COMPOSITION - construction. There is an external composition. So, narrative works are divided into chapters (in a lyrical epic poem they can be small: Lermontov’s “Mtsyri”; large chapters of A.N. Tolstoy’s novel “Peter the Great” are divided into subchapters), parts (“songs” in pre-romantic and partly romantic poem), volumes, “books”.
Dramatic works consist of acts (actions), pictures (scenes), phenomena. The theorists of the Renaissance tried to make five acts the norm - the classicists fixed this norm - and found that the exposition corresponds to the first of them, i.e. introduction to the situation of the depicted action, acquaintance with the characters, the second - the development of intrigue, the third - the climax (the pinnacle of the plot, the most intense place in it), the fourth prepared the denouement that took place in the fifth act (in a figurative sense, the “fifth act” is the tragic finale, Pechorin writes in his journal: "Since I live and act, fate somehow always led me to the denouement of other people's dramas, as if without me no one could die or despair! I was the necessary face of the fifth act ; involuntarily I played the miserable role of an executioner or a traitor"). This is no longer an external composition, these are the components of the plot. Among them, it is necessary to name the plot - the beginning of the conflict and the development of the action (the chain of episodes follows).
The same components of the plot are seen by literary critics in the epic - a narrative kind of literature. Ho and in the drama, the classic rules were not strictly observed. The classicists themselves, such as Molière, had three-act plays. Russian playwrights of the XIX-XX centuries. often preferred the four-act structure of plays (“Woe from Wit” by Griboedov, “Dowry” by Ostrovsky, “The Cherry Orchard” by Chekhov, “At the Bottom” by Gorky, “Days of the Turbins” by Bulgakov). The climax very often coincides or almost coincides with the denouement, but there are several climaxes, especially in large epic works, and different storylines each have their own denouement. Chekhov in his later work does without denouement at all; before him there was no single denouement in such a grandiose work as L.N. Tolstoy. In dramaturgy, “the denouement does not always coincide with the ending. As a closing moment, special speeches “behind the curtain” are usually introduced ...” . In literature, in addition to them, as well as the speeches of the characters, it is necessary to highlight the anger, less “visual” than the narrative, the generalized story. In historically early prose, narrative often outweighs narrative. It is still very often resorted to in prose by Stendhal and Pushkin, but soon this manner began to seem archaic. In Tolstoy's "War and Peace" there is both a presentation (for example, a summary story about the Battle of Tarutino in the second half of Chapter VI of the second part of the fourth volume) and reasoning, but the basis of the text of the epic novel is a "visual" narrative. Pushkin widely used presentation not only in prose, but also in verse, where it can be quite figurative. The first chapter of "Eugene Onegin" is, first of all, a presentation of the usual recurring, although presented as if by single examples of the events of the life of a young hero in St. Petersburg. The story itself is highly variable. In the plot, the existence of characters and events are thought of as continuous, but in the narrative, when the text is more or less voluminous, these are “discrete components” interrupted by other events with other characters. It is up to the author to return to them more often or less frequently, to speak about them in detail or briefly. This is one of the signs of distinguishing between plot and plot (see: Plot).
A recurring element of narrative, description, lyrical outpouring, speeches of characters is called a motive. “The leading motif in one or many works of a writer can be defined as a leitmotif.” Individual details, portrait features of characters, landscape and other descriptions, some episodes are repeated. The framing of the plot with the motivation of the story (Maxim Maksimych, recalling the story of Pechorin and Bela, the postmaster who decided that Chichikov is Captain Kopeikin, Sholokhov's Andrey Sokolov with his unusual and difficult fate) refers to the figurative world, the semantics of the text. Such a frame informs about one-time events. However, framing can also be a narrative device. M. Gorky liked to decorate the beginnings and endings of his small works with landscapes. “Old Woman Izergil” is framed by landscapes as a whole, framed and included in the story of the legend. The shadow and sparks visible in the steppe become the reason for the transition to both legends. These are elements of the overall story. And the landscape surrounding the narrator and his old interlocutor, although changing, is still the same in artistic reality. The frequency of reference to it is an element not only of the plot, but also of the narrative. It was impossible to describe it endlessly, the author does it as many times as he needs to realize his artistic goals. Bunin twice, in the opening and finale of The Gentleman from San Francisco, speaks of a hired couple in love dancing during the voyages on ships. She is hired and dances all the time, therefore, reproducing, as “really”, reality, she would have to be shown constantly. For a writer, two times is enough to make it clear that he does not mean two times, but a lot.
Another narrative technique is artistic prelude. Such is Grinev's dream, which he considers prophetic, about a bearded man with an ax who wants to bless him as an imprisoned father (according to his mother) among the bloodied dead bodies. Without the help of the cheerful murderer Pugachev, the happy union of Grinev and Masha would not really have taken place. On the one hand, this is an element of the plot, on the other hand, it is a way of preparing the reader for what he does not yet know and what Grinev himself did not know when he saw such an unusual dream, “ajar” of the future, intriguing the reader. After all, Grinev, the narrator, has not yet explained what was prophetic in this dream: the novel is still only in the second chapter - “Counsellor”, the name “Captain’s Daughter” does not hint at all that the counselor will be Pugachev and that he will be discussed in general. Artistic anticipation is both understatement and “understatement”. It can only be confirmed emotionally, and in the plot it can be deceptive. In Gorky's Ice Drift, pine branches stick out in the fragile spring ice of the river, “marking roads, polynyas and cracks in the ice; they rose up like the hands of a drowning man, broken by convulsions. This comparison increases the tension of the further narrative, however, all the characters run across the broken river, albeit falling through, but in the end safely.
The angle in which certain elements of the figurative world are presented to the reader is called a point of view, and it means not only what can potentially be seen (to the reader - “visually” imagine). Different researchers distinguish spatial, temporal (or spatio-temporal), directly and indirectly evaluative, phraseological, psychological (in terms of subjectivity or objectivity of the description) “points of view”. Both the author and the narrator and at least some of the characters have them. Most often, the reader of the work “sees the world” together with the main, mostly positive, hero, but a variety of options are possible. Until the ninth chapter of "Dead Souls" the action takes place in those places where Chichikov is located, in the ninth and most of the tenth chapter there is no Chichikov: he, his secret plans only become the subject of discussion and conjecture of the ladies and officials of the provincial city. The author seems to know about as much as these or those characters. In Bunin's "Sunstroke", it would seem that everything that happened is given in the perception of the lieutenant, and the author does not even give his name (as well as the names of the main characters of "The Gentleman from San Francisco" and "Clean Monday"), but in fact, of course , the author is omniscient, knows everything that the hero did, thought, felt and said, as he knew the thoughts and feelings of the nameless gentleman from San Francisco or his daughter. It goes beyond the time frames of the plot, the given temporal outlook of the hero (lieutenant) and the heroine who parted with him forever after the only night together: neither one nor the other all his life. In The Gentleman from San Francisco, two mountaineers from Abruzzo stopped at the statue of Our Lady in the grotto. “Both bared their heads - and naive and humbly joyful praises poured out to their sun, morning, to her, the immaculate intercessor of all those who suffer in this evil and beautiful world ...” This author’s phrase expresses not only the evaluative position of the highlanders (“humbly joyful praises “So-and-so” and such-and-such) and partly their usual phraseology (“immaculate intercessor”), but also the author’s own evaluative position and phraseology that do not coincide with them: praises are “naive”, “in this evil and beautiful world” - too an exquisite oxymoron (see: Antithesis) for simple, naive people and at the moment not thinking about evil at all.
