LP1 ESAPAD - Anglais 2024

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INSAAC / ESAPAD Academic year: 2023-2024

Semester 2
Special field : ART STUDIES
Level: 1st year Bachelor
Discipline: English
Lecturer: Dr Emile GUEU

Email address : dr.emilegueu@gmail.com
CONTENTS
Lesson 1: THE GRADUATE SCHOOL OF PLASTIC ARTS, ARCHITECTURE AND DESIGN

OF ABIDJAN: DISCIPLINES, SPECIALISTS, MATERIALS, TOOLS, TECHNIQUES
AND ARTWORKS………………………………………………………………………………………..2
Lesson 2: THE VISUAL ELEMENTS IN A WORK OF ART ……………………………………………….3
Lesson 3: LANGUGE REVISION: EXPRESSING ACTIONS – THE VERB TENSES…………….19
I. Conjugation: …………………………………………………………………………………….19
II. Conjugation tables ……………………………………………………………………………20
III. The use of the past simple and the present perfect tenses: …………….25
IV. Irregular verbs and their use ……………………………………………………………28
Bibliography
Brieger, Nick and Comfort, Jeremy (1992), language reference for business english, grammar,
functions and communication skills, Pearson Education
Limited, London, UK
Djepa J.M. (2003), A New Approach To English, Abidjan (unpublished)
Gilbert, Rita/McCarter, William (1985), Living with Art, second edition, Alfred A. Knopf,
Inc.,New York,
GUEU, Gon Emile (2014), English for Art, INSAAC, Abidjan (unpublished)
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LESSON 1
THE GRADUATE SCHOOL OF PLASTIC ARTS, ARCHITECTURE AND DESIGN OF ABIDJAN:
DISCIPLINES, SPECIALISTS, MATERIALS, TOOLS, TECHNIQUES AND ARTWORKS
The disciplines are the principal domains of art in which the school trains. They are eight (8).
To each discipline, correspond some materials, tools, techniques or methods and specific
artworks. The table below provides a glossary about these fields of art.
SPECIALIZATION SPECIALIST MATERIALS TOOLS TECHNIQUES ARTWORKS

wood, cement, clay computer, ruler, -Technology; -a plan (map);
1. Architecture an architect plaster, iron, soil, T-square, pencil, -Perspectives; -a model
stone, measure tape -Construction -a building
-a camera artist -paper -a computer Camera arts: -a photograph;
2. Visual communi- (photographer) -(ply)wood -a camera photography; film -a film;
cation (Camera -a graphic -ink -a printer making; video art -a video;
arts and graphic designer -iron -a pen / pencil Graphic design: -a comic strip;
design) -stone -a felt pen advertising; print media -a book;
-cement -a rubber/eraser (books, magazines, -a magazine;
…. …… posters, graphics). …. -a poster, …
clay, iron, plaster -kiln -Modelling; Coiling. -a ceramic
3. Ceramics (art a ceramist cement, wood -plaster cast -Casting (moulding) (piece of
of pottery) -potter’s wheel -Turning (throwing); pottery)
-Slab construction;
wood, iron, plaster, (Paint)brush, -stained-glass (window); -a stained-glass
4. Mural painting -a mural canvas, paint, nails, pen/pencil, -mosaic; window;
painter fabric, glue, paper, hammer, knife, -fresco; -a mosaic;
thread/wire, soil, spatula, needle, -tapestry/weaving -a fresco;
cement, glass, sand cutter, scissors… … -a tapestry.
wood, iron, fresco, (Paint)brush, encaustic; fresco; egg
canvas, paint, pen/pencil, tempera ; oil; watercolor;
5. Painting a painter acrylics, fabric, hammer, knife, gouache; distemper; -a painting
glue, paper, spatula, needle, synthetic media (acrylics)
gouache, oil, egg, cutter, scissors
watercolor, glass, ..
wood, iron, plaster, chisel, hammer, -Relief: (woodcut; linocut;
stone, paper, soil, gouge, wood engraving)
cement, silver, ink, -Intaglio: (engraving;
6. Printmaking a printmaker copper drypoint; mezzotint; -a print
etching; acquatint)
-Lithography;
-Screenprinting;
-Special techniques.
wood, stone, clay saw, chisel, drill, -Modeling;
7. Sculpture a sculptor iron, plaster, soil, knife, -Carving; -a sculpture
rubber, sand, sandpaper, … -Assembling
plexiglass, paper -Casting ;
fabric, (wall)paper, pen, pencil, -weaving; -a model (for
upholstery fabric, luminous table, -Tapestry; loincloth, sheet,
8. Textile design a textile ink, … … -weaves/patterns/designs towel, wallpaper
designer (plain serge, satin); upholstery fabric
-Model textile. , …)
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LESSON 2
THE VISUAL ELEMENTS IN A WORK OF ART
As you read the sections of the lesson, answer the questions that introduce them.
What are the visual elements in a work of art?

There are seven (7) main visual elements an artist uses in making any work of art. They
are: line, shape, texture, light, value, color and space. To them, we sometimes add two other
elements that are time and motion. The character of these elements and the way they are
organized determine what a work of art will be like. What are they? How are they used and
how do they affect a work of art?
I. LINE
What is a line? Why do artists use lines?
A line is the trace or path left by a moving point. Artists use lines as symbols.
1. FUNCTIONS OF LINES
List some functions of lines.

Lines help outline or describe the shape of what we want to represent. They help
create forms, movement, emphasis and the illusion of three dimensionality on a flat surface
(picture 1). This little sculpture could also be a drawing. Its wire lines define the form, shape
and movement of the represented hostess. As a drawing, these lines suggest a sculpture which
is three dimensional. Lines also create pattern and texture (picture 2). In this painting of
Picasso, closely spaced short lines suggest the texture of animal hair and grass.
1. Alexander Calder. The Hostess.1928.

Wire, height 11½’’. Museum of Modern Art;
New York (gift of Edward M. M. Warburg).
(Source: Living with Art, 2nd Edition, p.98)
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2. Pablo Picasso. Paulo on a Donkey.

1923. Oil on canvas; 39⅜ x 31⅞’’.
Collection Bernard Picasso, Paris.
(Source: (Source: Op.Cit. p.94)
2. TYPES OF LINES
Give the existing types of lines.

We have actual lines (real/visible lines), implied lines (invisible lines) and lines formed
by edges as illustrated below (Picture 3).
a b c d
3. (a) actual line

(b, c) implied lines
(d) line created by edge
(Source: Op.Cit. p.101)
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3. CHARACTERISTICS OF LINES
What elements characterize lines? Explain each element.

