специальностям: «Изобразительное искусство», «Художественные технологии и дизайн» и «Культура дома и декоративно-прикладное творчество».

Пособие представляет собой сборник текстов для чтения по специальности с заданиями к ним. Пособие состоит двух основных частей: “The Fine Arts” и “Design”

Основными целями данного сборника являются развитие у студентов неязыковых факультетов умения читать литературу по специальности, расширять свой лексический запас, совершенствовать лексико-грамматические навыки, полученные на уроках ИЯ в школе, а также развитие умения монологического высказывания. Задания к текстам предусматривают развитие у студентов развитие умения читать с целью поиска нужной информации, а также с полным пониманием прочитанного.

Для облегчения работы с текстами пособие снабжено списком географических названий и имен личных с транскрипцией.

Данное учебное пособие может быть использовано как для аудиторной работы со студентами, так и для самостоятельной работы студентов.

THE FINE ARTS

Read texts A – F and answer the questions about different styles of art.

(Some of the styles may be used more than once in your answers)

A Cave Paintings

The cave paintings on the walls of caves in Spain and southern France are the earliest form of art we have. They show a wide variety of animals, such as bears, horses and deer. The pictures were painted in bright colours, which were made of various minerals mixed with animal fat, egg whites, plant juices and even blood. They were almost certainly connected with hunting. In one famous example, in a cave in Lascaux in France, a man is shown among some animals and there are several dark dots in the painting. The meaning of the painting is not certain, but it shows that the cave dwellers had superb artistic skills.

B Egyptian Paintings

More than 5 000 years ago, the Egyptians began painting the world around them on the walls of the Pharaohs’ tombs. The Egyptians believed there was life after death, so they painted pictures of mythological stories and of daily life. People and animals were shown involved in daily activities, such as hunting, farming and eating.

C Greek Art

The most artistic people of any age were, perhaps, the Greeks around 500 BC. Their aim in sculpture was the imitation of life, but life in its perfect or ideal form. We have many examples of Greek sculpture, which is characterized by the beauty of its forms and amazing knowledge of human anatomy. Most of the sculptures portray gods and goddesses from mythology.

Most Greek wall paintings have not survived, but we have a few examples by the Minoans of Crete in the ancient royal palaces of Knossos and Santorini. These pictures are very realistic and lively. The most common subjects are sports, celebrations, dolphins and beautiful young people.

D The Renaissance

The Renaissance is usually defined as the rebirth of painting and literature inspired by classical models, especially those of ancient Greece. The Renaissance lasted from the 15th to the 16th century and its centre was Italy. The great artists of the period, who include Michelangelo, Leonardo and Botticelli, were able to paint nature and people with great accuracy. More than any other style, the works of the Italian Renaissance can be seen in museum collections throughout the world.

E Impressionism

The name comes from a picture by Monet, “Impression, Sunrise” (1872). This painting shows Monet’s interest in analyzing tone and colour and, above all, the way light reflects on the surface of objects. As a result, the objects do not have a clear outline. The first Impressionist exhibition was held in 1874 when Monet, Renoir, Cezanne, Degas and others announced that the aim of the movement was to achieve greater naturalism in painting. Most Impressionist pictures are of landscapes and the Impressionists liked to use bright colours, even when portraying shadows; this often gives their work a joyful, optimistic feel.

F Modernism

Following the Impressionist movement, artists such as Picasso and Braque tried to change the style of painting from naturalistic to more abstract. Instead of trying to make a realistic copy of an object, they wanted to show it from a variety of different angles. In their paintings, several views of an object or person are combined, which often results in such things as eyes and noses appearing in unusual places or at strange angles. Some people conclude from these paintings that the artists could not draw. On the contrary, Picasso and Braque were perfectly capable of painting naturalistic paintings, but this was not their aim in art.

Which style or styles of art

First showed scenes from everyday life?

Is the oldest?

Shows scenes from mythology?

Is directly influenced by a previous style of painting?

Tried to be very different from previous styles?

Makes people seem more beautiful than they really are?

Shows people having fun?

Began in the nineteenth century?

May at first seem to be badly drawn?

Do not show objects clearly?

Is found in museums in most countries?