Evaluative "points of view" can sometimes coincide with the author and several characters that are very different and not even necessarily close to the author. So, in Gogol's recently living peasants, the seller Sobakevich is very positively, even with admiration, assessed by the seller Sobakevich, the buyer Chichikov, reflecting on the list of his dead souls, and the chairman of the civil chamber, Ivan Grigorievich. At the level of organization of the narrative, their and the author's evaluative points of view are identical, no matter how different the author's general attitude towards such people and himself may be.
The evaluative point of view is most often expressed by the corresponding phraseological, but not necessarily. In “One day of Ivan Denisovich” A.I. Solzhenitsyn’s narrator does not seem to go beyond Shukhov’s horizons, the camp appears as he perceives it: both in space and in time (while the hero is working, time passes very quickly, in general, “how many times Shukhov noticed: the days in the camp are rolling - not And the term itself - does not go at all, does not diminish at all "), both in terms of evaluation (attitude towards the authorities, one or another camp inmate), and in phraseological terms (the speech in the story is approximately the same as the speech of this former peasant should be, former soldier and convict with considerable experience). Ho Shukhov is not a narrator. The text contains the intellectual speech of Tsezar Markovich, and the wiry old man arguing with him about Eisenstein, and the commander's speech of the captain Buinovsky, and the Ukrainian accent, and the peculiarities of the speech of the prisoners from the Baltic states. Shukhov could not reproduce all this. He realizes that in the medical unit, “paramedic” Kolya Vdovushkin was engaged in “left” work - “he wrote in even, even lines and each line, stepping back from the edge, neatly one under one began with a capital letter.” Shukhov's phraseology, but the "leftist" work of a former student of the Faculty of Literature - the composition of poetry - remains, as the author bluntly says, "incomprehensible to Shukhov." When the captain declares that, according to the decree of the Soviet government, “the sun is above everything at an hour,” the uneducated Ivan Denisovich is amazed (outwardly, this is framed as the author’s, and not the character’s inner speech): “Does the sun really obey their decrees?” Here the hero's thought is presented with slight irony, and this, of course, is the author's evaluative point of view.
In dramaturgy, such a game of points of view is impossible, all actions and words are perceived by the reader (viewer) objectively, from the outside. Ho composition in the sense of organizing a dramatic action, as in an epic narrative, includes a quick change in places in which events unfold (in an epic this change is generally instantaneous, but in a theater a change of scenery or some kind of conventional sign is needed), temporary “passes” between actions (in the Days of the Turbins, the first three acts cover a short time, the fourth opens with the remark “In two months”), sometimes the compaction of time, when the duration of the stage action is conditionally issued for a slightly longer time (in the same Bulgakov play at dinner in the second picture of the first not only the non-drinking Lariosik, who even managed to sleep, but also the highly experienced Myshlaevsky got drunk very quickly; in "The Bedbug"
V.V. Mayakovsky after the exclamation of the guy: “Zoya Berezkina shot herself!” - and just a few more remarks the janitor and the doctor come running).
A change of points of view, sometimes abrupt, is possible in the lyrics, endowed with narrative features. A particularly illustrative example is “Night” by B.L. Pasternak.
Composition is the basis of any work of art. It is she who gives it expressiveness, unity and integrity. The original compositional solution attracts attention and helps to understand the meaning invested by the author. While an unsuccessful selection of compositional elements, even if all objects are skillfully drawn, can spoil the impression of the picture.
It is customary to distinguish between several types of composition:
Frontal or flat - stained glass, fresco or picture;
- three-dimensional - sculpture or architecture;
- deep-spatial - architectural ensembles.
Basic principles of composition
The composition has its own laws, among which the main ones can be distinguished:
- Integrity - all elements of the work are a single whole, there is nothing superfluous or chaotic;
- Determination of the semantic center - the allocation of objects that play the main role, drawing attention to them;
- The use of contrasts - this can be a combination of colors, the image of objects of various sizes, or the opposition of negative and positive characters;
- Statics - a state of balance and peace, expressed in the symmetry of objects and their arrangement in a certain order;
- Dynamics - the state of movement, the emphasized asymmetry in the arrangement of objects makes the composition dynamic.
In order for the work to look more expressive, it is necessary to be able to competently arrange objects among themselves, focusing on knowledge of perspective, proportions and shapes, and color theory. It is important not to overload the work with an abundance of details.
Expressive means of composition
The perception of a work of art directly depends on its composition, so it is important to be able to build it using artistic means: line, shading, tonal and color spots, perspective and chiaroscuro. They help not only to distribute objects in space, to establish the ratio of volumes, light and shadow, but also to accurately convey the author's idea.
In painting, individual compositional techniques make it possible to achieve the greatest expressiveness of the picture, to reveal the versatility of the content. This may be a rhythmic construction, where all the elements of the work are ordered, coordinated and subject to a clear rhythm set by the artist. Various visual means are involved in building the composition of an image, such as canvas size and image size, focal point, framing, temperature of color combinations, depth and angle, contrasts and rhythm.
By arranging the visual elements in the picture in a certain way, you can most fully convey the idea, attract the attention of the viewer. To do this, it is necessary to build a composition so that all objects are conveyed most expressively. Discarding all unnecessary details, leaving only the most necessary. Emphasize the inner content of the entire figurative structure of the picture.
The focal point is the center of the whole work, it carries a powerful compositional load. The remaining elements are secondary and serve to frame it. It should organically and naturally fit into the picture. An important role is played by the balance of compositional elements, which allows achieving harmony between the depicted objects.
Strict adherence to the basic principles of composition is the key to creating a unique work of art.
Any drawing begins with the compositional placement of images on a sheet of paper. The overall impression of the picture largely depends on how this or that image is arranged.
One of the main requirements in the educational drawing is the ability to correctly place images of objects on a sheet of paper.
