Intensive Advanced 2

Monday, May 2, 2016

Advanced 2. Revision: In the kitchen

Vocabulary lesson. Click here and watch the video.
Expressions about the kitchen. Click here.
Cooking vocabulary. Click here and here.
Game: Vocabulary hangman. Click here.
Exercises. Click here and here.
Idioms. Click here.

Friday, April 29, 2016

Advanced 2. Revision: Health

If you need to practice, you can do the following activities.
Vocabulary: Click here and take a quiz.
Listening activity: Click here and listen to six people talking about health care. Answer the questions on the right.

Friday, April 22, 2016

Advanced 2. Video: French Impressionism

Listen and fill in the blanks with 1-3 words. Click here.
Brushstroke: pincelada
Easel: caballete

1.- The Salon Jury was a group of art critics.
2.- The Salon Jury decided whether the works of art exhibited were exceptional.
3.- Appropriate subjects included history, religion and Greek and Roman mythology.
4.- In 1863 about 60% of the paintings were considered unsuitable for exhibition.
5.- In 1874, a group of painters known as the Impressionists boycotted          the Salon Jury and exhibited their paintings independently.
6.- Many Impressionist painters wanted to capture         the uniqueness of the moment.
7.- The easel, the palette and tubes of paint were invented by the Impressionists.
8.-The Impressionists felt hindered                   by the outdated rules for painting.

French Impressionism began in the 1870s and lasted for about 20 years before it faded away to newer more modern trends in painting. The story of French Impressionism begins in 17th-century Paris, France. With a group of art critics known as the Salon Jury, named for a grand room in what is the Louvre museum and a former residence of the kings of France.
The Salon Jury hosted an annual art showcase for aspiring painters. Artists from all over Europe were encouraged to demonstrate their talents by exhibiting their finest works of art. The Salon Jury determined whether or not the work was exceptional. Appropriate subjects considered by the Jury included history, such as an ancient battle, a revolution or a major figure like Napoleon Bonaparte, religious subjects were also appropriate, especially if they focused on the life and time of Jesus or, say, the Last Supper before his crucifixion.
Lastly, Greek and Roman mythology was a time the subject of many a painter with subjects like Oedipus Rex, Pandora’s Box, the hero Perseus and his slaying of Medusa or something minor, like the messenger god Hermes. Paintings followed other rules too. They were not to show any brushstrokes and only to display fine rich details that added meaning and value to a painting story. The rulers were tough. In 1863 alone about 60% of the paintings submitted to the Jury’s annual art show were rejected for being unsuitable for exhibition.
In 1874 a group of several painters did not follow these rules and they were ridiculed as being odd and bizarre. Those art pioneers were sneered at and snubbed by the established art world. Together these artists became known as the Impressionists, based in part on Claude Monet’s 1872 paining “Impression: Sunrise”. At the annual art show, in 1874, the Impressionists boycotted the Salon and established their own Impressionist exhibition.
Impressionists broke the rules of painting. When completed, their paintings displayed short choppy brushstrokes and they had a blurred unfinished sketch-looking quality to them. Many Impressionists painted hastily because they wanted to capture the first impression made by a scene or object, and wanted to capture the uniqueness of any given moment that caught their artistic eyes.

They painted a wide array of subjects, from landscapes, modern life, everyday life in Paris, bars and cafés, barmaids, middle-class activities and of course outdoor life. The Impressionists accomplished their artful tasks beyond their usual art studio by creating three innovations to help them paint out of doors. They invented the easel, the palette and tubes of paint. The world of art underwent a major change in the late 1800s with the conflict between the Salon Jury and the Impressionists because they aspired to be creative and felt hindered by some very outdated rules for painting. The French Impressionists broke the rules for painting and paved the way for the modern styles, art styles of the 20th century. 

Thursday, April 21, 2016

Advanced 2. Ancient Greek Temples

Watch the video and fill in the gaps with the missing words (use 1-2 words). Click here.