1. Read the texts about six famous artists and do the tasks.

Before you read check the dictionary for the correct pronunciation of the following words:

aesthetic, baroque, career, ceramics, draughtsmanship, essential, exemplary, exhibition, influence, influential, mythological, portraitist, precision, psychological, religious, renowned, sculpture, sign, success

Paul Cezanne (1

Nationality: French

Movement: Post-Impressionism

Media: Painting

Paul Cezanne was the son of a prosperous banker, who studied painting in Paris. He was one of the most important painters of the second half of the 19th century. In many of his early works, up to about 1870, he depicted dark, imaginary subjects in a violent, expressive manner. In the 1870s he came under the influence of IMPRESSIONISM, particularly as practised by Camille Pissarro, and he participated in the First (1874) and Third (1877) Impressionist Exhibitions. His first few Impressionist exhibitions from 1874 to 1877, were criticized, which discouraged Cezanne from avidly displaying his works.

Though he considered the study of nature essential to painting, he nevertheless opposed many aspects of the Impressionist aesthetic. Believing colour and form to be inseparable, he tried to emphasize structure and solidity in his work, features he thought neglected by Impressionism. For this reason he was a central figure in POST-IMPRESSIONISM.

He created 1300 paintings in his career, all of which retained a sense of mystery, as none of them were dated and very few were signed. Until the end of his life he received little public success and was repeatedly rejected by the Paris Salon. In his last years his work began to influence many younger artists, including both the Fauves and the Cubists, and he is therefore often seen as a precursor of 20th century art.

a violent, expressive manner; to emphasize structure and solidity; retained a sense of mystery

2. Find the English equivalents of the following Russian words and phrases:

веря в то, что цвет и форма неотделимы друг от друга; оказывать влияние на многих молодых художников; предтеча искусства 20 века

1) What kind of subjects did Paul Cezanne depict in his early works?

2) Why did he stop displaying his works?

3) What was different in Cezanne’s works from the Impressionists’ traditions?

4) Paul Cezanne was a central figure in Post-Impressionism, wasn’t he? Why?

5) What is mysterious about his paintings?

6) How did the public attitude to his works change in his last years?

7) Why is the artist considered to be a precursor of 20thcentury art?

John Constable (1

Nationality: British

Movement: Romanticism

Media: Painting

British landscape painter, John Constable was born and raised in Suffolk, England. His father was a wealthy corn merchant. After he left school he worked in his father"s business. His heart was not in it, however, and in 1799 he induced his father to send him to the Royal Academy in London to study art. Although at the beginning of his career, landscape painting was a low-paid and disrespected career, Constable chose that path despite the indignation of his family and friends. Constable rejected the formal or "picturesque" rendering of nature found in the works of artists like Gainsborough. Instead, he tried to capture informally the effects of changing light and the patterns of clouds moving across the country sky. He loved the countryside, and his best works were of outdoor scenes in his native Suffolk and his London home in Hampstead. He worked in the open air, though he returned to his studio to finish his paintings. His larger scenes were sketched full-size in oil, and the sketch was then used as a model for the finished painting.

After creating a series of six-foot wide landscapes, Constable was granted membership of the Royal Academy and won a gold medal at the Paris Salon.

Constable"s work greatly influenced the French artist Delacroix, and the so-called "Barbizon School", who followed Constable"s lead in working outdoors.

a low - paid and disrespected career; the formal rendering of nature; the effects of changing light; were sketched in full size in oil

вопреки негодованию семьи и друзей; был удостоен членства в Королевской Академии; которые последовали примеру Констебля

1) Why did Constable’s family object to his career of an artist?

2) What was different in Constable’s art from the works of artists like Gainsborough?

3) Did he work in the open air or in his studio?

4) What kind of scenes were his best works?

5) How did he become a member of the Royal Academy?

Pablo Picasso (1

Nationality: Spanish

Movement: Cubism

Media: Painting

Pablo Ruiz Picasso was born in Malaga, Spain. The son of a Basque art teacher, Picasso showed a very early talent for drawing. He was fourteen when the family moved to Barcelona where his father was a professor at the School of Art. Two years later Picasso had his first exhibition of rather somber, quite classical paintings. Between 1900 and 1904 he made three trips to Paris where he studied the works of the Impressionists and of Cezanne. In 1904 he settled in France, where he remained all his life.