Lines are characterized by their direction and their linear quality.
For direction, we have horizontal lines, vertical lines and diagonal lines. Diagonal lines
are the most dynamic because they are unstable and imply movement. In Picture 4 (Thomas
Eakins’s The Biglen Brothers Racing), all the lines are horizontal. Only the lines of the oars and
rowers’ arms and bodies are diagonal. They suggest movement involved in a race.
4. Thomas Eakins.
The Biglen Brothers Racing.1873.
Oil on canvas, 24⅛ x 36⅛ ̋.
National Gallery of Art, Washington, D.C.
(gift of Mr & Mrs Cornelius Vanderbilt
Whitney, 1953)
The linear quality refers to whether lines are long, thick, thin, tapered, straight, curved
or angular.
II. SHAPE AND MASS
1. DEFINITIONS
Define the concept of shape. Differ it from those of mass, volume and form.
A shape is a two dimensional area created by line, color areas, by contrasting texture
or by combination of these. If an artist draws a circle and colors it red inside the line, the result
is a round red shape.
A mass is a three dimensional solid; it has actual depth in space. Sometimes the word
“mass” implies bulk, density, and weight. An orange is a piece of fruit and is also a spherical
orange mass.
Volume may be synonymous with mass but can also refer to a void, an empty but
enclosed space, whether mass usually refers to a solid.
Form can mean shape or mass. Form can refer to the way a work of art looks or the
way it is put together. It can also mean composition or even style.
2. CATEGORIES OF SHAPES AND MASSES

What shapes do picture 5 and 6 of page 7 describe? Justify your answer.
There are two categories of shapes and masses that are: geometric shapes and organic
shapes.
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1. Geometric shapes based on mechanically drawn lines that include the square,
rectangle, the circle, the triangle. In picture 5 Piet Mondrian uses the rectangle, the vertical
and horizontal and the primary colors (red yellow and blue plus black and white that are
universal and common to all people to cut through cultural and emotional differences among
people and make a visual statement that would be common to all.
2. Organic shapes based on the forms in nature which are rounded, irregular, and
curving such as in Joan Miro’s Carnival of Harlequin below (picture 6). Many works of arts
combine these two categories, but often one or the other predominates.
5. Piet Mondrian. Composition with Red,

Yellow and Blue.1928. Oil on canvas,
4’¾’’ x 2’7½’’.
Collection Stefan Edlis, Chicago
6. Joan Miro.
Carnival of Harlequin.
1924-25.
Oil on canvas, 26 x 36⅝’’.
Albright-Knox Art Gallery,
Buffalo, N.Y.
(Room of Contemporary Art
Fund, 1976).
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III. LIGHT, VALUE, AND COLOR
Why are light, value and color inseparable concepts in art?

These three elements are intimately connected. Color is a function of light and
therefore directly dependent on its presence. Value, being a measure of relative lightness or
darkness, plays a role in all our perceptions of light and color.
1. LIGHT
What types of light are picture 7 and 8 about? Explain each type
We have actual or natural light mostly used in three dimensional art. Picture 7 is a
photograph of an old cast-iron building by Evelyn Hofer. The photographer chose a moment
when patterns of light are especially dramatic to shoot it. One could say this photograph is
“about” light.
There also exists the illusion of light often created by artists in two dimensional art
(painting and drawing) such as in Thomas Eakins’s The Concert Singer in which the strong light
coming from below contributes to the roundness of the figure. (Picture 8)
7. Evelyn Hofer. Cast-Iron Building, Broadway and 8. Thomas Eakins. The Concert Singer.1892.
Broome Street, New York. 1956. Photograph. Oil on canvas, 6̒3⅛’’x 4̒6¼’’. Philadelphia
Courtesy the photographer. Museum of Art (given by Mrs Thomas Eakins
(Source: Op.Cit. p. 111) and Miss Mary A. Williams).
(Source: Op.Cit. p. 113)
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2. VALUE
What does the notion of value refer to? How does it operate?
It refers to relative darkness or lightness whether in color or in black and white; value
is usually considered in terms of a value scale ranging from white ( the lightest) to black ( the
darkness), with several gradations in between. (picture 9)
9. Value scale in gray

(Source: Ibidem).
white high light low me- high dark low black
light light dium dark dark
3. COLOR
Color depends on light. Explain with the principle of color theory. List the existing
categories of color. What colors do we have in each category?
Color is a function of light as explains the principle of color theory.
3.1. Color theory
Color theory can be traced back to the experiment made by Sir Isaac Newton in 1666
to prove that colors are components of light. He passed a ray of sunlight through a prism and
observed that the ray of sunlight refracted into different colors arranged in the order of the
colors of the rainbow (picture 10). So, what we see as colors are reflected light rays. For
example, when light strikes a blue shirt, the shirt absorbs all the color rays except the blue
ones which are reflected, so our eyes perceive blue.
10. Sketch of colors separated by a prism.

(Source: Living with Art, 2nd Edition, p.115).
Following the color wheel, colors can be classified in four (4) categories that are:
- Primary colors - red, yellow, and blue. They are called primary because they can’t be
made by any mixture of other colors.
- Secondary colors - orange, green, and violet. They are called secondary because they
result from the mixture of other colors.
- Tertiary colors are the result of mixture of a primary color and an adjacent secondary
color mixing yellow with green yields yellow-green
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- Complementary colors are directly opposite one another on the color wheel (picture
11). They are as different from one another as possible.
11. Color wheel

(Source: Op.Cit. p. 116).
3.2. Color properties
List the properties of colors. Give two examples of each property.

Any color has three properties that are: hue, value, and intensity.
Hue is the name of the color green or red or violet-blue. The hues listed on the color
wheel and the designation on the color chart (picture 12) is meant to be standard, so that
people can agree on their meanings.
Value refers to relative lightness or darkness.
Intensity also called chroma or saturation refers to the relative purity of a color.
white high light low me- high dark low

light light dium dark dark
b
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high low me- high low

c white light light light dium dark dark dark black
¼ intensity
½ intensity
¾ intensity
full intensity
12. Color chart, showing value and intensity.

a. The hues on the right side of the color wheel arranged according to gradations on the gray value scale.
b. Two hues (red and green) shown in their full range of values from high light to low dark.
c. The hue red, at normal value (high dark) shown in four gradations of intensity, from ¼ intensity to full
intensity.
(Source: Op.Cit. p. 117).
3.3. Light and pigment
How is working with light different from working in pigments?

Colours behave differently depending on whether the artist is working with light or
pigment. White light is the sum of all colors. This is not true for pigments that are artists’ colors
or dyes. If we mix all these colors together we’ll get a neutral – either black or an almost
colorless brownish-grey.
Artists who use real light (photographer, video artist, filmmakers) usually select their
colors mechanically at a distance by pushing buttons or choosing filters or adjusting dials. Their
work requires sophisticated knowledge of color science.
By contrast, artists who work in pigments – watercolors, oil paints or similar media
usually blend their media by trial and error, using their own hands. In both cases familiarity
with the color wheel and the color properties is necessary.
3.4. Color harmonies
What is a color harmony? Why do artists use them? What categories of color
harmony do you know of? Explain each category.
A color harmony also called color scheme is the selective use of two or more colors in
a single composition. They help understand why certain combinations of colors produce
certain visual effects. There are several categories of color harmonies that are:
- Monochromatic harmonies that are composed of variations on the same hue often
with differences of value and intensity. A painting all in reds, pinks and maroons would be
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considered to have a monochromatic harmony. Titian’s Portrait of a Man (picture 13) is almost
entirely in variations of blue for an effect of simple, aristocratic elegance.
13. Titian. Portrait of a Man.