Composition translated from Latin means "to compose, compose". Layout- make a whole out of parts. Composition as a term has a double meaning. In the educational drawing, the word " composition " means the implementation of elementary initial exercises. In artistic creativity, it has a broader semantic meaning. Separation of concepts " composition " And " layout "is very conditional, since one imperceptibly passes into another, merging in the process of working on a drawing. The term" composition "It is used in various fields and areas of art: in cinema, music, theatrical productions, ballet, literature, various types of fine arts and architecture. In a creative sense" composition "is a general artistic concept, the structure of a work of art that most fully expresses its idea. In a training drawing, this is the correct choice of the size and location of an object within a given format.
For a general idea of composition in the visual arts, you need to know the following. Compositions are easel, decorative, monumental-decorative, monumental-sculptural, theatrical-decorative, volumetric-spatial. There are compositions of objects of applied art and design. Easel compositions include graphic, sculptural and pictorial compositions. These are portraits, landscapes, narrative paintings, engravings, prints, lithographs and sculptural compositions. Decorative and arts and crafts compositions include all kinds of sketches for paintings on fabric, glass, porcelain, wood, ceramics, woodcarving and much more. For monumental and decorative - mosaics, sgraffito, panels, stained-glass windows, sculptural reliefs, etc. For theatrical and decorative - sketches and panels for performances and productions, sketches of scenery and costumes. Volumetric-spatial - architectural objects and structures, interior and exterior design, as well as architectural and sculptural compositions. Compositions of objects of applied art - design of glass, metal, furniture, industrial design, clothing modeling, etc.
Composition as a separate special subject is not included in the number of academic disciplines of the drawing course program in architectural universities; nevertheless, it is important for the idea of composition in general, as well as for future creative activity, which requires solving various complex compositional problems. Composition brings up imaginative thinking, is a sign that determines professional maturity, skill and creativity, the ability to embody ideas and images.
The main task of composition in educational drawing is the ability to place objects and their parts in such a way as to create a single harmonious expressive whole.
When solving compositional problems, one should not neglect such concepts as scale, proportions, proportionality, balance, theme, plot, image, tone, shape, volume, design, space (perspective), symmetry, contrast, rhythm, dynamics, statics, and also the main thing and secondary, unity and integrity, and, of course, expressiveness and harmony.
Composition is a system of rules and techniques for the mutual arrangement of parts into a single harmonious whole.. The ability to accurately and expressively place an image within the sheet format is an indispensable condition in a training drawing. The ability to compose compositions is also an art. Therefore, in order to master the art of layout, the development of compositional vision and flair will be required.
Thanks to the existing natural mystery, it is inherent in the human eye to see and perceive the world around us in proportions and proportions, i.e. nature itself took care of it, laid magnificent qualities at the basis of our vision, allowing us to determine beautiful proportions. Expressive compositions are the presence of harmony , i.e. such a quality of works of art, in which the eye does not feel the discrepancy between the sizes of parts and the whole, and combinations of colors do not irritate the eye. Harmony obliges the painter to arrange the depicted objects and their parts so that not a single part seems alien or disproportionate. Here is what the outstanding theorist of the Renaissance Leon Battista Alberti wrote about harmony: “There is something more, consisting of the combination and connection of these three things (number, limitation and placement), something that miraculously illuminates the whole face of beauty. After all, the purpose and goal of harmony is to streamline the parts, generally speaking, they are different in nature, by some perfect ratio, so that they correspond to one another, creating beauty ... And nature has no greater concern than that it produces it to be completely perfect. This cannot be achieved without harmony, because without it the external harmony of the parts disintegrates. From Alberti's words it is clear that the basis of beauty is harmony. Thanks to the flair, artists and architects create harmonious works of art, objects and things.
In working on composition, you need to learn compositional vision. Such a vision can be developed in the following way. For example, to view from the balcony numerous private buildings below, comparing the object that interests you with them. In this case, the main object of your interest is in the center of your attention, and the environment serves to determine the object and its place in this environment. Through this visual perception of the environment, compositional vision can be developed. Similar exercises can be done at home, on the street, in transport, at work, in a word - everywhere. The most useful exercise for developing compositional vision: having imagined an object from memory or imagination, fit it into an imaginary frame (sheet format) or, conversely, place a picture of the object in an imaginary frame.
As you master these techniques, you can try to complicate the task on the principle of "from simple to complex" by including two or more items in the layout. In this way, the foundations of understanding the composition are laid and brought up, which are necessary for performing more complex compositional tasks in the future. Well-executed technical drawings with poor layout noticeably lose their merits, thereby reducing the overall impression of the work as a whole. Good composition gives the work of art integrity, expressiveness and harmony, which is the main feature of any work of art. Good advice for students can be the expression of Leon Battista Alberti: "Never take up a pencil or brush until you have carefully considered what you have to do and how it should be done, for truly, it is easier to correct mistakes in the mind than to scrape off paintings.
Basic principles of composition
Composition in the visual arts is associated with the need to convey the main idea, the idea of the work most clearly and convincingly. The main thing in the composition is the creation of an artistic image. Pictures painted in different eras, in completely different styles, amaze our imagination and are remembered for a long time largely due to a clear compositional construction. And indeed, if you try to change something in the paintings of P. Brueghel the Elder "Hunters in the Snow", P. Gauguin "Bonjour, Monsieur Gauguin" and V. Surikov "Boyar Morozova" (ill. 1-3), for example, change the size of the canvas, the ratio of dark and light spots, the number of figures, the height of the horizon line, etc., the integrity of the composition is immediately destroyed, the balance of the parts is lost.
It is no coincidence that as examples it is proposed to consider such works, which are different in their pictorial manner. The inability to make changes to the finished picture confirms the power of the laws and rules of composition.
Rules, techniques and means of composition
Composition has its own laws, emerging in the process of artistic practice and the development of theory. This question is very complex and extensive, so here we will talk about the rules, techniques and means that help build a plot composition, translate an idea into the form of a work of art, that is, about the patterns of composition construction.
We will consider mainly those that relate to the process of creating a realistic work. Realistic art not only reflects reality, but personifies the artist's delight in the amazing beauty of ordinary things - the aesthetic discovery of the world.
Of course, no rules can replace the lack of artistic abilities for creative giftedness. Talented ARTISTS can intuitively find the right compositional solutions, but for the development of compositional talent it is necessary to study theory and work hard on its practical implementation.
The composition is built according to certain laws. Its rules and techniques are interconnected and operate at all moments of work on the composition. Everything is aimed at achieving the expressiveness and integrity of the work of art.
The search for an original compositional solution, the use of means of artistic expression, the most suitable for the realization of the artist's intention, form the basis of the expressiveness of the composition.
So, let's consider the main patterns of building a work of art, which can be called the rules, techniques and means of composition.
The main idea of the composition can be built on the contrasts of good and evil, cheerful and sad, new and old, calm and dynamic, etc.
Contrast as a universal tool helps to create a bright and expressive work. Leonardo da Vinci in his "Treatise on Painting" spoke about the need to use contrasts of values (high with low, large with small, thick with thin), textures, materials, volume, plane, etc.
