Московский Гуманитарный Педагогический Институт Проект по ПАУПР

1. на тему: «English through Art.Home» Работу выполнили Студентки группы 3504: Гапсаламова Д. Князева Д. Макарова Ю. Никитина Е. Полтавец Н. Рогозянская Е. Руденко Е. Смолякова Е. Троицкая А. Руководитель: Гулиянц А.Б. Гулиянц С.Б. Савостьянова Т.Н. Московский Гуманитарный Педагогический ИнститутПроект по ПАУПР 2009 г.

2. План • Введение • Актуальность • Цель и задачи • Предмет и объект • Гипотеза • Методы исследования • Практическая значимость • Основная часть • Building ( Никитина Е.) • Living room ( Гапсаламова Д., Троицкая А.) • Bedroom (Полтавец Н.) • Kitchen ( Макарова Ю.) • Dining room ( Князева Д., Смолякова Е.) • Study (Руденко Е.) • Bathroom& Nursery (Рогозянская Е.) 3. Заключение Список литературы

3. Актуальность данного исследования заключается в том, что тема «Home» всегда присутствует в учебной программе, и в настоящее время необходимо разрабатывать новые методы по введению материала на данную тему, а также учитывать потребность в практике и необходимость дополнения теоретических построений. Цель: разработка новых подходов к изучению темы «Home», а такжеразработка комплекса упражнений Задачи: Практические: разработав данный комплекс, мы сможем использовать его на уроках английского языка Воспитательные: приобщение учащихся к мировой художественной культуре Развивающие: развитие интеллекта, памяти, навыков устной и письменной речи Объект исследования – искусство на уроках английского языка Предмет исследования – использование художественных произведений на уроках английского языка и их влияние на мотивацию учащихся Гипотеза: В ходе изучения темы Home на уроках английского языка использование художественных произведений благоприятно сказывается на усвоении материала и помогает увеличить мотивацию к обучению. Методы исследования: • Обработка и анализ художественных материалов на тему «Home» • Разработка комплекса упражнений Практическая значимость данного исследования заключается в том, что, разработав комплекс упражнений, мы сможем разнообразить ход урока, а также увеличить мотивацию учащихся к обучению английского языка.

4. building

5. LIGHT AT TWO LIGHTSby Edward Hopper

6. History The Two Lights of Cape Elizabeth stand up at the end of a long and narrow granite ridge raised fifty or sixty feet above the low ground around it. ...The outlook opened to us here, whether of sea or shore, of windy cape or tumbling surf, is uncommonly fine, if only one could get rid of the train of ideas that these roaring reefs on one hand, and the life-saving station on the other ...so infallibly suggest. Even in the season of calm seas and serene skies these gray little cabins by the sea constantly remind us of lurking dangers... -- Samuel Adams Drake, The Pine Tree Coast, 1891.

7. To help mark the entrance to Portland's harbor, a 50-foot stone black and white pyramidal day beacon was erected in 1811 at Cape Elizabeth, about five miles southeast of Portland Harbor. The cape, by the way, was named by Capt. John Smith in honor of Princess Elizabeth, daughter of King James I and Queen Anne of Denmark. The stone marker was torn down in 1828 to make way for the first pair of Cape Elizabeth lighthouses, built for $4,250. The east light was built on the former site of the marker, and the inner or west light was built directly to the west. Elisha Jordan was appointed first keeper at a salary of $450 per year. He remained for six years. The two 65-foot rubblestone towers served as range lights; mariners approaching Portland Harbor would line them up to know they were on course. The lights were considered among the most important on the coast. Fresnel lenses were installed in the towers in 1855. In 1856, the west light was discontinued for almost a year; it was relighted after many complaints.

8. Description The painting under the name LIGHT AT TWO LIGHTS reflects a quiet life of the country side. There are not many subjects on the picture – only a lighthouse and an old hut. The hut in made of wood, that is called boarding. The major colours are inconspicuously white. The sky, the beacon, the house are all practically of the same colour. At the bottom of the picture we can see scorched grass that is painted in dark colours with the predominance of black and dark green. This view one can call the commonest view of the countryside. In every village one may find the same landscape. That is what, I think, makes this picture so special. Its all due to the simplicity of the painting. Whenever you miss the still life of the country side and you look at the picture, one recalls something close and native to himself.