From 1901 onwards, Picasso"s work may be divided into periods, each showing different influences and personal interests. Paintings from Picasso"s blue period () depict forlorn people painted in shades of blue, evoking feelings of sadness and alienation. After his move to Paris in 1904, Picasso"s rose period paintings took on a warmer, more optimistic mood. In 1907 he and the French painter George Braque pioneered cubism (familiar objects such as glasses and pitchers were broken down into geometric planes).

From about 1912 to 1915, the collage or paste-up method of Synthetic Cubism was developed in which bits of cloth or paper were used to build up an the late 1920s he turned toward a flat, cubist-related style. During the 1930s his paintings became militant and political. Guernica (1937), a masterpiece from this period depicts the terror of the bombing of the town of Guernica during the Spanish civil war.

Following World War II, Picasso"s works became less political and more gentle. He spent the remaining years of his life in an exploration of various historical styles of art, making several reproductions of the works of earlier artists. In addition to painting, he would explore sculpture, ceramics and other art forms, and become one of the most influential artists of the 1900s.

different influences and personal interests; feelings of sadness and alienation; became less political and more gentle; one of the most influential artists

довольно мрачная классическая живопись; стали военизированными и политическими; изображают несчастных людей; разбивались на геометрические проекции; использовались для создания образа

1) What was Picasso’s father?

2) How old was Picasso when he had his first exhibition?

3) What is characteristic of Picasso’s “blue period”?

4) How was his “rose period” different from the “blue one”?

5) How did the Spanish Civil War influence his painting?

6) How did his art change after World War II?

Sir Anthony Van Dyck (1

Nationality: Belgian

Movement: Flemish School

Media: Painting

Anthony van Dyck, portraitist, was born in Antwerp. A child prodigy, he signed his first portrait in 1616 and was quite well known when he became a member of Rubens" studio before he had reached the age of twenty. Van Dyck became Rubens" favorite pupil and his most valued assistant. Van Dyck could soon imitate the master"s style so well that it was impossible to distinguish the work of one from that of the other. In 1620, Van Dyck was invited to England for a short period to paint court portraits. He spent the next seven years in Genoa painting religious themes in a baroque style and studying the Italian masters, especially Titian and the Venetian School. In 1627 he returned to Antwerp where he continued with his religious paintings and completed a series of etchings - brilliant psychological portraits of contemporary poets and artists.

His portraits became more restrained and slightly less brilliant in color as he began to develop his own style. Van Dyck returned to England in 1632 and spent the rest of his life there as a court painter to Charles I. During the last nine years of his life, he painted over 350 court portraits. These are executed in an entirely original style characterized by a warm palette, subdued by his use of cold greys and blacks and by skillful draughtsmanship, and combined in a manner that shows the influence of Rubens as well as the mannerist elegance of Titian. These distinguished portraits of an elegant and almost unreal court became the model for later English portrait painters of the seventeenth and eighteenth centuries and influenced a vast number of European artists including Gainsborough, Watteau, and Renoir.

a child prodigy; his most valued assistant; completed a series of etchings; subdued by his use of cold greys and blacks

блестящие психологические портреты современных поэтов и художников; придворный живописец; чертёжное искусство; стали более сдержанными; отличить одного от другого

1) When did Van Dyck make the first portrait?

2) Van Dyck was Rubens’ favourite pupil, wasn’t he?

3) Why was he invited to England?

4) How did his portraits change when Van Dyck began to develop his own style?

5) What themes did he paint in Genoa?

6) What can you say about Van Dyck’s style during the last nine years of his life?

Albrecht Dürer (14

Nationality: German

Movement: Northern Renaissance

Media: painting and engraving

Albrecht Dürer is the greatest exponent of Northern European Renaissance art. While an important painter, in his own day Dürer was renowned foremost for his graphic works. Artists across Europe admired and copied Dürer"s innovative and powerful prints, ranging from religious and mythological scenes to maps and exotic animals.

Technically, Dürer"s prints are exemplary for their detail and precision. The son of a goldsmith, Dürer was trained as a metalworker at a young age. He applied the same meticulous, exacting methods required in this delicate work to his woodcuts and engravings, notably the Four Horsemen of his Apocalypse series (1498), and his Knight, Death and Devil (1513).