Tonal and color contrasts are used in the process of creating works of graphics and painting of any genre.
A light object is more noticeable, more expressive on a dark background and, conversely, a dark one on a light one.
Transfer of rhythm, movement
Rhythm is a universal natural property. It is present in many phenomena of reality. Remember examples from the world of wildlife that are somehow connected with rhythm (cosmic phenomena, the rotation of planets, the change of day and night, the cyclical nature of the seasons, the growth of plants and minerals, etc.). Rhythm always implies movement.
Rhythm in life and in art are not the same. Interruptions of rhythm, rhythmic accents, its unevenness are possible in art, not mathematical precision, as in technology, but a living variety that finds an appropriate plastic solution.
In works of fine art, as in music, one can distinguish between an active, impetuous, fractional rhythm or a smooth, calm, slow one.
Rhythm is the alternation of any elements in a certain sequence..
In painting, graphics, sculpture, and decorative art, rhythm is present as one of the most important expressive means of composition, participating not only in the construction of the image, but also often giving the content a certain emotionality.
Rhythm can be set by lines, spots of light and shadow, spots of color. You can use the alternation of the same elements of the composition, for example, the figures of people, their arms or legs. As a result, rhythm can be built on volume contrasts. A special role is given to rhythm in the works of folk and arts and crafts. All numerous compositions of various ornaments are built on a certain rhythmic alternation of their elements.
Rhythm is one of magic wands ", with which you can convey the movement on the plane.
We live in a constantly changing world. In works of fine art, artists seek to depict the passage of time. Movement in the picture is the spokesman for time. On a painting canvas, a fresco, in graphic sheets and illustrations, we usually perceive movement in connection with the plot situation. The depth of phenomena and human characters is most clearly manifested in a concrete action, in movement. Even in genres such as portraiture, landscape or still life, true artists strive not only to capture, but to fill the image with dynamics, to express its essence in action, over a certain period of time, or even to imagine the future. The dynamism of the plot can be associated not only with the movement of some objects, but also with their internal state.
Selection of the plot-compositional center
When creating a composition, it is necessary to take care of what will be the main thing in the picture and how to highlight this main thing, that is, the plot and compositional center, which is often also called the "semantic center" or "visual center" of the picture.
Of course, not everything in the plot is equally important, and the secondary parts are subordinate to the main one. The center of the composition includes the plot plot, the main action and the main characters. The compositional center should, first of all, attract attention. The center is highlighted by illumination, color, image enlargement, contrasts and other means.
Not only in paintings, but also in graphics, sculpture, decorative arts, architecture, the compositional center is distinguished. For example, Renaissance masters preferred the compositional center to coincide with the center of the canvas. By placing the main characters in this way, the artists wanted to emphasize their important role, their significance for the plot.
Artists have come up with many options for the compositional construction of the picture, when the center of the composition shifts in any direction from the geometric center of the canvas, if this is required by the plot of the work. This technique is good to use to convey movement, the dynamics of events, the rapid development of the plot, as in the painting by V. Surikov "Boyar Morozova".
Rembrandt's painting "The Return of the Prodigal Son" is a classic example of a composition where the main thing is strongly shifted from the center for the most accurate disclosure of the main idea of the work. The plot of the painting by Rembrandt is inspired by the gospel parable. On the threshold of their home, a father and son met, who returned after wandering around the world.
Depicting the wanderer's rags, Rembrandt shows the hard path passed by his son, as if telling him in words. You can look at this back for a long time, sympathizing with the suffering of the lost. The depth of space is conveyed by the gradual weakening of light and shade and color contrasts, starting from the foreground. In fact, it is built by the figures of witnesses to the scene of forgiveness, gradually dissolving in the twilight.
The blind father put his hands on his son's shoulders as a token of forgiveness. In this gesture - all the wisdom of life, pain and longing for the years lived in anxiety and forgiveness. Rembrandt highlights the main thing in the picture with light, focusing our attention on it. The compositional center is located almost at the edge of the picture. The artist balances the composition with the figure of the eldest son standing on the right. Placing the main semantic center at one third of the distance in height corresponds to the law of the golden section, which since ancient times has been used by artists to achieve the greatest expressiveness of their creations.
Transfer of symmetry and asymmetry
Artists of different eras used the symmetrical construction of the picture. Many ancient mosaics were symmetrical. Renaissance painters often built their compositions according to the laws of symmetry. This construction allows you to achieve the impression of peace, majesty, special solemnity and significance of events.
In a symmetrical composition, people or objects are almost mirrored in relation to the central axis of the picture.
Symmetry in art is based on reality, replete with symmetrically arranged forms. For example, a human figure, a butterfly, a snowflake and much more are arranged symmetrically. Symmetrical compositions are static (stable), the left and right halves are balanced.
Transfer of balance in composition
In a symmetrical composition, all its parts are balanced, an asymmetric composition can be balanced and unbalanced. A large light spot can be balanced by a small dark one. Many small spots can be balanced by one large one. There are many options: parts are balanced by mass, tone and color. Equilibrium can concern both the figures themselves and the spaces between them. With the help of special exercises, it is possible to develop a sense of balance in the composition, to learn how to balance large and small values, light and dark, various silhouettes and color spots. Here it will be useful to recall your experience of finding balance on the Seesaw. Everyone can easily figure out that one teenager can be balanced if two kids are put on the other end of the swing. And the kid can ride even with an adult who does not sit on the edge of the swing, but closer to the center. The same experiment can be done with weights. Such comparisons help to balance different parts of the picture in size, tone and color to achieve harmony, that is, to find balance in the composition.
In an asymmetric composition, sometimes there is no balance at all if the semantic center is closer to the edge of the picture.
Compositional rules, techniques and means are based on the rich experience of the creative skills of artists of many generations, but the technique of composition does not stand still, but is constantly evolving, enriched by the creative practice of new artists. Some methods of composition become classical, and new ones come to replace them, as life puts forward new tasks for art.
Practical Tips
To create an emotional and figurative composition, an artist needs to learn to see interesting events, characters, motives, angles and states in the surrounding life. The constant execution of sketches, sketches and sketches from nature develops not only the eye and hand, but also compositional thinking.
It is not so easy to see an interesting motif of a composition in real life. A viewfinder frame, which is easy to make yourself, can help with this. The main thing is that its opposite sides remain movable, then it will be easy to change the format, increase or decrease the circle of objects included in the field of view. Choosing the most expressive plot for the composition is also not an easy task. Hundreds of people perceive and interpret the same plot in different ways, that is, they create their own version of the content. The plot should be understood as what the artist directly depicts on the canvas, and the content or theme can be much broader, that is, works with different plots can be created on the same topic.