9. Edward Hopper1882-1967 Edward Hopper was born on July 22, 1882, to a prosperous dry-goods merchant in Nyack, New York, a small town on the Hudson about twenty-five miles north of New York City. He enrolled in the Correspondence School of Illustrating in New York in 1900; he transferred to the New York School of Art the next year, and it was here that he studied with legendary teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller. Hopper visited Europe three times between 1906 and 1910, and while he was a life-long Francophile, he never went abroad again. In 1913 he moved to Greenwich Village, renting the top floor apartment at 3 Washington Square North. This would be his home for the rest of his life. Until the age of 40, Hopper’s career was marked by disappointment. He only sold one painting, and was rarely able to get into gallery shows. He supported himself through commercial illustration—which he loathed—and printmaking, which won him critical recognition. Hopper’s breakthrough came in 1923 when the Brooklyn Museum bought his watercolor The Mansard Roof for $100. The following year he married fellow painter Josephine Nivison and began showing his work with prominent New York art dealer Frank Rehn. Solo shows made Hopper’s reputation: his oils and watercolors sold well, and critics applauded his quiet realism, use of light, and above all, his ability to reveal beauty in the most mundane subjects.

10.  In 1933, the Museum of Modern Art gave Hopper his first retrospective exhibition. The exhibition included many of his signature subjects: Victorian houses, New York restaurants, automats, drugstores, and bridges, as well as views into quiet, middle-class apartments. Also in the exhibition were paintings from his summer travels to Gloucester, Maine and after 1930, from Truro on Cape Cod. In 1934, he and his wife Jo built a house in Truro where they spent almost every summer. • Although Hopper continued to travel, his best-known works came from his solitary wanderings in New York City. These include Early Sunday Morning, which shows Greenwich Village shop fronts before people filled the streets, and Nighthawks, an image of a diner late at night. • Hopper died at the age 84, and during his long career saw the rise of many different avant-garde moments, including Surrealism, Abstract Expressionism, and Pop Art. Despite the popularity of these styles, he remained esteemed by critics and the public. In 1950, the Whitney Museum gave him a major retrospective and he was featured on the cover of Time magazine in 1956. In 1967, the year of his death, he represented the United States in the prestigious Sao Paolo Biennal. • In 1971, his wife bequeathed more than 3,000 of his works to the Whitney Museum, which has since staged many important and critically acclaimed exhibitions of his work. While reviewing of these exhibitions, novelist John Updike referred to Hopper’s work as “calm, silent, stoic, luminous, classic,” a description that remains true today.

11. LIGHT AT TWO LIGHTS • Beacon,lighthouse- маяк • Harbor-гавань • Reflect – отражать • absorbed – поглощенный • Chimney – труба • Scorched- паленый • Boarding –обшивка досками • sash – оконная створка • window frame - оконная рама

12. Translate the words. There is a маякon the left. There is a трубаon the roof of the house. The оконные рамыseem to be very old. The picture is painted in бледныхcolours. The surface of the house is made by обшивка досками. Оконные створки seem really old. The painting отражаетa quite life of the country side.

13. Pierre Bonnard The French Window

14. Pierre Bonnard(1867-1947) Pierre Bonnard was born October 3, 1867 at Fontenay-aux-Roses, near Paris, into the family of a high-ranking official in the French War Ministry. After an idyllic and happy childhood, in 1886, Pierre entered the University of Paris to study law. In 1887, he also enrolled for evening classes at the Académie Julian, a liberal Parisian art school, where he made friends with Paul Sérusier (1864-1927), Mauris Denis (1870-1943), Henri Ibels (1867-1936) and Paul Ranson (1862-1909). The five friends formed a society known as Nabiim or the Nabis after the Hebrew for 'prophets'.

15. After graduating from the University, Bonnard was obliged to train as a civil servant in the Paris Registry Office from 1888. At the same time he entered the Ecole des Beaux-Arts, an academic institution with a solid reputation. Evidently the Ecole did not contribute much to Bonnard's artistic development, but there he made friends with Ker-Xavier Roussel (1867-1944) and Edouard Vuillard (1868-1940), who were both initiated into the Nabis. In 1918 he was made the honorary president of a society of young French painters. In 1926 Bonnard bought a house named 'Le Bosquet' at Le Cannet on the Côte d'Azur. The house remained his main place of residence and work until his death. The same year, 1926 year, he visited the USA. His works of the 1920s and 1930s were called "meditative masterpieces" by some critics. • In 1937 he was honored with the responsibility of decorating the French pavilion at the Exposition Universelle in Paris. According to his own opinion he failed to create something worthy on the large surface. • In his old age, Bonnard returned to the youthful exuberance of dazzling light and color, producing compositions of exquisite taste. During the Second World War he lived in Le Bosquet, and continued living there as a recluse after his wife’s death in 1942. In 1945, he paid his last visit to Paris. On January 23, 1947 Bonnard died.