Mid-16th century. Oil on canvas
32 x 26’’. National Gallery.
London (reproduced by courtesy
of the Trustees).
(Source: Op.cit. p. 119).
- Complementary harmonies that involve colours directly opposite to one another on

the color wheel. Suzanne Valadon’s La Poupée Abandonee (picture 14) illustrates such a
harmony, with its contrast of red and dull green. Complementaries “react” with each other
more vividly than do other colors.
14. Suzanne Valadon.

La Poupée Abandonnée. 1921.
Oil on canvas, 4’3’’ x 2’8’’.
National Museum of Women
in the Arts, Washington, D.C.
(Holladay Collection).
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- Analogous harmonies combine colors adjacent to one another on the color wheel
such as red-orange and orange. In Portrait of Madame Renoir with Bob (picture 15) Renoir
holds this scheme to create a warm and charming image of his wife with their small dog. Here,
except for touches of white, nearly all the colors in the work can be found in the upper left
third of the color wheel.
15. Pierre Auguste Renoir.

Portrait of Madame Renoir with Bob.
c.1910. Oil on canvas, 31⅞ x 25⅝’’.
Wadsworth Athenaeum, Hartford,
Conn. (Ella Gallup Summer and
Mary Catlin Summer Collection).
(Source: Ibidem).
-triad harmonies use three colors equidistant on the color wheel. The most obvious
combination is red, yellow, and blue.
In addition there are several more complicated color harmonies that are significant
mainly to color theorists.
3.5. Optical effect of color
How does color affect our perception of space and size? Explain the concept of optical
color mixture.
Colors can dramatically influence our perceptions of space and size. Some colors seem
to “advance”, others to “recede”.
Colors that create the illusion of large size and advancing are those with warmer hues (red,
orange, yellow), high intensity, and dark values; small size and receding are suggested by color
with cooler hues (blue, green), low intensity and light value.
Colors can be mixed up in light or pigment, but also by the eye especially when small
patches of different colors are placed close together; the eye may blend them to produce a
new color. This is known as optical color mixture. Georges Seurate’s painting below (picture
16) made in a style known as pointillism depends on the arrangement of many tiny dots
of color close together.
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16. Georges Seurate.

Study for Le Chahut.1889.
Oil on canvas, 21⅞ x 18⅜’’.
Allbright-Knox Art Gallery,
Buffalo , N.Y.
(General Purchase Funds, 1943).
(Source: Living with Art, 2nd Edition p. 122).
3.6. Emotional qualities of color
Colors have emotional impact on the viewer. Explain with illustrations.

An artist choosing colors for a particular work will expect those colors to have some
emotional impact on the viewer; an impact that supports the intent in that work of art. We
have often given specific emotional symbolism to different color names. Green is associated
with envy; blue, with sadness; red, with anger; yellow, with cowardice. Beyond this we think
of colors as having different “temperatures”. Red and orange are referred to as “warm” colors
perhaps because of their association with fire, sunset, or like. Blue and green are considered
“cool”. In Jean-Honoré Fragonard’s Bathers (picture 17), nearly all the colors in the painting
are soft pastels, with special emphasis on abundant pink bodies. The mood is supposed to be
light and charming and Fragonard’s colors foster this.
17. Jean-Honoré Fragonard.

Bathers. c. 1765.
Oil on canvas, 25¼ x 31½’’.
Louvre, Paris.
(Source: Op.cit. p. 123)
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IV. TEXTURE
Define: texture, actual texture, visual texture. What determines the artist’s choice of
a given type of choice? How is pattern different from texture?
Texture refers to surface quality a perception of smooth or rough, flat or bumpy fine
or course. Contrasts of texture give taste to our environment. The outstanding feature of
texture is to make us want to touch it.
1. ACTUAL TEXTURE
We experience actual texture through the sense of touch. Actual texture is associated
with sculpture, architecture, and the crafts. But many paintings can also have actual texture.
When artists lay on the paint in thick layers (technique known as impasto) or when they attach
three dimensional objects to a canvas.
2. VISUAL TEXTURE
A visual texture is a simulated natural texture on a flat surface. It aims at creating an

illusion, or it may exist simply for its own sake, to provide visual interest. Whether actual or
visual, the texture helps to enliven a work of art. Raoul Dufy’s Visit of The English Squadron to
Havre (picture 18) illustrates the concept of visual texture. Though this work is a painting, it
reminds us of forms in the natural world that do in fact have texture.
18 Raoul Dufy
Visit of The English Squadron
to Havre.
c.1928. Gouache, 18¾ x 25½’’.
Searle Collection
3. PATTERN
It is any decorative, repetitive motive. Pattern nearly always creates visual texture, but
texture may not be seen as pattern all the time. But when a visual texture is decorative, highly
repetitive, and evenly spaced over an area like the drawing of Gustav Klimt below (picture 19),
we are more likely to call it pattern. His drawing shows a woman’s long and flowing dress,
fragmented into a series of irregular triangles and spiraling plantlike tendrils patterns.
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19. Gustav Klimt, Expectation.

c.1905-09. mixed media with silver
and gold leaf on paper,6’4’’x3’9 3/8’’
Osterreichisches museum fÜr
Angewandte Kunst, Vienna.
V. SPACE
What types of space do we have in art? Explain each type?

The space in and around a work of art is a dynamic visual element that interacts with
the lines, shapes, colors and textures of this work to give them definition. How could there be
a line if there were not the spaces on either side to mark its edges?
1. THREE-DIMENSIONAL SPACE
Sculpture, architecture and all forms with mass exist in three-dimensional space that
is the actual space in which our bodies also stand. The mass and the space are equal partners,
since neither could exist without the other.
2. TWO-DIMENSIONAL SPACE
Two-dimensional space refers to the space in a painting, drawing, print, or other type
of flat art. As the name implies, this kind of space has only height and width, no depth.
2.1. Spatial Organization
What is spatial organization? How does picture 20 illustrate it?

It is the way in which shapes, lines and other elements are arranged vertically or
horizontally within the space. Working on a picture surface that is flat and has no depth the
artist has to decide whether to place forms high or low, left or right, centered to one side.
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Each time he/she makes a mark of any kind, the space is divided into segments that were not
there before. (Picture 20) focuses on a spatial organization by Edgar Degas. In this painting
entitled Dancers Practicing at the Barre, he gathers the two major forms into the upper right
part of the frame, leaving the rest of the canvas as open space. This daring composition and
sharp diagonal bring the whole space to life.
20. Edgar Degas.

Dancers Practicing at the Barre.
1987. Oil, freely mixed with
turpentine, on Canvas;
29¾ x 32’’.
Metropolitan Museum of Art,
New York
(H.O. Havemeyer Collection,
bequest of Mrs H.O. Havemeyer,
1929
2.2. Illusion of Depth
Explain the notion of illusion of depth. What methods are there to create it in a work?
It is the creation on a flat surface of the illusion or impression of deep, three-
dimensional space as one must see in a natural landscape. When artist create illusionary depth
they create the impression that some forms are farther away than others, and some forms are
in front of or behind others in space.
There are several methods to create the illusion of depth on a two dimensional surface
such as overlapping (picture 21). In this mosaic of The Good Shepherd Separating the Sheep
from the Goats, the animals are placed in front of the angels and Christ’s hand overlaps the
angel at our left. We perceive the animals and the Christ figure to be farther forward in space.
21. The Good Shepherd Separating

the Sheep from the Goats.
c. 520. Mosaic.
Sant’ Apolinare Nuovo,
Ravenna.
(Source: Ibidem).
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Position (picture 22) is another method to create the illusion of depth. In this Persian
painting, Dervishes Dancing, the figures placed higher in the composition are assumed to be
farther back in space than those towards the bottom. In addition to the placement of the
forms, the artist has used some overlapping to foster the sense of spatial depth.
22. School of Bihzad.