So, you, overwhelmed with life impressions or from a book you read, sit down to draw. An image begins to take shape in your mind, and immediately the problem of composition arises. Where to start work?
It is important, even before starting the image, to try to imagine what the picture will be like.
As a rule, the artist first performs several small sketches in which he searches for the most expressive composition. At this stage, it is determined what the format of the picture will be (elongated vertically, rectangular, square, elongated horizontally, etc.) and its size.
Secrets and secrets of the masters
F. ANGEL
It requires the ability to fluently and successfully compose. He who is bold in composition will never be hampered by complex construction. A fruitful mind, if it is focused on a single goal, will always be able to produce thousands of different inventions. And if this lightness is combined with truthfulness, and they go together like sisters, it gives the art a splendor that speaks to connoisseurs much more eloquently than I can express in many words. This quality is required for the artist so that he can make the most understandable for amateurs and everyone else who sees his paintings, the stories that he depicts.
D. REYNOLDS
You must remember that when I speak of the whole, I mean the whole, not only of the composition, but the whole in relation to the general decision of color, and the whole in relation to light and shadow, and the whole in everything that can only become the main subject of the artist ... The art of omitting is in all subjects the most important component of knowledge and wisdom.
E. DELACROIX
The first lines, by which a skilled craftsman designates his idea, already contain the grain of what this work will be different from. Raphael, Rembrandt, Poussin - I purposely call them, because they were distinguished by the power of thought - they put several lines on paper, and you feel that not one of them is indifferent. For the understanding eye, life is present in everything, and nothing in the development of the theme, apparently so still obscure, will move away from the conceived plan, barely revealed and at the same time already complete. But there are perfect talents that do not show such fullness and clarity at the moment of this first glimpse of thought: they need pictorial means to touch the viewer's imagination. As a general rule, they borrow a lot from nature. They need a model to work with more confidence. They have a different way to achieve excellence in art.
Indeed, if you take away from Titian, Murillo or Van Dyck the amazing perfection of this imitation of living nature - you take away the skill that makes art and the artist forget both - then in the very idea of \u200b\u200bthe plot or in its development you will find a motif often devoid of interest; however, thanks to the charm of color and the wonders of the brush, he mysteriously rises to the heights of art. Extraordinary convexity, harmony of nuances, air and light - all the miracles of illusion transform the theme, which, in a cold and bare sketch, did not tell us anything.
K. F. Yuon
The subject of study should be both detailed compositions of large paintings, and their individual fragments. Types and types of compositions: one-dimensional, two-dimensional and multidimensional, scientifically promising and conditionally promising, and also free unpromising types of composition in each case give a whole code of peculiar techniques that achieve their artistic goals. Decorative and realistic elements, psychological moments, gestures and facial expressions, movements and actions, groupings of figures and the use of chiaroscuro conditions constitute the main compositional material.
A. A. DEINEKA
The same size of the fields and the placement of the figure along the central axis of the sheet give a harmonic balance to the drawing. But a disproportionately small figure on a large sheet will be lost, and a figure pushed to the very edge of the sheet - barely squeezed into the pictorial field or partially beyond the plane - will upset the balance of the composition. These are the elementary rules for placing an image in a training drawing. But for reasons of a different order, it is perfectly acceptable to draw a small figure against the backdrop of a grandiose hall when we want to show the scale of the image. The same figure depicted in the foreground can be partially moved beyond the edge of the sheet, pushing the architectural background into the background, for example, in a poster. If a person in a strong movement is drawn to the edge of the sheet, this emphasizes the dynamism of the gesture.
E. A. KIBRIK
The ability for creative intuition is a manifestation of the giftedness of the artist. The ability to analyze, that is, the logical consideration of one's creativity, must be developed and educated. Going from content to form and analyzing what has been done intuitively, the artist establishes not only the relationship of the characters between themselves and the environment, the format of the composition, but also its very motive and even the means of performance. Only by being able to analyze what has been created by intuition can the artist find ways and means to the final stage of creativity, leading to completeness. But only such an analysis is fruitful, which is able, as it were, to illuminate the path to completion, to inspire the author, to cause that upsurge of feeling that allows, as if in one breath, to bring the thing to an end excitedly and accurately. The scheme of the creative process will probably be as follows: intuition - analysis - intuition. For art both begins and ends, and is perceived by feeling. Explained through analysis.
Computer workshop
Design - a kind of modeling
PROBLEM 1.13. Create a set of building blocks
Modeling parquet and mosaic, you were dealing with flat compositions. Is it possible to transfer the volume using not a special program that works with three-dimensional graphics, but a simple graphics editor? The answer is obvious: if it can be done on paper, then it can be done on the screen.
A very common three-dimensional construction is the shape of a brick with an aspect ratio of 4:2:1. Building blocks, elements of furniture sets have this form. You can try your hand at designing your own home, not by moving furniture, but by moving the bricks on the screen in a three-dimensional sketch of the room (Figure 1.16).
Like any design task, this task is divided into three:
♦ creating a menu of ready-made forms;
♦ construction like “w/w will be if...”;
♦ construction of the type "how to do so that ...".
To construct from bricks, it is not enough to draw one of them. It is not possible to freely rotate shapes in the Paint graphics editor. Therefore, you will have to make a menu that will reflect all the possible positions of the brick. There are only six of them. Figure 1.17 shows three positions of the brick: flat, on the end and on the edge.
If you use the possibility of rotating fragments of the picture by 90 ° and reflecting them, then it is enough to build only three positions.
Write protect it.
PROBLEM 1.14. General brick construction
According to the general appearance of the pieces of furniture in your room, build their models from bricks (examples in Figure 1.18).
TASK 1.15. Modeling the arrangement of furniture
Using the created models of furniture, arrange it in the volume plan of the room in order to increase free space. When creating a room, use a brick whose dimensions are proportional to 100:50:25 cm.
PROBLEM 1.16. Modeling of volumetric structures from bricks in three projections
This and the next tasks are closely related to the school drawing course. It requires concentration, spatial imagination and accuracy. It is necessary to recreate the appearance of the figure from the images of three projections (front, top and left).
Create three-dimensional structures from bricks, shown in Figure 1.19 (a, b, c) in three projections.
TASKS FOR INDEPENDENT WORK
1.17. Construction of three projections according to the general view of the object.
Create a menu of brick projections. The menu is shown in Figure 1.20.
Construct from the elements of the created menu three types of three-dimensional structures (front, top and left), shown in Figure 1.18.
1.18. Modeling from the building constructor.
If the screen cube or brick is replaced with a more complex set of building blocks like the one shown in Figure 1.21, then an architectural structure can be modeled.
To think over the technology of creating compatible parts of a building constructor. Create and save menu. Compose three-dimensional compositions using building constructor elements.
