с заданием по английскому! Заранее

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The painting is known as The Entombment and it’s the moment after the Deposition, when Christ 1.
down from the Cross and he’s going 2.
in the tomb. It’s of course a period of huge grief for the people 3.
, but it’s also a moment of activity. 4.
under the Cross and waited for his death there’s now this moment of activity, they have actually something sensible, something useful to do.

The intention of the painting is evidently for us 5.
in this terrible moment because we’re almost pulled into the centre, we’re drawn into the centre of the image, into focus with Christ’s body. And we 6.
very aware of this terrible moment of pathos where the death that was so dreaded has occurred.

This painting’s unusual because it’s unfinished. And although, to some extent, it’s sad when a painting’s not finished because you feel you have only part of the artist’s vision and you 7.
of course to see quite what he 8.
, at the same time it’s exciting to see an unfinished image by an artist as enormously important as Michelangelo. So we have a real sense of how he moved around the canvas, how he drew the image on, which sort of colours and which sort of sections he 9.
first.
10.
that the Entombment concerns a seminal event in Christian tradition, it may be surprising to some that there is so much uncertainty about the identities, and even the gender, of some of the characters in the painting. It appears that the woman in the lower left of the painting, as the viewer sees it, is probably one of the Marys, 11.
something in her unfinished right hand. The massively-built bearer on the left is probably St John the Evangelist, characterised by his orange-reddish robe and long hair. The older man at the back is possibly Joseph of Arimathaea, who 12.
his own tomb to Christ. The woman on the far right may be Mary Salome, or one of the other Marys. Ironically, the identity of the figure 13.
for the blank space on the lower right – the most unfinished part of the painting – is among the least contentious, as it is universally accepted as a 14.
Virgin Mary.

For posterity Michelangelo has always remained one of the small group of the most exalted artists, who have been felt 15.
, like Shakespeare or Beethoven, the tragic experience of humanity with the greatest depth and universal scope.
In contrast to the great fame of the artist's works, their visual influence on later art is relatively limited. This cannot 16.
by hesitation to imitate an art simply because it appeared so great, for artists such as Raphael were considered equally great but were used as sources to a much greater degree. It may be instead that the particular type of expression 17.
with Michelangelo, of an almost cosmic grandeur, was inhibiting. The limited influence of his work includes a few cases of almost total dependence, the most talented artist who worked in this way 18.
Daniele da Volterra. Otherwise, Michelangelo 19.
as a model for specific limited aspects of his work. In the 17th century, he was regarded as supreme in anatomical drawing but less 20.
for broader elements of his art.

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