Lust for Life

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Lust for Life

• Irving Stone

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Lust for Life(1)

• Lust for Life is biographical novel of Irving
  Stone. The dramatic life of Dutch Artist Vincent
  Van Gough is drawn by the author. This story is
  based on Van Goughs three volume of letters to
  his brother Theo (1927-1930).

3
Lust for Life(2)

• The story begins with romanticism of Van Gough at
  London with Ursula. He was then twenty one and in
  love for the first time. He thought that time he
  would be fortunate if he could eat breakfast
  opposite Ursula for the rest of the days. But it
  had tragic end. Ursula replied Do I marry every
  man that falls love with me. Van Gough got title
  Red Headed Fool.

4
Lust for Life(3)

• Van Goughs next destination was Borinage , a
  coal mining region , in the south of Belgium.
  Petit Wesmes was the miners village. It could
  boast of one brick building , the home of Jean
  Baptist Danis. It was the house Vincent made his
  way .

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Lust for Life(4)

• He started sketching in Borinage coal mines where
  he simply wanted to record his first impression
  but his anatomy was all wrong, his proportions
  were grotesque and his drawing was so outlandish
  as to be funny. He wanted to copy an old woman
  carrying hot water on a wintry street. But he
  could not manage it.

6
Lust for Life(5)

• He started to enter the minerss hut carrying
  drawing paper and crayon. He sketched the
  children playing in the floor. He sketched
  Marcasse with its tall chimney , the black fields
  , the pine wood across the ravine, the peasants
  ploughing around Paturages but his new hunger was
  desire to talk with artists. This period he lived
  for days on dry breads .He was desperate need of
  money . His younger brother was art dealer. He
  send his drawing to know why his drawings did not
  sell. He wanted know how he can make them
  salable.

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Lust for Life (6)

• He went back from figure to his another love
  color. In Neunan he he painted half ripe corn
  fields were off a golden tune, ruddy and gold
  bronze, raised to maximum effect by contrast to
  broken cobalt tune of the sky.
• Lastly tragic episode of Rachael. He wanted
  Racheal as model but he had not five Franc.
• Instead of five Franc Racheal asked for his ear.

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Lust for Life (6)

• Yes, Vincent Van Gough cut his ear with razor and
  presented it to Racheal.
• Vincent painted the birds above yellow field of
  corn and titled it Crows above a corn field.
• Last page dramatic exit of Van Gough .After
  getting telegram from Gaachet he caught the first
  tran for Pontoise,then dashed in a carriage to
  Auvers.

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Lust for Life (7)

• I am open a tiny gallery of my own , Vincent and
  my first exhibition will be a one man show. The
  complete works of Vincent Van Gough..
• Vincent turned his head slightly and whispered I
  wish I could die now Theo
• In a few minutes he closed his eyes.Rousseau,
  Pere Tanguy, Aurier and Emile Bernard .Six of the
  men worked putting up the paintings in the wall.
  Theo stood alone by the coffin.
• End of a life that refused to bow the convention.

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Vicent van Gogh

• The Painting Machine

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And my aim in my life is to make pictures and
drawings, as many and as well as I can then, at
the end of my life, I hope to pass away, looking
back with love and tender regret, and thinking,
Oh, the pictures I might have made! --van
Gogh
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Van Goghs Growing Path
The Netherlands(1880-1885)
Arles(1888-1889)
Auvers-sur-Oise(1890)
Saing-Remy(1889-1890)
Paris (1886-1888)
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Theodorus van Gogh, a preacher in the Dutch
Reformed Church, and Anna Cornelia Carbentus,
daughter of a bookseller, marry in 1851. Their
son Vincent Willem van Gogh, the second of six
children, is born on March 30, 1853, in Zundert,
a village in Brabant, in the south of the
Netherlands. Four years later, in 1857, Vincent's
favorite brother, Theodorus (Theo), is born.
Vincent begins his education at the village
school in 1861, and subsequently attends two
boarding schools. He excels in languages,
studying French, English, and German. In March
1868, in the middle of the academic year, he
abruptly leaves school and returns to Zundert. He
does not resume his formal education.
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• In July 1869, Vincent starts an apprenticeship at
  Goupil Cie, international art dealers with
  headquarters in Paris. He works in the Hague at a
  branch gallery established by his uncle Vincent.
  From the Hague, in August 1872, Vincent begins
  writing regular letters to Theo. Their
  correspondence continues for almost 18 years.
  Theo accepts a position at Goupil's in January
  1873, working in Brussels before transferring to
  the Hague in November of that year

