Тренировочное задание 16 на подбор заголовков к текстам.
|1. Real images out of real time.||5. Inspired by new ideas.|
|2. What to begin with.||6. Extraordinary trends.|
|3. A many-sided depiction of women.||7. The best time to attend.|
|4. The general view of the exhibition.||8. Modern Women.|
A) Inevitably each year in Moscow there comes a day — usually in March — when the weather is so unremittingly grim that an indoor walk is called for.
The New Tretyakov Gallery is perfect for this purpose, with its spacious, light interior and changing exhibitions. It is open from Tuesdays to Sundays, 10 am—7 pm. And if the weather brightens up you can visit the outdoor sculpture garden, a graveyard of outdated ideological tributes.
B) You can pick up a map to help you to find your way through the highlights from the administrator’s desk on the ground floor. The permanent collection is arranged chronologically, starting on the top floor.
The only drawback is that since the law changed two months ago, foreigners (except diplomats) have to pay an entry fee of 360 roubles (as opposed to 250 for Russians), no matter how long they have lived here or what documents they produce.
C) To commemorate Women’s Day this tour of the permanent exhibitio concentrates on the works of female artists. The 20th century saw a large number of exceptional Soviet women artists, painting in a variety of styles. They range from the colourful, naive style of Natalya Goncharova in a prerevolutionary era of experiment, through the various manifestations of the avant-garde to the uniquely Russian post-modernism of the 1970-s, a decade dominated by women artists.
D) Goncharova was born in 1881 and, like other artists of the time, was inspired by Russian folk culture to create a symbolic style, resonant of centuries of culture but strikingly modern in its composition. In her 1911 Winter, Picking up Brushwood (Room 1), the bent and huddled figures in а grey-and-white landscape with its bare tree blossoming into surreal starry snowflakes, make for a timeless scene that raises a simple, seasonal task into a spiritual ritual. Her embroidery-style Peacock draws on motifs from traditional Russian crafts.
E) The decades that followed were dedicated to extreme theories of art and multiple experimental forms. Alexandra Exter, whose works were gathered for a monumental retrospective in MMOMA last year, has been variously called the «queen of Cubism» or «the amazon of the Avant-garde». Venice (1918), with its bright colours and geometric shapes, is typical of her attempts to recreate reality in the light of new extraordinary tendencies. The huge, carnival-like composition takes up a whole wall of Room 5.
F) In the same decade Lyubov Popova created her Architectonics of Painting (Room 6). Uncompromising lines and blocks of red, white and black rule out any possibility of a figurative interpretation. Popova was one of a group of young artists influenced by Malevich who organised the First Working Group of Constructivists, which had a profound effect on art and architecture in the 1920-s and early 30-s.
G) It is interesting to see the way women themselves are portrayed in art during the subsequent decades. Side Gallery 10, which has a changing selection of graphic works and sculpture, currently displays Lev Bruni’s Maternity (1920), showing a breast-feeding woman lying on a bed, looking directly out of the sketch.
There are also pensive, ink drawings of the poet Anna Akhmatova. Yury Pimenov’s A New Moscow (1937) is another iconic image of Soviet womanhood that generally hangs in Room 16. The shorthaired woman steering a car is at once focal point and observer of the busy city.
A) – 7
B) – 2
C) – 4
D) – 1
E) – 6
F) – 5
G) – 3