The term "composition" came to us from the Latin language and is translated as composition - comparison, composition, arrangement, addition, connection of parts into a single system in a certain order. In relation to art, the term composition refers to the construction of a work of art, due to its content, character, purpose, and largely determining its perception.
In the visual arts, the concept of composition is considered in two aspects.
In one of them, it covers works of art made from nature, in which the artist depicts objects as he sees them, without changing the arrangement of objects.
In this sense, we can say that composition is the ability to successfully find a point and level of view, to arrange the depicted objects in the most advantageous way, taking into account perspective, light and shade and color solutions, highlighting the main,
in such a way that the integrity and expressiveness of the work, the clarity of perception of the idea by the viewer were achieved.
If the artist, drawing objects or figures from nature, depicts them in an order that does not correspond to nature, or performs sketches from memory, from imagination, then it is customary to talk about composing, “drawing up” a picture, that is, about creating a composition in a more broad sense of the word. Here, the composition is understood as the process of composing a work of art using a unique set of means for revealing the content and design.
Composition as an essay is created by such visual means as drawing, chiaroscuro, color, linear and aerial perspective, etc. It interconnects all visual means and is “the most meaningful component of the art form”. “It is through compositional means that, first of all, the artist reveals the idea of the work, emphasizes the main and main thing in the work, introduces the viewer into the world of his experiences and thoughts.” The well-known Soviet artist Yu. composition, because it is the composition that primarily expresses the idea and feelings of the artist.
Thus, 4 types of composition can be distinguished:
Planar.
A composition in which all elements do not protrude above the plane of the sheet. These include drawing, appliqué, inlay, fabric design, etc.
In this case, all elements are located in two directions: vertical and horizontal;
Volume-frontal.
The peculiarity of this composition lies in the fact that it provides for the arrangement of relief elements on a plane. Such a composition is used in sculpture and decorative art, in the design of building facades, carvings on the surface of furniture, and in decorative products made of plastic materials.
Thus, the composition develops in three directions. The depth-enhancing effect is achieved by bas-relief perspective;
Volumetric-spatial
Volumetric-spatial is a composition composed of interconnected objects placed at different levels and planes. An example of such a composition is: the design of counters and racks with shelves of different depths, exhibition stands, etc. It is designed for perception from one, two or three sides. In this case, the expressiveness of the composition depends on the angle of view (with a low horizon line, there is a feeling of monumentality).
The expressiveness of a three-dimensional composition depends on the angle of view:
deep-spatial
Deep-spatial is a composition that creates a connection with the space in which they are placed. This composition is used in interiors, park areas, in the design of deep shop windows. The peculiarity of the volume-spatial composition is that it can be viewed from all sides (the elements are located in different planes). If the layout provides for the division of space into a series of successive plans, the feeling of depth will increase.
There are also several types of compositions
Closed and open
Symmetrical and asymmetrical
Static and dynamic.
A composition is called closed, characterized by the fact that the image fits into the format in such a way that it closes in on itself, and does not tend to the edges. The composition is constructed so that the viewer's eye moves from the focus of the composition to the peripheral elements and from the peripheral elements back to the focus. A distinctive feature of a closed composition is the presence of fields; in this case, the integrity of the image is manifested most actively.
open composition. A feature of this composition is translational movement or sliding along a spirally expanding trajectory. As a rule, the viewer's eye moves from the center to the edges. Such a composition can be very complex with multiple centers filling the image space.
Symmetrical is such a composition, the main feature of which is the presence of symmetry. Symmetry, in turn, is characterized by the presence of an axis of symmetry, relative to which a mirror image is built. In such compositions there is no movement, change, contradiction.
Asymmetrical composition is the opposite of symmetrical. It does not contain axes or points of symmetry. When creating an asymmetric composition, special attention should be paid to the balance of the elements, as an indispensable condition for the competent construction of the composition.
Static compositions are characterized by stability and immobility. They are often symmetrically stable, calm and devoid of any movement.
Dynamic compositions are asymmetrical and most often have a pronounced movement. Dynamics often excludes grandeur, solidity, classical completeness.
Most often, static compositions are symmetrical and closed, while dynamic compositions are asymmetric and open. This is due to the peculiarities of human perception.
As a result of the creative process, an author's work is created, the form of which can be very different. It can be an architectural structure, and a painting, and a piece of jewelry or a theatrical performance, a song, a film, a ceramic vase, a costume, etc. But any work is built according to the laws of composition, is subject to harmony and carries an artistic image.
An artistic image can be called any phenomenon creatively recreated by the author in a work of art. It is the result of the artist's emotional comprehension of some phenomenon or process. At the same time, the image not only reflects, but also generalizes reality. The peculiarity of the artistic image lies in the fact that it creates the author's, fictional world. The author of the work seeks to select such phenomena and depict them in such a way as to most fully express his vision.
Often, an image is understood as an element or part of an artistic whole, such a fragment that has independence and a special meaning. But he does not copy reality, as much as he seeks to convey the most important and essential.
An artistic image is a form of reflection, reproduction of objective reality from the standpoint of a certain aesthetic ideal in art. It is the artistic image that gives the viewer a deep aesthetic pleasure and awakens in him a sense of beauty.
At different stages of human development, the artistic image uses various forms. This can happen for two reasons: a person changes, and the forms of his reflection in art also change. Also, an artistic image can be expressed by a symbol belonging to a certain culture or era, which will require additional knowledge to read it. But there are works of art, the images of which are understandable to all mankind, regardless of the time of their creation.
In painting, to create an artistic image, artistic means of expression are used, such as form, color, texture, etc. Professionally and competently using these means, you can achieve the greatest expressiveness when creating artistic images.
Form is one of the main ways of expressing an artistic image.
According to Klee, her birth comes from a point, which, when moving, gives a line. The displacement of the line builds a plane, the meeting of the planes forms a body. This statement can be clearly demonstrated using a computer in the learning process.
The form, in turn, is formed by: a point, a line and a spot. Depending on their configuration, they form a different shape and affect the viewer in different ways.
This process occurs at the associative and intuitive level, as well as at the level of memory. There is also a purely physical perception of the form by a person. Next to a large, active spot on the wall, we begin to feel discomfort. The richer the spiritual world of the viewer, the higher his cultural level, the more colorful and varied the palette of his empathy with the artist.
Questions of composition have always worried artists and teachers. In the Russian Academy of the XVIII century. there were rules of "high calm", derived from the study of the works of the great masters. “The rule requires that the figures occupy three parts of the picture, while dividing the fourth into three parts, of which two should be left above the figures, and the third under their feet. This last part constitutes the first plan”, “... it is necessary to express the best parts of the figures, making them, whole and their parts, the image of a pyramid ...”.
But created according to these principles, any picture resembled a theater stage. And each plan played its role. For example, the first plan is an introduction to the main action, the second plan is the main action, etc.