Dervishes Dancing,
leaf from the Diwan. c. 1490.
color on paper.
Metropolitan Museum of Art,
New York (Rogers fund, 1917).
(Source: Living with Art,
2nd Edition p. 130).
Linear perspective, (picture 23) is another device to show spatial depth. It is based on
the application of two phenomena that are: 1. Forms that are far away from the viewer seem
smaller than those that are close up. 2. Parallel lines receding into the distance seem to
converge, until they meet at a point on the horizon line where they disappear. This point is
known as the vanishing point.
23. Sketches of linear perspective.

(Source: Op.cit. p.131).
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To sum up, artist can use many devices to create the illusion of three dimensional
depth on a two dimensional surface. Here are some of the major ones.
Seen as foreground Seen as background

Large size small size
Set low in the picture set high in the picture
Parallel lines far apart parallel lines converging
Overlapping other forms overlapped by other forms
Sharply defined forms blurred forms
Intense forms grayed colors
Rough texture smooth textures.
VI. TIME AND MOTION
How does time intervene in the observation of a work of art? What does motion
contribute to the existence of a work? What types of motion do we have? How are they
created?
1. ELAPSED (PASSED) TIME
When walking through a building or around a sculpture our view point changes with
every split second that passes. We cannot experience every aspect of the structure from
vantage point or at one moment. It takes time to accumulate all the different points of view
and assemble them to understand the whole. So time is always a factor in the understanding
of a work especially in three dimensional arts (sculpture, architecture).
2. ACTUAL MOTION (MOVEMENT)

In actual or real motion it is either the viewer or the work of art itself that is in motion.
Here the shape of the represented object is less important than the movements that may be
produced by that shape.
3. ILLUSION OF MOTION
It is the impression of movement artists create which contributes to the success of
their works by making them more dynamic. Bridget Riley’s Current (picture 24) an example
of the style known as Op Art has as its theme the illusion of motion caused by optical effects.
As we stare at the lines in this painting, they begin to swim before our eyes and the painting
seems to be in motion.
24. Bridget Riley

Current. 1964.
Synthetic polymer paint
on composition board,
4’10⅜’’ square. Museum of Modern Art,
New York
(Philip Johnson Fund)
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LESSON 3
LANGUAGE REVISION : EXPRESSING ACTIONS : THE VERB TENSES
(La description/le récit des faits: les temps du verbe)
I. CONJUGATION
Conjuguer un verbe, c’est lui faire épouser le temps (passé, présent ou futur) de
l’action qu’il décrit. A chaque temps le verbe subit des changements dans sa forme
orthographique. Cela nous impose l’impérieuse nécessité de la connaissance des temps et de
leur formation qui se présentent comme suit :
Abréviations : Aux = Auxiliaire ; V = Verbe ; PP=Participe Passé ; Inf.= infinitif
N° TEMPS FORMATION EXEMPLE
1 -I, you, we, you, they + V (Inf. sans to)
I work.
le present simple (le présent) -He, she, it + V-s/ es / ies. He works. She goes.
-Exception: Verbe TO BE (être) Mais avec to be: I am, he is
2 Le present continuous (le present Aux.BE(present simple) + We are working.
progressif) V-ing
3 le past simple ( preterit, passé -Verbe régulier : V-ed : We worked.
simple, passé compose) -Verbe irrégulier voir liste We ate.
4 Le past continuous (passé Was / Were + V-ing He was working.
progressif, imparfait)
5 le present perfect (passé composé, Have / Has + V(p.p.) She has worked.
présent)
6 le present perfect continuous They have been working.
(passé composé progressif, le Have / Has + Been + V-ing
présent progressif)
7 Le past perfect (plus-que-parfait) Had + V(pp) You had worked
8 le past perfect continuous (le plus- Had + Been + V- ing I had been working.
que-parfait progressif)
9 le future simple (le futur simple) Will / Shall + V(Inf.) We shall work.
10 le future contiuous (le futur Will / Shall + Be +V-ing You will be working.
progressif)
11 le future perfect (le futur Will / Shall+ Have + V(pp) We will have worked.
antérieur)
12 le future perfect continuous (le Will / Shall + Have + been + V-ing You will have been working.
futur antérieur progressif)
13 le conditional (le conditionnel 2) Would / Could + V (Inf.) They would work.
14 le conditional continuous (le Would / Could + Be + V-ing She would be working.
conditionnel 2 progressif)
15 le conditional perfect (le Would / Could + Have +V(pp) We could have worked.
conditionnel 3)
16 le conditional perfect continuous Would / Could + Have + Been + V-ing We could have have been
(le conditionnel 3 / passé working.
progressif)
17 l’imperative (l’impératif) Let + Pronom + V (Inf.) Let me work!
18 Le Subjunctive (le subjonctif) V (Inf.) Work he or not, I love him.
(Qu’il travaille ou non, je
l’aime).
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II. CONJUGATION TABLES
Model verb: to work
PRESENT SIMPLE
Affirmative Negative Interrogative Negative interrogative
I work I don’t work Do I work? Don’t I work?

You work You don’t work Do you work? Don’t you work?
He works He doesn’t work Does he work? Doesn’t he work?
We work We don’t work Do we work? Don’t we work?
You work You don’t work Do you work? Don’t you work?
They work They don’t work Do they work? Don’t they work?
PRESENT CONTINUOUS
I’m working I’m not working Am I working? Aren’t I working?

You’re working You’re not working Are you working Aren’t you working
He’s working He’s not working Is he working? Isn’t he working?
We’re working We’re not working Are we working? Aren’t we working?
You’re working You’re not working Are you working? Aren’t you working?
They’re working They’re not working Are they working? Aren’t they working?
PAST SIMPLE
I worked I didn’t work Did I work? Didn’t I work?

You worked You didn’t work Did you work? Didn’t you work?
He worked He didn’t work Did he work? Didn’t he work?
We worked We didn’t work Did we work? Didn’t we work?
You worked You didn’t work Did you work? Didn’t you work?
They worked They didn’t work Did they work? Didn’t they work?
PAST CONTINUOUS
I was working I wasn’t working Was I working? Wasn’t I working?

You were working You weren’t working Were you working? Weren’t you working?
He was working He wasn’t working Was he working? Wasn’t he working?
We were working We weren’t working Were we working? Weren’t we working?
You were working You weren’t working Were you working? Weren’t you working?
They were working They weren’t working Were they working? Weren’t they working?
21
PRESENT PERFECT
I have worked I haven’t worked Have I worked? Haven’t I worked?