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Vincent moves to the London Goupil branch in June
1873. Daily contact with works of art kindles his
appreciation of paintings and drawings. In the
city's museums and galleries, he admires the
realistic paintings of peasant life by
Jean-François Millet and Jules Breton. Gradually
Vincent loses interest in his work and turns to
the Bible. He is transferred in 1874 to Goupil's
Paris branch, where he remains for three months
before returning to London. Vincent's performance
at Goupil's continues to deteriorate. In May 1875
he is sent again to Paris. He attends art
exhibitions at the Salon and the Louvre, and
decorates his room with art prints by Hague
School and Barbizon artists. In late March 1876
Vincent is dismissed from Goupil's. Driven by a
growing desire to help his fellow man, he decides
to become a clergyman.
16
Vincent returns to England in 1876 to teach at a
boarding school. In July he is offered a position
as a teacher and assistant preacher at Isleworth,
near London. On a visit to his parents, Vincent
is persuaded not to return to England. Determined
to become a minister nonetheless, he moves to
Amsterdam in 1877 and attempts to enroll in
theology school. When he gives up his preparatory
studies, Vincent briefly enters a missionary
school near Brussels and in December 1878 leaves
for the Borinage, a coal-mining district in
southern Belgium, to work as a lay preacher.
Vincent lives like a pauper among the miners,
sleeping on the floor and giving away his
belongings. His extreme commitment draws disfavor
from the church and he is dismissed, although he
continues to evangelize.
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European Academic Art

• European art academies offered formal training in
  the traditional techniques and subjects of
  historical, mythological, and religious painting.
  The principal academy in France, the Ecole des
  Beaux-Arts, admitted students only if they passed
  a rigorous entrance exam. Students practiced
  drawing the human figure from plaster casts
  before they advanced to live models. Lectures on
  history supplemented lessons in anatomy and
  perspective. Students did not actually paint at
  the academy instead they joined a private studio
  where painting was taught. The most meaningful
  accomplishment, for both students and established
  artists, was acceptance to the Salon, the
  foremost venue for the exhibition of contemporary
  art. By the late 19th century, this juried show
  had grown to mammoth size, peaking at more than
  7,000 works in 1880.

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Realism

• Realism in art is an attitude as much as a style.
  From the mid-19th century, Realist painters
  rebelled against the art academies and their
  old-fashioned themes, which seemed increasingly
  irrelevant in a world newly dominated by science
  and technology. The Realists reasoned that all
  meaningful knowledge came from what they could
  see and directly experience. Instead of depicting
  aristocrats and myths, they chose ordinary people
  and events as the subjects of their works.
  Gustave Courbet, the leader of the movement in
  art, expressed the Realists' point of view when
  he declared that he could not draw an angel
  because he had never seen one.

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Impressionism

• Like the Realists before them, the Impressionists
  chose subjects from daily life. Instead of
  peasants, however, they painted the leisured
  members of the Parisian middle class. The
  transitory effects of light and atmosphere were
  central to their depictions of boating parties,
  trips to the seaside, and the cafés and
  boulevards of Paris. Working quickly, often
  out-of-doors, the Impressionists used light
  colors and a flickering, broken brushstroke to
  express the immediacy of a scene. The major
  Impressionist figures were August Renoir, Claude
  Monet, Camille Pissarro, Alfred Sisley, Edgar
  Degas, Mary Cassatt, and Berthe Morisot. Critics
  initially reviled what they saw as their slipshod
  technique and unconventional subjects, but by the
  time Van Gogh first saw their paintings in 1886,
  the style was gaining acceptance.

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The Painters-BoatClaude Monet1874Impressionism
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Woman with a Parasol(Right)Claude
Monet1886Impressionism
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This is a characteristic example of an
Impressionist painting. Freely applying light,
unmixed colors, Monet gave a rapidly executed
impression of a quintessentially Dutch landscape
of bulb fields and windmills. The painter was
apparently delighted by the subject during his
stay in Holland in 1886 he painted - in under ten
days - no fewer than five paintings of bulb
fields.
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 Landscape study after naturePaul
Cuizanne1876Impressionism
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Dance near the Mill of GaletteAuguste
Renoir1876Impressionism
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La DanaideAuguste Rodin1889MarmerImpressionism

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• Wrestling with his desire to be useful, in 1880
  Vincent decides he can become an artist and still
  be in God's service. He writes "To try to
  understand the real significance of what the
  great artists, the serious masters, tell us in
  their masterpieces, that leads to God one man
  wrote or told it in a book another, in a
  picture."