The artists sought the ideal of perfection in blind imitation of the classics. The dogmatic approach to composition led to the rejection of the knowledge of living reality. Of course, advanced thinkers and artists opposed such an approach. W. Goethe wrote: “Composition! As if it were a cake or a biscuit made by mixing eggs, flour and sugar! In a spiritual creation, the parts and the whole are merged together, imbued with a single spirit and fanned by the breath of a single life, and the one who creates it does not follow the path of adding pieces according to his own arbitrariness.
In the 19th century progressive artists have already abandoned these stamps. They learned real life and portrayed it from the standpoint of a contemporary. So, P.P. Chistyakov taught his students to consider composition as knowledge of reality through an image.
Scientists believe that the process of visual perception consists of two parts: the formation of a flat, i.e. two-dimensional, image on the retina;
reconstruction of the three-dimensional appearance of the external space.
Based on this, the composition as a form of figurative representation of the real world in the image can be divided into two parts: linear and tonal.
When considering any object, the human eye moves in the direction of some imaginary lines. These lines usually start at places carrying important information traffic. Directions may be different. They may overlap. At points of intersection, the eye stops and changes direction. When looking at a painting, we often find these "guide" lines to the eye. You can easily set a specific image scheme in the picture. This scheme is the basis of linear composition.
Linear composition schemes can be different. It must be remembered that a vertical line placed on a horizontal one creates the impression of stability and statics, a horizontal direction - of silence and immobility, a diagonal movement - dynamism, direction of movement. The composition inscribed in a triangle gives the greatest stability.
The basis of any composition is based on the laws of equilibrium of the main masses of the plane. These laws can be especially clearly felt on the basis of tone spots. The tonal composition carries information about the various masses of spots in the picture and the significance of these spots in order to achieve the main idea of the image.
All elements in a work of art must be distributed in such a way that the result is an effect of balance. Balance is the arrangement of the elements of the composition, in which each object is in a stable position. The shape, arrangement, direction of masses in a balanced composition mutually determine each other. It is impossible to change anything in individual parts. A single, integral organism of the image needs all the parts that make it up.
Any spot of the image has a certain "gravity". This "heaviness" in the composition depends on the location of the pictorial element. A pure pictorial plane is like the smooth surface of water. Each line on the pictorial plane, each spot is like a stone thrown into the water. The peace of the plane is disturbed, space is mobilized, and how it is mobilized determines what image will appear on the pictorial plane.
Therefore, a poorly arranged drawing, where the artist has not achieved balance and harmony between the image and the fields, seems interrupted, unfinished. Individual elements of such a composition tend to change their place and shape in order to take a more comfortable position. There is an uncertainty of the compositional image, its temporality.
Thus, complex relationships arise in the composition between the severity of spots, their location and main directions. The artist, composing, uses various combinations and creates several different images, which, comparing with each other, rejects, refines and supplements. For example, the heaviness formed by color can be balanced by the heaviness created by the location, etc. If in a work of art all these relationships are very complex and many-sided, it is more interesting, lively, more emotionally perceived. All this is confirmed by psychologists, their experiments revealing the features of the human eye.
We know that the lower part of the visually perceived object is heavier. Try splitting a strictly vertical line in half by eye. Check after that, and it turns out that the bottom half is larger than the top. Now use the drawing tools to find the center. The lower half will be perceived by the eye as shorter than the upper.
Architects have been using this feature of the human eye for a very long time. It is enough to analyze the location of the window - "roses" on the facades of Gothic cathedrals.
Another feature of the human eye is the perception of the left and right sides. As already mentioned, any depicted object looks heavier if it is on the right side of the picture. Compare two images of Raphael's "Sistine Madonna" - normal and inverted. On the inverted position of the picture, the figure of the monk becomes heavier, and the composition "tip".
We perceive any picture from left to right, similar to reading a book. Scientists attribute this to the overwhelming dominance of the left hemisphere of the cerebral cortex over the right, which, if a person is not "left-handed", contains higher brain centers - speech, writing, reading.
More distinct we see the right side of the image. The eye of a person always attracts the attention of an object that stands out most from the other objects surrounding it. Looking at the image, the eye slides from the place that attracted attention to the space of the most distinct perception.
The German psychologist Max Wertheimer, who was engaged in the psychology of art, formulated the laws of grouping various images on the pictorial plane on the basis of his experiments. He puts forward two principles by which objects are grouped: the principle of similarity and the principle of "consistent form".
Characterizing the principle of similarity, Wertheimer explains that the more parts of any visually perceived model are similar to each other in any quality, the more they will be perceived as located together. Similarity can be in size, shape, tone or color, in location, and also in movement.
The principle of "consistent form" can be described as follows: the more consistent the form, the more readily it stands out from the environment.
In the composition it is important not only to group objects, but also to take into account free spaces, which should be perceived as rhythmic intervals and plastic inequality of volumes and masses. This property of the composition is clearly illustrated by ancient icons, where harmony is found between the image and free fields.
When working on composition n, one should not artificially adjust it to any particular scheme. The scheme should play a service role. If the schemes are exposed and prevail in perception, then the visual means begin to dominate the content. We will be bored looking at such a picture.
Leonardo da Vinci wrote that in a good pictorial picture, the distribution, or arrangement, of the figures should be "produced in accordance with the event that you want to depict." Therefore, the main thing always remains what the artist wanted to say with his work. The main thing in the composition of a still life is to achieve the integrity of the image. proportionality of parts, subordination of details, dictated by the content.
Composing, you need to search a lot, redo, experiment, compare. “Work on the composition should take place as a process of realization, refinement, enrichment, further logical comprehensive development of the original idea,” wrote the Soviet artist, member of the Academy of Arts Yu.M. Neprincev
So, summing up, we can say that the composition is the result of a long creative work, the search for that necessary scheme for constructing a picture that would meet the goal and intention of the author. It obeys the law of balance and is created by such visual means as drawing, chiaroscuro, color, linear and aerial perspective, etc.
Knowledge of the basics of composition, which affects the development of a creative personality, should be laid in childhood. It forms elementary literacy of perception of works of art. Knowledge of the laws of composition helps to correctly use the expressive means of fine and decorative arts in practical work, shortens the path to finding a solution.
1.2 Psychological and pedagogical foundations for the development of creative abilities of adolescents.
Of course, art has a great influence on the viewer. At the moment, as Wenger L.A. and Vygotsky L.S., this influence is considered in three aspects: perception of art, feeling, imagination or fantasy.
The works created by the artist affect the spirituality of a person, developing him
feelings, will and cognitive processes. Such as attention, sensations, perception, memory, thinking, imagination.
These provisions are very important in the formation of a specialist in the field of art.
Teaching art, including fine art, requires a special approach and organization, as well as consistency and continuity. And, of course, it should be based on the psychological characteristics of the child's personality.