You have worked You haven’t worked Have you worked? Haven’t you worked?
He has worked He hasn’t worked Has he worked? Hasn’t he worked?
We have worked We haven’t worked Have we worked? Haven’t we worked?
You have worked You haven’t worked Have you worked? Haven’t you worked?
They have worked They haven’t worked Have they worked? Haven’t they worked?
PRESENT PERFECT CONTINUOUS

I have been working I haven’t Have I been Haven’t I been working?
You have been working been working working? Haven’t you been working?
He has been working You haven’t Have you been Hasn’t he been working?
We have been working been working working? Haven’t we been working?
You have been working He hasn’t Has he been Haven’t you been working?
They have been been working working? Haven’t they been working?
Working We haven’t Have we been
been working working?
You haven’t Have you been
They haven’t Have they been
PAST PERFECT
I had worked I hadn’t worked Had I worked? Hadn’t I worked?

You had worked You hadn’t worked Had you worked? Hadn’t you worked?
He had worked He hadn’t worked Had he worked? Hadn’t he worked?
We had worked We hadn’t worked Had we worked? Hadn’t we worked?
You had worked You hadn’t worked Had you worked? Hadn’t you worked?
They had worked They hadn’t worked Had they worked? Hadn’t they worked?
PAST PERFECT CONTINUOUS

I had been working I hadn’t been Had I been Hadn’t I been working?
You had been working working? Hadn’t you been working?
working You hadn’t been Had you been Hadn’t he been working?
He had been working working? Hadn’t we been working?
working He hadn’t been Had he been Hadn’t you been working?
We had been working working? Hadn’t they been working?
working We hadn’t been Had we been
You had been working working?
working You hadn’t been Had you been
They had been working working?
working They hadn’t been Had they been
Working working?
22
FUTURE SIMPLE
I will work I won’t work Will I work ? Won’t I work?

You will work You won’t work Will you work? Won’t you work?
He will work He won’t work Will he, she, it work ? Won’t he work?
We will work We won’t work Will we work? Won’t we work?
You will work You won’t work Will you work? Won’t you work?
They will work They won’t work Will they work? Won’t they work?
FUTURE CONTINUOUS
I will be working I won’t be working Will I be working? Won’t I be working?

You will be working, You won’t be working Will you be working? Won’t you be working?
He will be working He won’t be working Will he be working? Won’t he be working?
We will be working We won’t be working Will we be working? Won’t we be working?
You will be working You won’t be working Will you be working? Won’t you be working?
They will be working They won’t be Will they be working? Won’t they be working
Working
FUTURE PERFECT
I will have worked I won’t have worked Will I have Won’t I have
You will have worked You won’t have worked worked? worked?
He will have worked He won’t have worked Will you have Won’t you
We will have worked We won’t have worked worked? have worked?
You will have worked You won’t have worked Will he it have Won’t he
They will have worked They won’t have worked worked have worked?
Will we have Won’t we
worked? have worked?
Will you have Won’t you
Will they have Won’t they
FUTURE PERFECT CONTINUOUS

I will have I won’t have Will I have been Won’t I have been
been working been working working? working?
You will have You won’t have Will you have been Won’t you have been
He will have He won’t have Will he have been Won’t he have been
We will have We won’t have Will we have been Won’t we have been
You will have You won’t have Will you have been Won’t you have been
They will have They won’t have Will They have been Won’t they have been
23
CONDITIONAL
I would work I wouldn’t work Would I work? Wouldn’t I work?

You would work You wouldn’t work Would you work? Wouldn’t you work?
He would work He wouldn’t work Would he work? Wouldn’t he work?
We would work We wouldn’t work Would we work? Wouldn’t we work?
You would work You wouldn’t work Would you work? Wouldn’t you work?
They would work They wouldn’t work Would they work? Wouldn’t they work?
CONDITIONAL CONTINUOUS
I would be I wouldn’t be Would I be working? Wouldn’t I be

working working Would you be working? working?
You would be You wouldn’t be Would he be working? Wouldn’t you be
working working Would we be working? working?
He would be He wouldn’t be Would you be working? Wouldn’t he be
working working Would they be working? working?
We would be We wouldn’t be Wouldn’t we be
working working working?
You would be You wouldn’t be Wouldn’t you be
working working working?
They would be They wouldn’t be Wouldn’t they be
Working Working working?
CONDITIONAL PERFECT
I would have worked I wouldn’t Would I have Wouldn’t I have

You would have worked have worked worked? worked?
He would have worked You wouldn’t Would you have Wouldn’t you have
We would have worked have worked worked? worked?
You would have worked He wouldn’t Would he have Wouldn’t he have
They would have worked have worked worked? worked?
We wouldn’t Would we have Wouldn’t we have
have worked worked? worked?
You wouldn’t Would you have Wouldn’t you have
They wouldn’t Would they have Wouldn’t they have
24
CONDITIONAL PERFECT CONTINUOUS:

I would have I wouldn’t have Would I have Wouldn’t I have

been working been working been working? been working?
You would have You wouldn’t have Would you have Wouldn’t you have
He would have He wouldn’t have Would he have Wouldn’t he have
We would have We wouldn’t have Would we have Wouldn’t we have
You would have You wouldn’t have Would you have Wouldn’t you have
They would have They wouldn’t have Would they have Wouldn’t they have
IMPERATIVE
Affirmative Negative
Let me work Don’t let me work

Work Don’t work
Let him work Don’t let him work
Let’s work Don’t let us work
Work Don’t work
Let them work Don’t let them work
SUBJUNCTIVE
Affirmative
I work
You work
He work
We work
You work
They work
25
III. USING THE PAST SIMPLE AND THE PRESENT PERFECT (L’emploi du past simple et du
present perfect)
Il existe trois principaux moments servant de cadre au déroulement de toute action.

Ce sont : LE PASSE, LE PRESENT, LE FUTUR.
PRESENT
PASSE FUTUR
Pour exprimer ou décrire une action, on doit tenir compte du moment de son
déroulement afin de choisir le temps qui convient. A chaque principal moment il existe un
certain nombre de temps.
Si les temps du présent et du futur sont apparemment faciles d’emploi, ceux du passé
ne le sont pas toujours du fait des difficultés liées à la formation du prétérite et du participe
passé des verbes, surtout irréguliers.
Des temps du passé, le past simple et le present perfect retiennent notre attention
dans cette étude du fait de leur récurrence dans le discours quotidiens et des difficultés liées
à leur emploi.
Leur choix est déterminé, comme pour les autres temps, par les caractéristiques de l’action.
Ainsi :
1. on emploie le PAST SIMPLE (prétérite): verbe régulier : V (infinitive) +ed

verbe irrégulier : voir liste
Pour exprimer une ACTION ACCOMPLIE (to express a finished action) dont la date
d’accomplissement est précisée par un adverbe ou un complément de temps tel
yesterday (hier), last week (la semaine dernière) two days ago (cela fait deux jours), in
1985 (en 1985), etc.,
Exemple: I did my homework yesterday. (J’ai traité mon devoir hier)
2. on emploie le PAST CONTINUOUS: was / were + V- ing