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• Vincent spends several weeks in The Hague in late
  1881 taking painting lessons from his cousin by
  marriage, Anton Mauve, a leading member of the
  Hague School. Mauve introduces him to watercolor
  and oil technique.

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Neoimpressionism

• The last Impressionist exhibition, held in 1886,
  witnessed the end of one artistic era and the
  beginning of another. The show included startling
  new paintings by Georges Seurat and Paul Signac,
  artists who would form the core of the
  Neoimpressionist movement. Seurat hoped to
  substitute a scientific basis for the intuitive
  color and casual brushwork of the Impressionists.
  He studied color theory and devised a systematic
  method of applying tiny dots of pure color to the
  canvas. These isolated bits of color were meant
  to blend in the viewer's eye to produce a
  coherent image. Called "pointillism" or
  "divisionism," this painstaking technique was
  much different from the spontaneous Impressionist
  approach. Van Gogh did not subscribe to Seurat's
  color theory-"I often think about his method, and
  yet I don't follow it at all"-but the
  Neoimpressionist style helped Vincent find his
  own distinctive brushstroke of streaks and dashes.

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Postimpressionism

• The late-19th-century artists known as the
  Postimpressionists did not share a set style or
  subject. They were a diverse lot, which included
  Cézanne, Seurat, Redon, Gauguin, and Van Gogh.
  Many of them had experimented with the techniques
  of Impressionism. But where the Impressionists
  saw fleeting light, the Postimpressionists looked
  for underlying structure or color harmonies. They
  gave birth to movements such as Pointillism,
  Fauvism, and Symbolism. Their experiments were
  the first step towards artworks that gave more
  importance to emotion than to objective reality.
  This is why they are considered the forerunners
  of modern art.

30
Entrance to the Harbor, HonfleurGeorge Seurat
1886 Post-Impressionism / Pointillism
31
Conversation in the MeadowsPaul
Gaugain1888Post-Impressionism 
32
GardanePaul Cuizanne1885 - 1886Post-Impressioni
sm
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The Mountan 'Sainte Victoire and a big
pinetreePaul Cuizanne
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The Green Christ / The Breton CrossingPaul
Gaugain1889Post-Impressionism
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Souvenir of MauveVincent vanGogh
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EveningstrollVincent van Gogh
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In early 1887, Paul Gauguin spent a few months in
Martinique. This island paradise, with its
friendly inhabitants still living close to
nature, was the inspiration for many colorful
paintings. Although its thin brushstrokes appear
to be a legacy of Impressionism, this work is
more than a snatched impression of reality.
Gauguin drew the imagery for his work from
fantasy and his imagination. To convey a
particular atmosphere or feeling, he frequently
chose colors that diverged from the normal. His
work was thus a reaction to Impressionism, whose
cardinal principle was to reflect reality as it
was visually perceived. For this reason Gauguin
is counted as one of the so-called
Postimpressionists.
38
Expressionism      1905 - present

• In the early years of the expressionism (before
  world war  II), the artists built on the ideas of
  the
• Post-impressionism.

39
Expressionism (2)

• In 1911, the term 'Expressionism' was used for
  art for the first time. In the beginning the term
  was used only for the German artists who painted
  art belonging to this movement from 1905 on.
  Later other artist were count to this movement as
  well.

40

• Expressionism (3)
• Characteristic for the Expressionism is the way
  in which the artist tried to express those
  feelings and interpretations. They did not create
  scenes reflecting their feelings and
  interpretations. They did reflect them by the use
  of forms and colors, often not having any
  relation to the visible reality at all.

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BathingEmma Barrera-Bossi1911Expressionism
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Der MandrillFranz Marc1913Expressionism
43
Selfportret with a ModelErnst Kirchner1910Expre
ssionism Die Brbcke 
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Blue FilliesFranz Marc1913Expressionism Der
Blaue Reiter
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Analysis of the Text

• fierce / adj. intense, uncontrollably strong
• e.g. a fierce effort a fierce loyalty
• fierce pride fierce pain
• a fierce silence
• Gee, it was fierce of me!
• burn off / v. to destroy by fire to clear up
• e.g. The farmers burnt off the fields.
• e.g. It will burn off before noon.