16. Description In The French Window, we are witnessing a representation of the entire process of the act of creation of the idea as well as seeing the completed painting, all in one work. It is a revealing and great work of Bonnard, and to see it helps us to understand his quest. We see Bonnard experiencing for the first time his sensation, conceiving the first idea of the painting as image whilst looking at his model, Marthe. She is opposite him, the back of her head towards us, her face being viewed by the artist, who is probably drawing her at that moment on a small piece of paper, all of this takes place in the mirror, whilst we the viewers also see Marthe in front of the mirror as Bonnard would have seen her in front of him, intensely absorbed in a specific act of mixing or stirring a bowl tilted in front of her. In the painting, the clarity of the figure of Marthe is noticeably particular and detailed.  It is only after carefully observing the “final” marks describing Marthe looking at the bowl (and looking inward at the same time, reflecting whilst being reflected) and describing the vitality of her hands grasping the bowl and mixing the ingredients that we realize their source – pencil incisions, scratched and etched into the paint. Defining the head’s expression and tilt, Bonnard uses the graphite and charcoal along with the pigments of color. We find charcoal again amidst colored oils in “TheWhite Interior,” a painting with a myriad of different whites, and a multitude of spaces, and a floor mysteriously turning into a crouching figure. Bonnard uses charcoal marks as final marks in and on top of the paint film to modify and control the flow of space. Bonnard’s constant range of meanings allows us to consider his successful use of both black and white in the The White Interior (1932) and The French Window (1932,). His desire for black and white surrounded by rich color is documented. The white and black frequently resound against saturated cadmium reds and apricot yellows, sapphire blues and viridian greens. One can also think of the symbolic nature of both black and white: white, the metaphor for the origins of the work, the paper, the canvas ground, or primed support; black, the instrument of decision, the color associated with drawing, the color of ink, charcoal and graphite.

17. The French Window Interior – внутренняя часть Colored oils – цветные масляные краски Crouching - согнувшийся Darkened – потемневшый View – вид Scratched – исцарапанный Marine – морской пейзаж

18. Describe the painting There is a _____ in a blue dress in the foreground. There is a ______ in woman’s hands. There is a _______ behind the woman, sitting in the armchair. The woman is sitting near the ____ . we can see a _____ view out of the window. The window consists of _____ pieces of glass. There are some ______ colour spots on the window frame. There is ______ on the table.

19. True or false There is a woman sitting on a stool. The woman is wearing a red dress. There is a big window in the background. There is a man in the foreground. The table is empty. There is a sea view out of the window. The woman is sleeping. The picture seems to be all in dark colours.

20. Living room

21. William McGregor Paxton William McGregor Paxton (June 22, 1869 – 1941) was an American Impressionist painter. Born in Baltimore, the Paxton family came to Newton Corner in the mid-1870s, where William's father James established himself as a caterer. At 18, William won a scholarship to attend the Cowles Art School, where he began his art studies with Dennis Miller Bunker. Later he studied with Jean-Léon Gérôme in Paris and, on his return to Boston, with Joseph DeCamp at Cowles. There he met his future wife Elizabeth Okie, who also was studying with DeCamp. After their marriage, William and Elizabeth lived with his parents at 43 Elmwood Street, and later bought a house at 19 Montvale Road in Newton Centre. Paxton, who is best known as a portrait painter, taught at the Museum School from 1906 to 1913. Along with other well known artists of the era, including Edmund Charles Tarbell and Frank Benson, he is identified with the Boston School. Paxton was working on his last painting, a view of his living room at 19 Montvale Road, with his wife posing for him, when he was stricken with a heart attack and died at the age of 72.

