Unit 3 The world of colors and light Background 教学设计优质公开课译林版选修8精品.docx
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Unit 3 The world of colors and light Background 教学设计优质公开课译林版选修8精品.docx
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Unit3TheworldofcolorsandlightBackground教学设计优质公开课译林版选修8精品
Unit3TheworldofcolorsandlightBackground教学案
I.Summaryofthetext
Mainideaofthepassage
LiMing’stripinAmsterdam,thatis,visitingthemasters
MainideaofPart1(paragraph1)
LiMing’sfeelingsabouthistrip
MainideaofPart2(paragraph2)
LiMing’stripinSpain,especiallytothebirthplaceofPabloPicasso.
MainideaofPart3(paragraphs3-6)
LiMing’svisittotheLouvreMuseumandhisknowingaboutdaVinciandMonet
MainideaofPart4(paragraphs7-10)
LiMing’svisittotheVanGoghMuseum
MainideaofPart5(paragraphs11-12)
LiMing’stripplanthenextday
LiMing’strip
II.Atreediagramofthetext
VanGoghMuseum
Monet
6,000otherEuropeanpaintings
DaVinci
styles
cubism
20,000piecesofart
TheMuseedOrsay
TheLouvreMuseum
PabloPicasso
inAmsterdamAmsterdam
inParis
inSpain
works
Lovedtopaintlotus
aFrenchpainter
style
III.Aretoldversionofthetext
LiMingwroteYangYanaletter.Intheletter,hetoldherabouthistripwithhisauntandgrandmother.TheyfirstvisitedthecityofMalaga,thebirthplaceofPabloPicasso.ThentheyflewtoParisandvisitedtheLouvreMuseumwhichcontainsmorethan6,000otherEuropeanpaintingsincludingthefamousLisapaintingbytheItalianartistLeonardodaVinci.DaVinciwasatalentedpainterandheevenmadealotofscientificdiscoveries.TheyalsosawtheworksofClaudeMonetwhowasaFrenchpainterandlovedtopaintlotus.Ontheirtrip,theyexperiencedathunderstorm.Later,theywenttotheVanGoghMuseumwhopaintedeverything.ThePotatoEatersisoneofhismostfamousoilpaintings.Healsodid36paintingsofhimself.Althoughweadorehisworktoday,hewasnotsuccessfulwhilehewasalive.Theyweregoingofftoanothermuseumthere.ThemostfamouspaintingsinitarebyRembrandt.TheywantedtoseeapaintingofhiscalledTheNightWatchman.Hesaidhewouldtellhermoreabouthistripafterhegotback.
SectionB
I.Avocabularyaboutdifferentcolours
beige米色black黑色blue蓝色brown褐色,棕色
bright鲜bronze古銅色dark深flesh肉色
fluorescent荧光gold金色green绿色green-yellow青色
grey灰色light浅maroon紫褐色;褐红色orange橙色
pink粉红purple紫色red红色silver银色
transparent透明white白色yellow黄色
II.AnintroductiontoPicassoandtheperiodswhichhispaintingswentthrough
1.Introduction
Picasso,PabloRuizy(1881-1973),Spanishpainter,whoiswidelyacknowledgedtobethemostimportantartistofthe20thcentury.Along-livedandhighlyprolific(producingagreatnumberoramountofsomething)artist,heexperimentedwithawiderangeofstylesandthemesthroughouthiscareer.AmongPicasso’smanycontributionstothehistoryofart,hismostimportantincludepioneeringthemodernartmovementcalledcubism,inventingcollageasanartistictechnique,anddevelopingassemblage(constructionsofvariousmaterials)insculpture.PicassowasbornPabloRuizinMálaga,Spain.Helateradoptedhismother’smoredistinguishedmaidenname—Picasso—ashisown.ThoughSpanishbybirth,PicassolivedmostofhislifeinFrance.
2.FormativeWork(1893-1900)Picasso’sfather,whowasanartteacher,quicklyrecognizedthathischildPablowasaprodigy.PicassostudiedartfirstprivatelywithhisfatherandthenattheAcademyofFineArtsinLaCoruña,Spain,wherehisfathertaught.Picasso’searlydrawings,suchasStudyofaTorso,AfteraPlasterCast(1894-1895,MuséePicasso,Paris,France),demonstratethehighleveloftechnicalproficiencyhehadachievedby14yearsofage.In1895hisfamilymovedtoBarcelona,Spain,afterhisfatherobtainedateachingpostatthatcity’sAcademyofFineArts.Picassowasadmittedtoadvancedclassesattheacademyafterhecompletedinasingledaytheentranceexaminationthatapplicantstraditionallyweregivenamonthtofinish.In1897PicassoleftBarcelonatostudyattheMadridAcademyintheSpanishcapital.Dissatisfiedwiththetraining,hequitandreturnedtoBarcelona.
AfterPicassovisitedParisinOctober1900,hemovedbackandforthbetweenFranceandSpainuntil1904,whenhesettledintheFrenchcapital.InParisheencountered,andexperimentedwith,anumberofmodernartisticstyles.Picasso’spaintingLeMoulindelaGalette(1900,GuggenheimMuseum,NewYorkCity)revealedhisinterestinthesubjectmatterofParisiannightlifeandinthestyleofFrenchpainterHenrideToulouse-Lautrec,astylethatvergedoncaricature(讽刺画,漫画).Inadditiontocaféscenes,Picassopaintedlandscapes,stilllifes,andportraitsoffriendsandperformers.