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Analysis of the Text

• encase / vt. Surround or cover sth. with a case
  (often in passive)
• e.g. His broken leg was encased in plaster.
• e.g. His feet were encased in his best
• leather shoes.
• Word Formation
• Prefix en-
• en-n. v. enslave encourage
• en-a. v. enlarge enfeeble
• en-v. v. Enclose encamp

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Analysis of the Text

• Cf.
• Suffix -en
• a.-en v. deepen sharpen
• n.-en v. lengthen heighten
• n.-en a. woolen ashen
• tellfrom / v. recognize the difference,
• distinguishfrom
• e.g. tell one twin from the other
• e.g. tell natural silk from artificial
• ploughland / n. cultivated land, arable land
• about 120 acres of land which
  
• 8 heads of cattle plough
  yearly

48
Analysis of the Text

• in blossom / bearing blossom
• e.g. The apple trees are in blossom.
• vicious / adj. brutal savage
• e.g. a vicious killer
• the most vicious system
• vicious letters
• vicious circle
• We were chained to a vicious circle
• of violence.

49
Analysis of the Text

• spring up / v. to appear or come into existence
  quickly
• e.g. Computer stores are springing up all
• over the place.
• e.g. A fresh wind had sprung up.
• at intervals / happening again and again
• e.g. at regular intervals
• e.g. at weekly intervals
• e.g. at monthly intervals
• e.g. at quarterly intervals
• e.g. at yearly intervals

50
Analysis of the Text

• in between / in the space or period of time
• separating two points
• e.g. The shadows and the spaces in
• between the trees were turning from
• grey to black.
• sparkle / v. glitter shine
• e.g. The lawn outside was sparkling with
• frost.
• e.g. He is quite different at parties, and
• he really sparkles.

51
Analysis of the Text

• at the risk of / with the possibility of
• doing sth.
• e.g. At the risk of seeming callous, I
• propose that we go straight to
• the football match after the
• funeral.
• e.g. He saved her at the risk of his
• life.

52
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53
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54
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55
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56
Analysis of the Text

• swindle / v. cheat sb., esp. in business
• e.g. You are easily swindled. ( n.)
• e.g. I have been swindled out of 5.
• ( sb. out of sth.)
• e.g. She swindled 1000 out of the Social
• Security. ( sth. out of sth./sb.)
• swindle / n. act of swindling person or thing
• that is wrongly expressed so
  as
• to cheat people
• e.g. victims of a tax swindle
• e.g. The newspaper story is a complete
• swindle.

57
Analysis of the Texr

• swindler / n. person who swindles
• e.g. The biggest swindler in finance
• give up thoughts of / dont think about
• come ones way / occur or present itself to one
• e.g. An opportunity like that doesnt often
  come
• my way.
• vitality / n. physical or mental energy
• e.g. The vitality of the movement is
  threatened.
• vital / adj. essential or important to life
• e.g. The heart performs a vital bodily
  function.
• adj. essential to the existence of
  sth.
• e.g. Vital information

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Daudet

• ALPHONSE DAUDET was born at Nîmes in the south of
  France on May 13, 1840. His father was an
  unsuccessful silk manufacturer, and his boyhood
  was far from happy.
• In 1872 he produced the first of his three
  volumes on the amazing Tartarin of Tarascon,
  probably the most vital of all his creations.
• Tartarin reappeared in all his buoyancy in
  Tartarin sur les Alpes, and, less successfully
  as a colonist in Port-Tarascon.
• He died at Paris on December 17, 1897.
• The Siege of Berlin, The Last Class, and The
  Bad Zouave are not only classics of the art of
  the short story they contain the essence of
  French patriotism

59
Analysis of the Text

• stimulating / adj. inspiring new ideas
• e.g. The stimulating effect of coffee
• stimulus/stimuli /n. sth. that produces a
  reaction
• e.g. to respond to auditory stimuli, etc.
• stimulation / n. stimulus
• e.g. The stimulation of fierce competition
• burn up / v. to destroy by fire
• e.g. The satellite had burned up on
  re-entering the
• atmosphere.
• deter / v. to discourage or prevent sb. from
  doing
• e.g. The punishment did not deter him.

60
Analysis of the Text

• vitalize / v. to fill with life
• e.g. to vitalize the patriotism
• e.g. to vitalize the progress
• Tales of Tartarin by Daudet
• stimulant / n. (drink containing) a drug that
• increases physical or
  mental activity
• e.g. Coffee and tea are mild stimulants.
• e.g. stimulant drugs
• (Word formation)
• stimulate / v. to encourage to start or progress
• further
• e.g. To stimulate interests in the artists
  works

61
Analysis of the Text

• e.g. Failure did not deter him from making
• progress.
• ooze / v. come or flow out slowly, usually
  from/out
• 
  of sth.
• e.g. All the toothpaste had oozed out.
• e.g. Their courage was oozing away.
• no more than / ????
• e.g. He is no more able to read Spanish than I
  am.
• e.g. You are no more capable of speaking
  Chinese than I am.
• e.g. He is no more a good player than I am.
• e.g. I am no more satisfied than she is.