22. William MacGregor Paxton The Front Parlor, 1904 a frame flowers wallpaper a vase a statue a lamp a fireplace a table a chair a carpet

23. The Front Parlor William McGregor Paxton is famous for his canvases depicting women. One of his well-known works is the Front Parlor created in 1904. It represents a young lady reading a letter by the fireplace. The oil painting is executed in soft and delicate colours which create romantic and lyrical air. The painting is full of light and possesses the colour scheme where white and cream predominate. Such selection of colours form a harmonious unity and the spectator can’t help feeling conciliation mixed with happiness. Talking about the plot of the canvas the viewer can see an exquisitely dressed young lady engrossed in reading. The scene takes place in the sitting room or in the parlor as it’s clear from the name of the painting. The lady evidently belongs to a noble and rich family: her morning dress corresponds to the latest fashion of the time and her erect carriage and self-confidence of a pose underline her aristocratic origin. The room is beautifully furnished, all the objects in it are chosen with taste and elegance. The young woman seems to be totally absorbed in the letter. There’s a faint smile on her face and we can only suggest what the letter contain. All in all it should be a love letter as the atmosphere of the room is so bright and cheerful that it hints us that nothing except for words of love can be written there.

24. Pavel Fedotov Pavel Fedotov (1815 – 1852) is a famous Russian painter. He was an officer of the Imperial Guards of Saint Petersburg. Like many of his colleagues at the time, he was interested in arts. He played the flute and attended evening school where he learned painting. Fedotov decided to focus on painting and left the army in 1844. At first, he used pencil and watercolor but switched to oil painting starting in 1846. Fedotov enjoyed a brief period of public success at Saint Petersburg exhibitions in 1849 and 1850, when – in the wake of the revolutions of 1848 – his close ties to the Petrashevsky Circle made him a target of government persecution. Fedotov was only 37 years old when he died in a mental clinic.

25. Pavel Fedotov the Major’s Courtship,1848 threshold a chandelier a painting a candlestick a wall a tray a table cloth a shawl parquet

26. The Major’s Courtship Pavel Fedotov’s brightest masterpieces include the Difficult Bride, the Young widow, the Breakfast of an Aristocrate and etc. Among them we can find the Major’s Courtship. The painting was exhibited at the 1848-1849 Academy exhibition. It instantly caused an uproar. It was impossible to get close to the paintings, so great was the crowd trying to see it. The Major’s Courtship depicts the readiness of merchant parents to sell anything, even their own daughters, so long as they can turn a profit. The self-important major, who preens his moustache on the threshold of the merchant’s living room while the matchmaker pleads his cause, is bathed in light, symbolic of his promising financial prospects. The impoverished merchant, in contrast, recedes into the background of a dingy and shabby reception room badly in need of decorating. His wife attempts to restrain their daughter, who runs in mock-reluctance from her suitor. However, the subtle inclusion of four champagne glasses laid out in advance undermine the daughter’s magnificent pretence of surprise.

27. Kapiton Zelentsov(1790-1845) Kapiton Alexeevich Zelentsov was born into the well-to-do-family of a collegiate assessor, owner of 3 big plants in the Urals. In the 1820s, Kapiton Zelentsov was at state service, first in the Ministry of Internal Affairs, then in the Personal Office of the Emperor. He began his studies with Venetsianov in 1820s. Though he never dropped his service for painting, he reached some results in the latter, in 1830 he received from the Academy the title of a painter, and was one of the first Venetsianov's students.

28. Sitting-Room ceiling curtain a portrait a picture a pillar a mirror a candle candlestick a window a chair settee a table a windowsill a carpet floor

29. Sitting-Room In the first third of the 19th century, the cult of nature was replaced by a longing for the comfort of private residences. The genre of the interior appeared, reflecting the “poetry of home life.” In this painting an interior is depicted in the style of Late Classicism. The reception room opens onto two enfilades – one is formal, state rooms, while the other ends in the so-called servants’ entryway. The reception room is situated on the mezzanine floor of the house which was closed to outsiders and was typical of Moscow townhouses of the first half of the 19th century. The idea of “private life” and the quiet “household nest” was linked at the time not with the capital, St Petersburg, but rather with Moscow and with countryside estates. The interior is bathed in an even, mild light. This is the realm of contemplation, reflection, creativity, as the drawing with the three graces in the pier over the clock suggests.