Ancient Greek Temples at Paestum
We’re in a small town of the Mediterranean called Paestum. Paestum is the Roman name, the Latin name, before that it was Greek and it was called Poseidonia, the town was named after the god of the seas, Poseidon.
This was a Greek settlement, sometimes called the colony, although it was really an independent small Greek city. And there were lots of these all over the south of Italy in what historians call Magna Graecia or Greater Greece. And Greece had colonies in Italy but also in many other places in the Mediterranean, including what is now Turkey.
Paestum contains three fabulously preserved Ancient Greek Doric temples, two from the archaic period of the 6th century and one from the classical period of the 5th century. The Greeks, over time, adjusted the proportions of the architecture, of the width of the columns, and number of columns on the front and side, always in search for perfection or ideal beauty.
The oldest of the three is dedicated to the goddess Hera, who was the wife of Zeus. This temple, Hera one, has all of the elements that we would expect to see in a Doric temple. It’s got massive heavy columns that have no feet. They go directly into the platform of the temple itself, the Stylobate. They rise up with a shallow broad fluting and end in a very simple geometric capital. In addition, that temple has a kind of exaggerated entasis. The column isn’t straight; it bulges towards the middle and tapers towards the top. In this case, it’s so exaggerated it makes it seem as if the column is bulging under the weight above.
And the capitals also almost seem flattened by the weight of the roof so there’s a real sense of horizontality and of weight in the oldest of these temples.
The temple is an interesting deviation. The front of it has nine columns across and that’s a little bit peculiar. Because it’s an odd number, you have to walk around that central column.
Greek temples were really meant as houses for the gods, not the way we think of a temple or a church as a place of worship. The worship would have happened outside of the temple. But in the case of Hera One, there’s a row of columns right in the middle of the cella, so it’s hard to imagine how the cult statue fit inside.
Actually, there’s a number of different theories about this. Some have suggested that perhaps this was a temple to both Hera and her husband Zeus, in which case perhaps there were two cult statues in the back, but to be honest, nobody knows for sure. There is a lovely sense of balance, of proportion of Hera One, of this oldest of the three temples. You’ve got nine columns in front and on the side you’ve got eighteen, so you’ve got a very neat geometric doubling.
And art historians really like to contrast the older Hera One with the so-called Hera Two from the classical period, which is very different in its proportions. It has a much greater sense of verticality, of being more slender, of not being so subsumed under the weight of the roof. It’s also, in many ways, better preserved in that we can see the frieze with the triglyphs and metopes and part of the pediment remains.
But probably the biggest difference for me between Hera One and the so-called Hera Two is that Hera Two is much closer to what we have come to expect from a Doric temple such as the Parthenon, on the Acropolis in Athens. This has six columns in the front, so it is symmetrical in the front. There is a gap in the middle that we could walk through. And the side contains 14 columns. This temple, though, has some other kinds of variations. It’s got a second colonnade just in back of the first, and then the interior space is defined by an outer wall and then a colonnade that has a second set of columns above it.
This seems to be a better solution for supporting the roof than a row of columns down the center that we see in Hera One.
So let’s spend a moment really looking at Hera Two and looking at the changes that have taken place. The columns have less pronounced entasis. In addition, the flair at the top of the column, at the base of the capital, is not as exaggerated, it’s not as wide or as plate-like as it was in Hera One.
And as a result, this structure has a greater sense of lift. But one of the things that’s often missing from a discussion of both of these temples is the location. All around are even older Greek ruins and Roman ruins. The Romans would conquer this area, would take the entire peninsula of Italy, they would push out the Greeks in the south of Italy and push out the Etruscans in the north.
They took this area of Paestum in the third century BCE so that’s when this became Roman.
So all around these temples are Roman houses, Roman apartment blocks, there’s an amphitheatre. These things literally coexisting. When we look at Hera Two, this classical Doric temple, I think it’s also useful to think about ancient Greek sculpture that was made at this time like the Doryphoros or some of the images of gods and goddesses that we saw today in the museum in Naples or of Greek athletes and heroes. We’re at this moment of what was called the Golden Age of Greece, of Periclean Athens, of the invention of democracy, of humanist philosophy.

The culture that at this very moment was inventing the geometry that we still use, was seeking to understand the movements of the heavens, the movement of the human body, was inventing the philosophy that we still struggle with. We’re looking at artefacts, at buildings, that were created by a culture that profoundly shaped our world. Both of these temples and the third temple that archaeologists believe was dedicated to Minerva or Athena all have a sense, to me, of rising out of the landscape, of giving form to human aspiration. 

Wednesday, April 20, 2016

Advanced 2. Picasso

Click here, watch the video and then fill in the gaps (use 1-4 words). Select to see the answers.
1. When he became a teenager he no longer felt... like an apprentice
2. Where did he study while he was living in a Coruña? At the... School of Fine Arts
3. Barefoot Girl is considered as Picasso's ... first masterpiece.
4. How many pieces were displayed at the exhibition? Over 200.

Picasso. The early years.
Picasso lived in A Coruña for 5 years. That period saw the end of his childhood and his early teenage years when he no longer felt like an apprentice and became a young artist. His character was built from the memories of his everyday life at his home at number 14 Rúa Payo Gómez. The sadness of his sister’s death, his first love, his hard lessons with this father at the School of Fine Arts and his first exhibit. A thousand emotions and a unique existence.
Essential works, such as “Barefoot Girl”, considered by many as the artist’s first masterpiece, the precursor of the blue and rose periods.

120 years later, A Coruña retrieves the memory and the vision of a genius through the exhibit “Picasso, the early years. A Coruña 2015” at the Museum of Fine Arts, an exhibit with over 200 pieces, a journey through 80 works by Picasso, in international event that shows the origin and evolution of the genius