Dürer"s training also involved travel and study abroad. He went to Italy in 1494, and returned again in . Contact with Italian painters resonated deeply in his art. Influenced by Venetian artists, who were renowned for the richness of their palette, Dürer placed greater importance on colour in his paintings. His Feast of the Rose Garlands (1506) removed any doubt that, as well as a master of prints, he was an accomplished painter.

Dürer was also a great admirer of Leonardo da Vinci. He was intrigued by the Italian master"s studies of the human figure, and after 1506 applied and adapted Leonardo"s proportions to his own figures, as is evident in his drawings. Later in his life, in the 1520"s, he illustrated and wrote theoretical treatises instructing artists in perspective and proportion.

Dürer was a humanist and a creator. His awareness of his own role as an artist is apparent in his frontal, Christ-like Self Portrait (1500), just one of the many self portraits that he painted in his career. Dürer"s earliest recognized work was a self-portrait painted at the age of thirteen.

innovative and powerful prints; an accomplished painter; theoretical treatises; applied Leonardo’s proportions; earliest recognized work

величайший представитель; будучи значимым художником; большой поклонник Да Винчи; требующиеся в этой тонкой работе; нашёл сильное отражение в его искусстве; был главным образом известен своими графическими работами

1) What was Dürer famous for in his own days?

2) The range of his prints was rather large, wasn’t it?

3) What and who influenced his art?

4) What Renaissance artist did he admire?

5) Why did he write theoretical treatises?

6) What was his earliest recognized work?

Thomas Cole (1801 – 1848)

Nationality: English

Movement: Hudson River School

Media: Painting

Thomas Cole, an outstanding Hudson River landscapist, was born in Lancashire, England. He was apprenticed to a textile designer and engraver before immigrating, with this family, to Philadelphia in 1819. He worked in Philadelphia as an engraver. The Cole family moved to Steubenville, Ohio, where he became an itinerant portrait painter for some years and then returned to study at the Pennsylvania Academy of Fine Arts where he was most influenced by the landscapes of Thomas Birch and Thomas Doughty. In 1825 Cole moved to New York City.

In New York Cole made his debut as a landscapist. His paintings of familiar American landscapes such as the Hudson River and the Catskill Mountains became very well - known and popular. Three of his first paintings were purchased by well-known artists, which helped establish his reputation rapidly.

After a visit to Europe from 1829 to 1832, Cole settled in New York and began a large series of paintings that depicted the rise and fall of civilization. He began to combine his knowledge of European art with his natural impulse to portray nature as he saw it. He painted series of enormous allegorical significance: "The Course of Empire" (1836) and "The Voyage of Life" (1839) are good examples of these.

Being ill, depressed, and tortured, Thomas Cole spent the remainder of his life painting the romantic, realistic landscapes that are his greatest works. With their striking contrasts of light and shade, their inherent feeling of God"s presence in nature, their exquisitely fine detail and warm color, they are the keystone of American landscape painting - honest, moving, and beautiful.

he was apprenticed to; an itinerant portrait painter; enormous allegorical significance; the rise and fall of civilization; was most influenced by

дебютировал как пейзажист; изображать природу такой, какой он её видел; они являются краеугольным камнем; поразительный контраст света и тени

1) What was Cole’s job in Philadelphia?

2) When did he start painting landscapes?

3) What helped Cole establish his reputation?

4) What kind of painting is characteristic of his last period of life?

plete the table with the information from the texts.

3. Which of the artists is each sentence about? Put one name opposite each sentence.

He became one of the most influential artists of the 20th century. He spent the remainder of his life painting romantic, realistic landscapes. His prints are exemplary for their detail and precision. He received little public success during his life. Three of his first paintings were purchased by well-known artists. He was invited to paint court portraits. He tried to capture the effects of changing light. His original style is characterized by a warm palette. He believed color and form to be inseparable. He won a gold medal at the Paris Salon. He showed different influences and interests in different periods of his work. He illustrated and wrote theoretical treatises instructing artists in perspective and proportion.