30. Edgar Degas(1834-1917) • Edgar Degas was born into the family of bankers of aristocratic extraction. His mother died in 1847, so the boy's father, Auguste de Gas, and grandfather, Hilaire de Gas, were the most influential figures in his early life. Despite his own desire to paint he began to study law, but broke off his studies in 1853. He frequented Félix Joseph Barrias’s studio and spent his time copying Renaissance works. In 1854-1859 he made several trips to Italy, some of the time visiting relatives, studying the Old Masters; he painted historical pictures and realistic portraits of his relatives. • By 1860 Degas had drawn over 700 copies of other works, mainly early Italian Renaissance and French classical art. In the troubled post-war years Degas undertook his longest journey. In 1872 with his younger brother René, he traveled to New York and New Orleans, where his uncle, his mother's brother, Michel Musson, ran a cotton business. Degas stayed in Louisiana for 5 months and returned to Paris in February 1873. After his return from America, Degas had closer contact with dealers such as Durand-Ruel, in an attempt to bring his work to public attention independently of the Salon. In 1874 Degas helped organize the 1st Impressionist exhibition. He always found the term “Impressionism” unacceptable – mainly, perhaps, because he did not share the Impressionists’ over-riding interest in landscape and color. He did not care to be tied down to one method of painting. Nonetheless, Degas was to participate in all the group exhibitions except that of 1882. Degas used the group and the exhibitions high-handedly to promote himself. His strategy seems to have been to show off his own diversity at the exhibitions, for he always entered works that were thematically and technically very varied. • The rapid worsening of his eye condition caused him to avoid all society; he drew pastels, modeled statues in wax and extended his art collection. In 1909-1911, due to failing eyesight, he stopped work completely. After Degas’ death about 150 small sculptural works were found in his studio, and unsurprisingly his subjects tended to be race horses or dancers.

31. The Bellelli Family a wall a mirror wallpaper a picture clock a frame a table armchair carpet

32. The Bellelli Family It was at the invitation of Baron Gennaro Bellelli and his wife Laura, artist's aunt (an Italian aunt), that Degas went to Florence in August 1858. There he did numerous drawings of the family. He finally painted his group portrait of the Bellelli Family in his studio in Paris. Cousin Giulia is sitting, cousin Laura is standing with mother, Laura Bellelli, the baron is in an armchair, half-turned to the spectators.

33. bedroom

34. Vincent Van Gogh 1) Vincent Willem van Gogh (30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist artist. Some of his paintings are now among the world's best known, most popular and expensive works of art. 2) Van Gogh worked only with sombre colours, until he encountered Impressionism and Neo-Impressionism in Paris. He incorporated their brighter colours and style of painting into a uniquely recognizable style, which was fully developed during the time he spent at Arles, France. 3) The son of a pastor, brought up in a religious and cultured atmosphere, Vincent was highly emotional and lacked self-confidence. He was known by his remarkable creativity & some strange behavior.

35. Vincent's Bedroom in Arles Vincent's Bedroom in Arlesis one of the artist's best known paintings. The striking colours, unusual perspective and familiar subject matter create a work that is not only among Van Gogh's most popular, but also one that he himself held as one of his own personal favourites. In fact, Vincent describes this painting in no less than thirteen letters and, as a result, a great deal is known about the artist's own feelings about the work.

36. Vincent’s description of the picture This time it's just simply my bedroom, only here colour is to do everything, and giving by its simplification a grander style to things, is to be suggestive here of rest or of sleep in general. In a word, looking at the picture ought to rest the brain, or rather the imagination. The walls are pale violet. The floor is of red tiles. The wood of the bed and chairs is the yellow of fresh butter, the sheets and pillows very light greenish-citron. The coverlet scarlet. The window green. The toilet table orange, the basin blue. The doors lilac. And that is all - there is nothing in this room with its closed shutters. The broad lines of the furniture again must express inviolable rest. Portraits on the walls, and a mirror and a towel and some clothes. the conception is simple. The shadows and the cast shadows are suppressed; it is painted in free flat tints like the Japanese prints.

37. chair wall shutters portrait mirrow door poster clothes pillow basin towel toilet table coverlet bed back bed floor

38. Practical tasks Practice saying the words.

39. Link given definitions with the active words • Chair A. Things that you wear on your body • Shutter B. A piece of material used for drying things • Bed C. A large flat object you open when you want to enter or leave a building, room or vehicle 4. Floor D. A round open container used for holding liquids 5. Bed back E. A piece of furniture that you sleep on 6. Wall F. A cover that you put over the other covers on a bed • Portrait G. A piece of furniture for one person to sit on • Toilet table H. A piece of special glass in which you can see yourself • Door I. A back part of a bed • Basin J. A flat area that you walk on inside a building or a room • Coverlet K. An uptight side of a room inside a building • Mirror L. A piece of furniture that consists of a flat top and 3-4 legs • Clothes M. A painting, drawing, or photograph of a person • Towel N. A cover that can be closed over the outside of a window

40. Complete the following sentences with the active words It’s midnight-why aren’t you in…? We were sitting on the … watching TV. I’m going to put on some clean… She looked at herself in the … I had to sit on a hard wooden… all day. There was a draught coming from under the … She felt along the … for the light switch. I dropped the … by accident.