Pour exprimer une ACTION ACCOMPLIE qui était continue et qui a servi de cadre au
déroulement d’une autre action temporelle ou continue,
Exemple: I was doing my homework last night when a power cut occurred.
(Je traitais mon devoir hier nuit lorsqu’il y eu une coupure d’électricité)
doing my homework present
Power cut
3. on emploie le PRESENT PERFECT simple: have/has + V (past participle)

3.1. Pour exprimer une ACTION ACCOMPLIE dont la date d’accomplissement n’est pas
indiquée, mais dont le résultat présent, tangible ou intangible, est ce qui importe.
26
Exemple: I have done my homework. Here it is ! (J’ai traité mon devoir ; le voici !)
3.2. Pour exprimer une ACTION ACCOMPLIE sur une période non encore achevée telle
aujourd’hui (today), cette semaine-ci (this week), ce mois-ci (this month), cette
année (this year), …
Exemple: We have done many assignments this week. (The month is still running).
(Nous avons traité assez de devoirs cette semaine-ci. (La semaine n’est pas encore achevée.
Elle est en cours)).
3.3. Pour exprimer une ACTION EN COURS (to express an unfinished action) avec pré-
cision de la date de commencement introduite par ‘since…’ (depuis…) ou avec pré-
cision du temps déjà écoulé dans le cours de l’action; précision introduite par
‘for…’ (cela fait…, il y a…)
On emploie également le present perfect continuous (have / has + been + V-ing)

suivi de ‘since…’ ou ‘for…’ pour exprimer une action en cours
Exemple:
I have done this work since last week. (je fais ce travail depuis la semaine dernière)
I have been doing this work since last week. (je fais ce travail depuis la semaine dernière)
ou
I have done this work for a week now. (cela fait maintenant une semaine que je fais ce travail)
I have been doing this work for a week now. (cela fait maintenant une semaine que je fais ce
travail)
4. On emploie le PRESENT PERFECT continuous: have / has + been + V-ing
4.1. Pour exprimer une ACTION ACCOMPLIE de façon continue à un moment donné
et dont le résultat (tangible ou intangible) est ce qui importe à présent.
Exemple: Here is the assignment. I have been doing it all the week round.
(Voici le devoir. Je l’ai traité pendant toute semaine)
4.2. Pour exprimer une ACTION EN COURS avec précision de la date de commence-
ment introduite par ‘since…’ (depuis…) ou avec précision du temps déjà écoulé
dans le cours de l’action; précision introduite par ‘for…’ (cela fait…, il y a…)
(Voir 3.3)
5. SINCE, FOR, AGO
SINCE (depuis…) s’emploie avec le present perfect pour indiquer la date de

commencement d’une action en cours.
Exemple: I have done this work since last week. (Je fais ce travail depuis la semaine dernière)
FOR (cela fait… ; il y a…) s’emploie avec le present perfect pour indiquer le temps déjà
écoulé dans le déroulement d’une action en cours.
Exemple: I have done this work for a week now. (Cela fait maintenant une semaine que je fais ce travail)
A ne pas confondre avec ‘for’ qui signifie ‘pour/à’ ou ‘car’ et biens d’autres sens de ‘for’
27
Ex : This portrait is for Peter. (Ce portrait est pour/à Pierre)

We went home, for the teacher was missing. (Nous sommes rentrés car le prof était absent).
AGO (cela fait… ; il y a…) s’emploie avec le past simple pour indiquer le temps qui s’est
écoulé entre l’achèvement d’une action et le moment où l’on en parle.
Exemple: I did this work a month ago. (Cela fait un mois que j’ai fait ce travail)
4. PRACTICE
1. Write the correct form for each verb in brackets. To decide whether to use the
present perfect or past simple, ask yourself, ‘is the activity still continuing?’
MARTHE is a very good tennis player. She (play) (1_______) tennis since she was 14 years old.
In 1989 she (join) (2______) Cocody Tennis club. In her first year with Cocody, she (win)
(3_____) five matches and (help) (4_______) her club to win the Tropicana Championship in
1991. She (leave) (5_______) Cocody Tennis Club for the Jacaranda Club where she (play)
(6_______) ever since. She has a powerful service and this season she (make) (7_______) it
even more deadly. Marthe is a popular national figure and (become) (8___________) a model
for other girls to follow.
GFE 2nde P.30
2. Complete with SINCE, FOR or AGO

INSAAC has existed 1… more than two decades now. 23 years 2…, it was created for the main
purposes of training teachers and professionals of art and culture, conducting researches on
the national cultural heritage for its preservation and, encouraging, sustaining and developing
traditional and modern artistic creation. It has offered undergraduate and graduate education
3… that time. I have been teaching there 4… years now. I completed a Master’s degree in
museum studies from this institution two years 5… and 6… January 2014 I have been teaching
museum education there with the museum studies department.
3. Complete and say in English

1. J’ai commencé les études primaires en … .
2. Cela fait environ …. ans que je vais à l’école.
3. Il y a … mois que j’ai obenu le baccalauréat.
4. J’étudie à l’Ecole Supérieure des Arts Plastiques d’Architecture et de Design d’Abidjan
depuis … .
28
IV. IRREGULAR VERBS AND THEIR USE (Les verbes irréguliers et leur emploi)
1. QU’EST-CE QU’UN VERBE IRREGULIER ?
Un verbe irrégulier est un verbe dont le prétérite et le participe passé ne se forment

pas avec le suffixe “-ed”. Comme l’indique son nom, soit la forme varie aussi bien au prétérite
qu’au participe passé, soit elle est la même à ces deux niveaux mais différente de celle de
l’infinitif.
Exemple: infinitive preterit past pariciple

To go went gone
To catch caught caught
Il n’existe pas de règle particulière pour les distinguer des verbes réguliers et maîtriser
leurs formes changeantes. Il faut les apprendre par cœur suivant leur liste que les enseignants
et documents tiennent à votre disposition.
2. POURQUOI DEVONS-NOUS CONNAITRE LES VERBES IRREGULIERS PAR CŒUR ?
Cette question pose celle du but pour lequel l’on apprend par cœur la liste des verbes
irréguliers et des difficultés liées à l’utilisation de cette connaissance pour afficher notre
compétence linguistique à l’écrit et à l’oral.
Notre maîtrise du prétérite et du participe passé des verbes réguliers et irréguliers

nous servira à décrire les actions passées en conjuguant convenablement les verbes aux temps
qui s’imposent. Ainsi, par exemple, si l’action passée à décrire est un acte accompli qui exige
donc le past simple comme temps, il faut connaître le prétérite du verbe à utiliser pour décrire
cette action avec spontanéité. Si l’action a commencé et n’est pas encore achevée et exige
donc le present perfect, il faut connaître le participe passé du verbe à employer afin de le
mettre au present perfect..
Exemple: Yesterday, I (to make)…made…a portrait.