4. Choose from these six artists the one that appeals you most and speak about his art and life.

Leonardo da Vinci

1. Answer the questions:

What do you know about Leonardo da Vinci?

What century does the artist belong to?

What are his most famous paintings?

2. Use the dictionary to find out the meaning of the following words from the text :

embodiment, apprentice, be impressed, commission, court, attempt, establish, patron, patronage, be buried

3. Read about Leonardo da Vinci and make a list of his paintings mentioned in the text. Find the Russian equivalents of the names.

What are the most important facts of his biography?

Leonardo da Vinci was the embodiment of the “Renaissance man”, a man who had attained mastery over all branches of art and science. He was a painter, sculptor, architect and engineer besides being a scholar in the natural sciences, medicine and philosophy. Leonardo is probably most famous for painting the Mona Lisa , which is one of the world’s best-known works of art.

Leonardo da Vinci was born on the 15th of April, 1452, as the illegitimate son of the notary Ser Piero di Antonio da Vinci and a peasant woman named Caterina, in a small town called Vinci, near Empoli, Tuscany. Although last names were already in use in Europe at the time, Leonardo never had one. His full name “Leonardo di ser Piero da Vinci” means “Leonardo son of Piero from Vinci”.

The first four years of his life were spent in a village near Vinci with his mother. After 1457, he lived with his father’s family, which soon moved to Florence. Leonardo showed promise early on, with an innate talent in art and music. In 1467, at the age of 15, he became an apprentice to the Florentine painter and sculptor Andrea del Verrocchio, the foremost artist of his day. And he remained with Andrea del Verrocchio until 1480. His first known work, which he painted as an assistant, is the angel kneeling on the left in Verrocchio’s picture the Baptism of Christ . Verrocchio was so impressed by his pupil’s genius that he gave up painting.

Other surviving works from this period include Madonna with the Carnation , Madonna Benois , Portrait of Ginevra de Benci . Leonardo received a commission to paint an altar piece St. Hieronymus , which was never finished, and to create a large panel Adoration of the Magi , which was not finished either. Unfortunately, Leonardo’s tendency to leave work unfinished was as characteristic of him as his artistic genius.

In 1482, Leonardo moved to Milan. He hoped to obtain the patronage of the ruler of the city, Ludovico Sforza, also known as Ludovico il Moro (“Ludovico the Dark”) for his swarthy features. Leonardo offered his services as a military engineer, sculptor and painter. Ludovico accepted him gladly and financed an independent workshop for the artist. Leonardo stayed in Ludovico’s service for 18 years.

In 1483, he got a commission to make a large altar piece The Virgin of the Rocks . Working as court painter and sculptor, he created the Portrait of Cecilia Gallerani (Lady with an Ermine) , Portrait of an Unknown Woman (La Belle Ferroniere) , several small Madonnas, such as Madonna Litta . During this time, Leonardo painted the Last Supper for the Dominican Monastery, which is considered to be the first work of the High Renaissance and is one of his defining works.

In the mid - to late - 1480s, when Leonardo was establishing himself as a court artist, he started his scientific studies in botany, anatomy, medicine, architecture, military engineering, geography and many, many other subjects. We know about his studies from the enormous amount of drawings and sketches that he left behind. He worked on the Treatise on Painting , a collection of practical and theoretical instructions for painters, throughout his entire adult life.

In 1499 Leonardo left Milan and moved on to Venice where he served as a military engineer. In 1500, he returned to the city of his childhood, Florence. There he worked on a commission for a monastery, which was probably Virgin and Child with St. Anne . In 1502, he was employed by General Cesare Borgia as an architect and military engineer. He prepared maps for Borgia’s future military campaigns.

In 1503, Leonardo came back to Florence. He was commissioned by Francesco del Giocondo, a friend of Leonardo’s father, to paint a portrait of his wife, Lisa Gherardini del Giocondo. The result was the Mona Lisa (La Gioconda) , which became one of the most famous pictures in the world, although the portrait was not finished in time and never delivered to the client.

From 1506 to 1512, Leonardo lived mostly in Milan under the patronage of Charles d’Amboise, the French governor of the city. During these years he created Leda and the Swan and the second version of The Virgin of the Rocks . He also continued his anatomical studies.