41. Evgenia Gapchinska Evgenia Gapchinska is a modern and a very talented painter. She lives and works in Kiev, Ukraine. Her paintings are cheerful, light and really touching. Her characters are little funny children and angels, who overeat chocolate, like sausages and adore to pose in beautiful costumes. The artist’s works are full of optimism and make people believe that happiness exists.

42. New words • Dresser • Drawer • Pyjamas

43. New Words Pillow Blanket Nightgown Window

44. New Words Single bed Bed sheet Slippers

45. Practical Tasks • What’s in the bedroom? 1. (Describe the bedroom, using the active words and constructions There’s/There’re) Ex. There’s a bed. There’re two chaires. 2. Practise the questions and answers. Is there a television? Is there a radio? Are there any books? How many beds are there? Are there any portraits? • Ask and answer questions about these things A bed, a dog, slippers, a mirror, a window, a clock, a computer, a blanket, a pillow, pictures, a drawer, a dresser, newspapers, a blanket, pyjamas 4. Think of your favourite room. Write down why you like it and some adjectives to describe it. ( My favourite room is… I like it because… )

46. kitchen

47. The Milkmaid by Jan Vermeer • Johannes or Jan Vermeer (baptized in Delft with the name Joannis on October 31, 1632, and buried in the same city under the name Jan on December 16, 1675) was a Dutch Baroque painter who specialized in exquisite, domestic interior scenes of ordinary life. Vermeer was a moderately successful provincial genre painter in his lifetime. • Although the genre of "kitchen pieces" belongs to a long tradition in the Netherlands, with Joachim Beuckelaer and Pieter Aertsen in the sixteenth century being its initiators, it lost favour in the subsequent century, with the exception of Delft, where it endured. Vermeer's realization, however, has nothing in common with his archaic forerunners. His vision is concentrated on a single sturdy figure, which he executes in a robust technique, in keeping with the image that he wants to project. The palette features a subdued colour scheme: white, yellow, and blue. But the colours are far from frank or strident, and are rather toned down, in keeping with the worn work clothes of his model. • The still life in the foreground conveys domestic simplicity, and the light falling in from the left illuminates a bare white kitchen wall, against which the silhouette of the maid stands out. One gains from this deceptively simple scene an impression of inner strength, exclusive concentration on the task at hand, and complete absorption in it. The extensive use of pointillé in the still life lets us presume the use of the inverted telescope in an effort to set off this part of the painting against the main figure and alert the viewer to the contrast between the active humanity of the maid and her inanimate environment. • Vermeer portrays the milkmaid with restraint, but at the same time this scene of common life is full of vitality and perfect harmony. The colouring is rather subtle, except for the maid's clothes – the colour of her shirt is very bright and hot. In this painting Vermeer managed to capture the sitter's vitality and inner strength, tranquility and peacefulness of her environment. Obviously everything in the picture indicates the sitter's profession – a jar with milk in her hands, her clothes, kitchen utensils, the surroundings. The picture may seem dull at first, but soon after looking at it closer the viewer reveals its unsurpassed beauty and fullness.

48. Name the objects depicted in the picture. Describe the colour scheme of the picture.

49. Le Gouter Des Enfants by Victor Gilbert

50. Victor Gilbert was born in Paris in 1847 and died in 1935. Victor Gabriel Gilbert established himself as a painter of French genre scenes. His natural ability for drawing was acknowledged at an early age but due to financial circumstances Victor Gabriel Gilbert was required to work as an artisan. The only formal art education Victor Gabriel Gilbert received was at the hands of Pierre Levasseur at the Ecole de La Ville de Paris. • In the picture we can see a family of three children and their mother in domestic surroundings. The scene takes place in the kitchen where the children are eating their favourite food – bread and jam. • The picture is full of tranquility of common everyday life. The scene seems so lively that the viewer can feel the warmth and cosiness of the kitchen and children's joy. Gilbert portrays the emotions of the children with moving sincerity. The viewer can notice at once that the children are eager to have their delicious meal. Two boys are represented sitting at the table, their sister standing next to their mother. In the background we can see a cupboard with many plates in it, a clock and a picture on the wall, some ladles. • The colour scheme of the picture is quite monotonous. The soft and delicate light coming from the picture makes it very charming and restful. The picture is full of tender light filling the kitchen, and the liveliness of the sitters makes a perfect harmony.