We (to learn) …have learnt…English for eleven years now.
29
3. LIST OF IRREGULAR VERBS (Liste de verbes irréguliers)
LISTE 1 (80 verbes très employés)
to be I was [w‫כ‬z] been être

we were [wə:]
to have I had had avoir
to beat [i:] I beat [i:] beaten battre
to begin I began [æ] begun [λ] commencer
to bend I bent bent courber, se pencher
to blow [ou] I blew [blu:] blown souffler
to break [ei] I broke [ou] broken casser
to bring I brought [‫כ‬:t] brought apporter
to build [bild] I built built construire
to burn I burnt burnt brûler
to burst I burst burst éclater
to buy [ai] I bought [‫כ‬:t] bought acheter
to catch I caught [‫כ‬:t] caught attraper
to choose [u:] I chose [ou] chosen[ou] choisir
to come [λ] I came [ei] come [λ] venir (1)
to cut I cut cut couper
to do I did done [λ] faire
to draw[‫כ‬:] I drew [dru:] drawn dessiner
to drink I drank [æ] drunk [λ] boire
to drive [ai] I drove [ou] driven[i] conduire, aller en
voiture
to eat I ate [et] eaten manger
to fall [‫כ‬:] I fell fallen tomber
to feel I felt felt sentir
to fight I fought [‫כ‬:t] fought combattre
to find [ai] I found [au] found trouver
to fly I flew [flu:] flown [ou] voler aller en avion
to forget I forgot forgotten oublier
to get I got got (gotten) obtenir
to give I gave given donner (2)
to go [ou] I went gone [‫]כ‬ aller
to grow [ou] I grew[gru:] grown grandir,
(faire) pousser (plantes)
to hang [æ] I hung [λ] hung pendre, accrocher (3)
to hear [iə] I heard [ə:] heard entendre
to hide [ai] I hid [i] hidden [i] cacher
to hold [ou] I held held tenir
to keep I kept kept garder
to know [nou] I knew [nju:] known [noun] connaître, savoir
(1) de même: to become, devenir

(2) de même: to forgive, pardoner.
(3) régulier dans le sens de « exécuter (un condamné) par pendaison ».
30
to lead [i:] I led led mener

to learn [ə:] I learnt (ou reg.) learnt apprendre
to leave I left left quitter, laisser, partir
to let I let let laisser, permettre
to lie [ai] I lay [ei] lain [ei] être étendu (ou couché)
to light I lit(ou reg.) lit (ou reg.) allumer, éclairer
to lose [u:z] I lost [‫]כ‬ lost perdre
to make I made made fabriquer, faire
to meet I met met rencontrer
to pay [ei] I paid [ei] paid payer
to put I put put mettre
to read I read[e] read[e] lire
to ride [ai] I rode [ou] ridden [i] aller à cheval
(ou à bicyclette)
to ring I rang [æ] rung [λ] sonner
to run [λ] I ran [æ] run [λ] courir
to say [ei] I said [e] (1) said [e] lire
to see I saw [‫כ‬:] seen voir
to sell I sold [ou] sold vendre
to send I sent sent envoyer
to shake I shook shaken trembler, secouer
to shine [ai] I shone [‫]כ‬ shone [‫]כ‬ briller
to shoot I shot shot tirer (arme à feu)
to show [ou] I showed shown [ou](2) montrer
to shut I shut shut fermer
to sing I sang [æ] sung [λ] chanter
to sit I sat sat être assis
to sleep I slept slept dormir
to speak I spoke spoken parler
to spend I spent spent dépenser,
passer (du temps)
to spread [e] I spread [e] spread [e] étendre
to stand I stood stood être debout (3)
to steal I stole [ou] stolen voler, dérober
to stick I stuck [λ] stuck coller
to strike [ai] I struck [λ] struck frapper
to swim I swam [æ] swum [λ] nager
to take I took taken prendre
to teach I taught [‫כ‬:t] taught enseigner
to tear [εə] I tore [‫כ‬:] torn déchirer
to tell I told [ou] told dire, raconter
to think I thought [‫כ‬:t] thought penser
to throw [ou] I threw [u:] thrown jeter
to wake (up) I woke (up) [‫כ‬:] woken (up) (ou reg.) (se) réveiller
to wear [εə] I wore worn porter
to win I won [λ] won [λ] gagner
to write [ai] I wrote [ou] written [i] écrire
31
(1) La 3è personne du singulier du présent (says) se prononce également avec une

voyelle courte [sez]. Comparer said [ed] avec laid (ei], qui sont réguliers pour l’oreille.
(2) Ne pas confondre les prononciations de shone [‫ ]כ‬et de shown [ou].
(3) De même : to understand, comprendre.
LISTE N°2 (60 verbes d’emploi assez courant)
to awake I awoke awoken (ou rég.) (se) réveiller (1)

to bear [εə] I bore [‫כ‬:] borne (2) supporter
to bet I bet bet parier
to bind [ai] I bound [au] bound lier, relier
to bite [ai] I bit [i] bitten [i] mordre
to bleed I bled bled saigner
to breed I bred bred élever (des enfants,
bétail) (3)
to cast I cast cast jeter (surtout sens fig.)
to cling I clung clung [λ] s’accrocher
to cost I cost cost coûter
to creep I crept crept ramper
to deal [i:] I dealt [e] dealt [e] distribuer
to dig I dug dug creuser
to dream [i:] I dreamt [e] (ou rég.) dreamt [e] (ou rég.) rêver
to feed I fed fed nourrir
to flee I fled fled s’enfuir
to fling I flung [λ] flung jeter (violemment)
to forbid I forbade [ei] ou [æ] forbidden interdire
to freeze I froze frozen geler
to grind [ai] I ground ground moudre
to hit I hit hit frapper, atteindre
to hurt I hurt hurt blesser
to kneel I knelt knelt s’agenouiller
to knit I knit knit tricoter
to lay I laid [ei] laid poser à plat
to lean [i:] I leant [e] (ou rég.) leant[e] (ou rég.) s’appuyer
to leap [i:] I leapt [e] leapt [e] sauter (4)
to lend I lent lent prêter
to mean [i:] I meant [e] meant [e] signifier
to mow I mowed mown faucher
to rise [ai] I rose [ou] risen [i] s’élever, se lever (5)
to saw [‫כ‬:] I sawed sawn scier
to seek I sought [‫כ‬:t] sought chercher (sens abstrait) (6)
to set I set set fixer
to sew [ou] I sewed sewn coudre
to shed I shed shed verser (des larmes)
to shrink I shrank [æ] shrunk [λ] rétrécir
to sink I sank [æ] sunk [λ] sombrer, couler.
to slide [ai] I slid [i] slid glisser
to smell I smelt smelt sentir (odeur)
32
(1) dans la langue courante on se sert surtout du verbe to wake up.