3.BluePeriod(1901-1903)From1901to1903Picassoinitiatedhisfirsttrulyoriginalstyle,whichisknownastheblueperiod.Restrictinghiscolorschemetoblue,Picassodepictedemaciated(verythinandweak,usuallybecauseofillnessorextremehunger)andforlornfigureswhosebodylanguageandclothingbespeak(tosuggestorshow)thelowlinessoftheirsocialstatus.InTheOldGuitarist(1903,ArtInstituteofChicago,Illinois),Picassoemphasizedtheguitarist’spovertyandpositionasasocialoutcast,whichhereinforcedbysurroundingthefigurewithablackoutline,asiftocuthimofffromhisenvironment.Theguitaristiscompressedwithinthecanvas(noroomisleftinthepaintingfortheguitaristtoraisehisloweredhead),suggestinghishelplessness:
Theguitarististrappedwithintheframejustasheistrappedbyhispoverty.AlthoughPicassounderscored(toemphasize)thesqualorofhisfiguresduringthisperiod,neithertheirclothingnortheirenvironmentconveysaspecifictimeorplace.ThislackofspecificitysuggeststhatPicassointendedtomakeageneralstatementabouthumanalienationratherthanaparticularstatementaboutthelowerclassinParis.
4.RosePeriod(1904-1905)In1904Picasso’sstyleshifted,inauguratingtheroseperiod,sometimesreferredtoasthecircusperiod.AlthoughPicassostillfocusedonsocialoutcasts—especiallycircusperformers—hiscolorschemelightened,featuringwarmer,reddishhues,andthethickoutlinesoftheblueperioddisappeared.Picassomaintainedhisinterestinthethemeofalienation,however.InTwoAcrobatsandaDog(1905,MuseumofModernArt,NewYorkCity),herepresentedtwoyoungacrobatsbeforeanundefined,barrenlandscape.Althoughtheacrobatsarephysicallyclose,theygazeindifferentdirectionsanddonotinteract,andthereasonfortheirpresenceisnotmadeclear.Differencesintheacrobats’heightalsoexaggeratetheirdisconnectionfromeachotherandfromtheemptylandscape.ThedogwasafrequentpresenceinPicasso’sworkandmayhavebeenareferencetodeathasdogsappearatthefeetoffiguresinmanySpanishfunerarymonuments.
DuringthisperiodPicassometFernandeOlivier,thefirstofseveralwomenwhosharedhislifeandprovidedinspirationforhisart.Olivier’sfeaturesappearinmanyofthefemalefiguresinhispaintingsoverthenextseveralyears.
5.ClassicalPeriod(1905)andIberianPeriod(1906)Experimentationandrapidstylechangesmarktheyearsfromlate1905on.Picasso’spaintingsfromlate1905aremoreemotionallydetachedthanthoseoftheblueorroseperiods.Thecolorschemelightens—beigesandlightbrownspredominate—andmelancholyandalienationgivewaytoamorereasonedapproach.Picasso’sincreasinginterestinformisapparentinhisreferencestoclassicalsculpture.ThefigureofaseatedboyinTwoYouths(1905,NationalGallery,Washington,D.C.),forexample,recallsanancientGreeksculptureofaboyremovingathornfromhisfoot.
By1906PicassohadbecomeinterestedinsculpturesfromtheIberianpeninsuladatingfromaboutthe6thtothe3rdcenturyBC.PicassomusthavefoundthemofparticularinterestbothbecausetheyarenativetoSpainandbecausetheydisplayremarkablesimplificationofform.TheIberianinfluenceisimmediatelyvisibleinSelf-Portrait(1906,PhiladelphiaMuseumofArt,Pennsylvania),inwhichPicassoreducedthePictureofhisheadtoanovalandhiseyestoalmondshapes,thusrevealinghisincreasingfascinationwithgeometricsimplificationofform.
6.AfricanPeriod(1907)Picasso’spredilectionforexperimentationandfordrawinginspirationfromoutsidetheacceptedartisticsourcesledtohismostradicalandrevolutionarypaintingyetin1907:
LesDemoisellesd'Avignon(1907,MuseumofModernArt).Thepainting’stheme—thefemalenude—couldnotbemoretraditional,butPicasso’streatmentofitisrevolutionary.Picassotookevengreaterlibertiesherewithhumananatomythaninhis1906Self-Portrait.Thefiguresontheleftinthepaintinglookflat,asiftheyhavenoskeletalormuscularstructure.Facesseenfromthefronthavenosesinprofile.Theeyesareasymmetricalandradicallysimplified.Contourlinesareincomplete.Colorjuxtapositions—betweenblueandorange,forinstance—areintentionallystridentandunharmonious.Therepresentationofspaceisfragmentedanddiscontinuous.
7.Cubism(1908-1917)Formanyscholars,LesDemoisellesd’Avignon—withitsfragmentedplanes,flattenedfigures,andborrowingsfromAfricanmasks—marksthebeginningofthenewvisuallanguage,knownascubism.OtherscholarsbelievethatFrenchpainterPaulCézanneprovidedtheprimarycatalystforthischangeinstyle.Cézanne’sworkofthe1890sandearly1900swasnotedbothforitssimplificationandflatteningofformandfortheintroductionofwhatarthistorianscallpassage,theinterpenetrationofonephysicalobjectbyanother.Forexample,inMontSainte-Victoire(1902-1906,MetropolitanMuseumofArt,NewYorkCity),Cézannelefttheouteredgeofthemountainopen,allowingtheblueareaoftheskyandt
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