62
Analysis of the Text

• no lessthan/ ???(????)
• e.g. A dolphin is no less a clever animal than
  a dog is.
• not morethan./ ???
• e.g. The new edition is not more expensive
  than the old edition.
• e.g. She was not more pleased than I was.
• c.f. She was no more pleased than I was.
• not lessthan / ???
• e.g. She is not less charming than her
  daughter.

63
Analysis of the Text

• no more than / only, at most
• e.g. It cost him no more than 10 dollars a
  week.
• e.g. It is no more than a mile to shops.
• e.g. She ate no more than a slice of toast for
  
• breakfast.
• e.g. The theatre was no more than a painted
  barn.
• no less than / as many (much) as
• e.g. There are no less than eight thousand
• students in our university.

64
Analysis of the Text

• Paragraph 21
• could do without could do without
• could do without could do without.
• This structure is called Parallelism, which is
  used to
• emphasize something.
• Try to find the faulty parallelism in the
  following
• To chew carefully and eating slowly are necessary
  for good digestion.
• As time passed, his feeling turned to anxiety,
  disbelief, and finally becoming deeply concerned

65
Analysis of the Text

• 3. My job with a travel agency paid well and
  excitement was provided.
• 4. I hope either to spend vacation in France or
  Spain.
• 5. He is a man of wide experience and very
  popular with the workers.
• 6. I am interested in electronics, because it is
  a new field and which offers interesting
  opportunities to one who knows science.

66
Analysis of the Text

• Part 1 (paras 12)
• Vincents daily life, like a blind painting
  machine.
• Part 2 (paras 39)
• Vincent was drunk with color.
• Part 3 (paras 1017)
• Vincent painted hard without paying attention to
  anything else.
• Part 4 (paras 1819)
• Beautiful Nature was the sources of Vincents
  creation.
• Part 5 (paras 2021)
• Vincent lived on the power and ability to create.

67
Summary of the Text

• To make the image of painting machine vivid
  and
• full, the writer gives detailed pictures of
  Vincents
• daily life and his creation process he got up
  early
• and returned with finished canvases by evening
  he
• kept doing the same day by day with beautiful
• nature as his sources of creation he put
  everything
• he experienced in his painting he was
  dissatisfied
• with himself and what he was painting, with this
  in
• his mind, he went on painting without thinking of
  food, wife, children, or home he painted on and
  on just like a blind painting machine.

68
Summary Writing

• Summary and abstract
• A summary is an expression of the chief content
  of
• any writing while an abstract is a very concise
• summary of the main points of a formal paper ,
• esp. an academic one.
• To write a summary well, it is important to read
  the
• original carefully to understand the authors
  purpose.
• Then it is necessary to select the central idea
  and
• its supporting ideas. The next step is to write
  the
• summary in brief form without referring directly
  to
• the original, and the key point is to condense
  the
• above ideas without distorting their rank.

69
Dictation (a)

• Visitors to Britain are often surprised to
  find
• that the weather is an almost inexhaustible topic
  of
• conversation. This is not because the British are
  too
• dull to think of anything else to talk about, but
  
• because there is always an element of surprise in
  
• the British climate. In some countries, people
  can
• put away their raincoats for several weeks and
  let
• out their fires during the burning heat of the
• summer. Not so in England, where they never know
  from one day to the next what is in store for
  them.

70
Dictation (a)

• One year, they had a spell of very hot weather
  in
• early June and Mr. and Mrs. Brown decided to
  spend
• the weekend at the seaside. When everything was
  in
• the car, Mr. Brown drove towards the coast. Not
  for
• long, the sky began to cloud over, and by the
  time
• they arrived, it was dismal and wet. The cold
• wind reminded them sharply of winter. They had to
  
• sit round the fire playing indoor games.

71
Dictation (b)

• The doctor is making the rounds of the wards. He
  
• asks the patient many questions. But he seems to
  be
• a little hard of hearing. He cannot hear the
  patients
• words. So the nurse repeats the patients words
  to
• the doctor. The patient wants to know if he is in
  hospital, if there has been an accident, if he
  has been badly hurt, and if he will be in
  hospital long. The doctor answers all his
  questions. He says that he is in hospital, that
  there has been an accident, that he has not been
  badly hurt, and that he will not be in hospital
  long.