(2) to be born (sans e) : naître (verb passif).
(3) plus couramment to bring up quand il s’agit d’enfants
(4) moins courant que to jump au sens propre.
(5) se lever du lit : to get up. se lever de la chaise: to stand up.
(6) chercher ce qu’on a égaré: to look for.
to sow [ou] I sowed sown semer

to spell I spelt(ou rég.) spelt (ou rég) épeler
to spill I spilt(ou rég.) spilt (ou rég.) renverser (un liquide)
to spin I spun [λ] spun filer (coton)
ou (span)
to spit I spat spat cracher
to split I split split fendre
to spoil I spoilt(ou rég.) spoilt (ou rég.) gâter, gâcher
to spring I sprang [æ] sprung [λ] bondir, jaillir
to sting I stung [λ] stung piquer (insects)
to stink I stank [æ] stunk [λ] sentir mauvais
ou (stunk)
to strive [ai] I strove [ou] striven s’efforcer
to swear [εə] I swore [‫כ‬:] sworn jurer
to sweep I swept swept balayer
to swell I swelled swollen [ou] enfler
to swing I swung [λ] swung se balancer
to thrust I thrust thrust fourrer, enfoncer
to tread [e] I trod trodden fouler au pieds
to weave I wove woven tisser
to weep I wept wept pleurer
to wring I wrung [λ] wrung tordre
Verbes à ne pas confondre:

a – to lie (être étendu) et to lay (poser à plat)
b – to feel (ressentir), to fall (tomber) et to fell (rég. : to fell a tree, abattre un arbre)
c – to fly (voler comme un oiseau), to flee (fuir, qui se dit aussi to fly away) et to flow
(rég. : couler, s’écouler)
d – to find (trouver) et to found (rég. :fonder)
e – to forget (oublier), to forgive (pardonner) et to forbid (interdire, qui se dit aussi: to
prohibit,rég.)
f – to sew (coudre), to sow (semer) et to saw (scier), qui se conjuguent de même ; les
deux premiers se prononcent de même.
33
LISTE 3
30 verbes plus rares (la plupart sont archaïques ou ont des synonymes plus courants dans la
langue parlée. Ne les employer qu’avec précaution).
to abide[ai] (by)I abode abode rester fidèle (à)

to beget I begot (bibl.: begat) begotten engendrer
to beseech I besought [‫כ‬:t] besought supplier
to bid I bade [æ] ou [ei] bidden ordonner
to bid I bid bid offrir (prix,enchère)
to chide [ai] I chid chidden (ou: chid) réprimander
to cleave I cleft (ou clove) cleft (ou cloven) fendre
to crow I crew (ou rég.) crowed chanter (coq)
to dare I durst (ou rég.) dared oser
to dwell I dwelt dwelt habiter
to forsake I forsook forsaken abandonner
to gild [g] I gilded gilt (ou rég.) dorer
to gird [g] I girt (ou rég) girt (ou rég.) ceindre
to hew I hewed hewn (ou rég.) tailler à coup de hache
to quit [kwit](1) I quit (ou rég.) quit (ou rég.) cesser (de…)
to rend I rent rent déchirer
to rid I rid (ou rég.) rid débarrasser (2)
to shear [iə] I sheared shorn (ou rég) tondre (les moutons)
to shoe I shod [‫]כ‬ shod ferrer, chausser
to slay I slew [slu:] slain massacrer
to sling I slung [λ] slung lancer avec une fronde
to slink I slunk [λ] slunk aller furtivement
to slit I slit slit fendre, déchirer
to smite [ai] I smote smitten frapper
to speed I sped sped se hâter
to strew [u:] I strewed strewn joncher
to stride I strode [ou] stridden [i] marcher à grande enjambé
to string I strung [λ] strung enfiler
to thrive [ai] I throve [ou] thriven [i] prospérer
to wind [ai] I wound [au] wound [au] enrouler, remonter (horologe)
(1) plus américain qu’anglais.

(2) S’emploie surtout au participe passé, dans les expressions : to be rid of (être
débarrassé de) et : to get rid of (se débarasser de).
Remarques.
(1) les verbes à préfixe se conjuguent comme les verbes qui leur servent de radical
(ex. : to become, to forgive, to understand; voir liste I).
De meme: to arise (s’élever, survenir) ; to befall (survenir) to behold (contempler) ; to foresee
(prévoir); to foretell (prédire); to overcome (surmonter, vaincre) ; to overtake (rattraper,
doubler) ; to withdraw (retirer, se retirer).
34
Exceptions (formes différentes au participe passé): to get, to forget, (liste 1) et to beget (liste
3); to bid (liste 3) et to forbid (liste 2).
(2) participes passés irréguliers à valeur d’adjectifs :

Wrought iron (de: to work), le fer forgé.
A clean-shaven face (de : to shave), un visage rasé de frais.
Poorly clad (de: to clothe = to dress), pauvrement vêtu.
Laden with (de: to lade, synonyme rare de to load), chargé de, accablé de.
Molten lead (de: to melt), du plomb fondu.
Mais les participes passés à valeur verbale sont réguliers (You haven’t shaved. The gun was not
loaded. The snow has melted away).
IV. Practice / performance:
I. Tell about your first days at the graduate school of art (ESAPAD) of Abidjan (300
words)
II. Report on an art exhibition you have attended. (300 words)

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1

INSAAC / ESAPAD Academic year: 2023-2024

Special field : ART STUDIES

Level: 1st year Bachelor

Lecturer: Dr Emile GUEU

Lesson 1: THE GRADUATE SCHOOL OF PLASTIC ARTS, ARCHITECTURE AND DESIGN

Lesson 2: THE VISUAL ELEMENTS IN A WORK OF ART ……………………………………………….3

Lesson 3: LANGUGE REVISION: EXPRESSING ACTIONS – THE VERB TENSES…………….19

Djepa J.M. (2003), A New Approach To English, Abidjan (unpublished)

SPECIALIZATION SPECIALIST MATERIALS TOOLS TECHNIQUES ARTWORKS

What are the visual elements in a work of art?

List some functions of lines.

1. Alexander Calder. The Hostess.1928.

2. Pablo Picasso. Paulo on a Donkey.

Give the existing types of lines.

3. (a) actual line

What elements characterize lines? Explain each element.

II. SHAPE AND MASS

2. CATEGORIES OF SHAPES AND MASSES

5. Piet Mondrian. Composition with Red,

III. LIGHT, VALUE, AND COLOR

Why are light, value and color inseparable concepts in art?

9. Value scale in gray

Color is a function of light as explains the principle of color theory.

3.1. Color theory

10. Sketch of colors separated by a prism.

11. Color wheel

3.2. Color properties

List the properties of colors. Give two examples of each property.

white high light low me- high dark low

high low me- high low

12. Color chart, showing value and intensity.

3.3. Light and pigment

How is working with light different from working in pigments?

3.4. Color harmonies

13. Titian. Portrait of a Man.

- Complementary harmonies that involve colours directly opposite to one another on

14. Suzanne Valadon.

15. Pierre Auguste Renoir.

3.5. Optical effect of color

16. Georges Seurate.

3.6. Emotional qualities of color

Colors have emotional impact on the viewer. Explain with illustrations.

17. Jean-Honoré Fragonard.

A visual texture is a simulated natural texture on a flat surface. It aims at creating an

19. Gustav Klimt, Expectation.

What types of space do we have in art? Explain each type?

2.1. Spatial Organization

What is spatial organization? How does picture 20 illustrate it?

20. Edgar Degas.

2.2. Illusion of Depth

21. The Good Shepherd Separating

22. School of Bihzad.

23. Sketches of linear perspective.

Seen as foreground Seen as background

VI. TIME AND MOTION

2. ACTUAL MOTION (MOVEMENT)

24. Bridget Riley

II. CONJUGATION TABLES

Model verb: to work

I work I don’t work Do I work? Don’t I work?

I’m working I’m not working Am I working? Aren’t I working?

I worked I didn’t work Did I work? Didn’t I work?