The complexity of the development and formation of creative abilities in adolescence is due to a large number of diverse factors that determine the nature and manifestation of the child's creative abilities.
To date, in the study of this problem, three main groups of such factors have been identified.
The first of the groups includes factors that include natural inclinations and individual characteristics responsible for the formation of a creative personality.
The second unites all forms of influence of the social environment on the development and manifestation of the creative abilities of the child. The third group is the dependence of the development of creative abilities on the nature and structure of the activity.
The development of this problem is of great importance for the education of adolescents, since this period is favorable for the formation of creative abilities as a stable personality characteristic. This is confirmed by experimental studies, which revealed a “splash” of manifestations of creativity precisely at an older age (D. B. Bogoyavlenskaya, V. N. Druzhinin, V. S. Yurkevich). The problem of developing creative abilities in high school is the most acute, since creativity itself includes the ability for self-expression and emotional activity. Manifestations of abilities stimulate and intensify the situation of a teenager's encounter with a variety of complex, sometimes contradictory circumstances.
For older children, personal qualities are of particular importance, so the main feature of this age is the desire to be different, unique. Also, situations associated with stress and risk are important for a teenager. During this period, the volitional qualities of the individual and the strengthening of differences between schoolchildren receive a noticeable development. In the upper grades, visual activity is not massive and universal, but still is of great importance. Of course, not all students show interest in artistic activities, but there is another part of teenagers who, on the contrary, are attracted to creativity. Such children require special attention of the teacher of fine arts, since the 9th grade is the period of vocational guidance for children. The teacher needs to develop such students interest in creative specialties.
In the lessons of art, a teenager faces certain difficulties of a creative nature. In the senior classes, a large percentage is independent tasks of a creative nature, such as: creating a three-dimensional composition, drawing on themes, illustrating or theoretical research in the field of art. All these tasks require the use of knowledge, skills and abilities accumulated earlier.
When studying the question of the formation and development of creative abilities in a teenager, the social environment in which the teenager is located plays a huge role.
The environment, of course, does not create, but shows talent, it has a great influence on the formation of creativity. The requirements of society, the immediate environment, traditions and attitudes in learning can stimulate or, conversely, suppress the creative abilities of children who do not have high potential. Heredity influences much less.
According to scientists, thinking and perception are among the important psychological processes that regulate creative activity. Ponomarev Ya.A. and Komarova T.E. concluded that human activity can be divided into 2 main types: productive and reproductive. Reproductive is an activity in which nothing new is created. The basis of such activity is the repetition of the material covered.
Creative activity is the activity in which new images are created. The creative process is one of the most important conditions of existence in our daily life.
Children and creativity are practically inseparable concepts. The child instinctively reaches for the beautiful, and very rarely chooses the ugly as his ideals. The craving for art, as the embodiment of everything beautiful that can only exist in the world, can be seen even in the way a child tries to draw. Creativity manifests itself in children in the most unexpected form, but it is almost always associated with visual activity.
Most often, children create drawings based on representation or memory. This kind of activity develops children's imagination. In the process of drawing, schoolchildren's ideas about the properties and qualities of objects are replenished and clarified. This involves vision, touch, hand movements, finger motility. Being engaged in drawing, modeling, appliqué or any other creative activity, a teenager learns to work with different materials (paper, paints, clay, crayons, etc.), gets acquainted with their properties and features, and acquires the skills to work with them.
The creativity of a student is one of the most important elements in the formation of his own self-awareness and self-understanding. The child seems to rebuild the world for himself and thus comprehend it. He learns to comprehend the beauty of this world and see
"white spots" that need to be filled with your creativity in order for the world to become a little better and more beautiful.
Older children enjoy learning how to work with new materials and tools. The main task of teaching teenagers to draw is to help children learn about the surrounding reality, develop observation skills, instill a sense of beauty and teach drawing techniques. At the same time, the main task of art is being carried out - the formation of knowledge, skills and skill in visual activity using visual means accessible to a given age.
According to Vygotsky L.S., the amount of knowledge, the ability to maintain its intensity for a long time and switch from one subject to another increases with age.
But along with this, attention becomes selective and dependent on the orientation of interests. Often teenagers complain about their inability to concentrate on any one activity and constant boredom. Scientists call the underdevelopment of attention, the inability to concentrate, switch and be distracted from stimuli one of the main reasons for the low academic performance of children. This also gives rise to such problems of early youth as drunkenness, drug addiction and the unbridled pursuit of pleasure (D. Hamilton).
The development of intelligence is inextricably linked with the formation of creative abilities, which involve not just the assimilation of information, but the manifestation of intellectual initiative and the creation of something new. Intellectual one of the most important components of creativity. Creative activity is dominated by the so-called divergent thinking, according to which there can be several correct or incorrect answers to the same question. Unlike convergent thinking, which focuses on the only correct solution to the problem.
A necessary psychological condition for the development of artistic abilities is the creation of an atmosphere conducive to the manifestation of new ideas and opinions, the development of a sense of psychological security and positive
I am concepts. It is known that children with low self-esteem are often not capable of realizing their abilities, therefore it is very important that the teacher assists the teenager in developing a positive self-image by attentive and friendly attitude towards each of the students and encouraging their activities. In addition, in adolescence, emotional processes stabilize, the tension of emotional states decreases, which allows the child to more positively perceive the colors of the world.
Thus, in the process of forming artistic abilities, the teacher affects the development of the child's personality. Therefore, it is important to take into account the characteristics of a teenager, his imaginative thinking, artistic education, the desire to engage in one of the types of visual activity. The peculiarity of visual creativity in a teenager is very closely connected with industrial labor or with the fine arts. Such a synthesis of creative activity is characteristic of adolescence, but remains unexplored.
At art lessons in high school, it is necessary to draw the attention of teenagers to visual activity, various forms and types of activity, for example, design, construction, layout, that is, everything that directs interest and attention to a new area in which a teenager’s creative imagination can manifest .
By the end of adolescence, the student is already able to abstract the concept from reality, separate logical operations from the objects on which they are carried out, and classify statements, regardless of their content, according to their logical type. Piaget points to the strong inclination of the youthful style of thinking towards abstract theorizing, the creation of abstract theories, the fascination with philosophical constructions, etc.
The significance of perception for the creative process is also emphasized when considering perception as a source of obtaining and storing information.
For the creative process, it is necessary to rely on existing knowledge, to have in mind the necessary material in order to freely operate with it. In addition, in a teenager's visual activity, perception has a visual attitude.
The teenager becomes more and more a spectator, contemplating the world from the outside, mentally experiencing it as a complex phenomenon, perceiving in this complexity not so much the diversity and presence of things as the relationship between things, their changes. During adolescence, not only the type of perception of the drawing changes (it becomes more and more detailed), but also the pictorial perception. Schoolchildren's painting loses its contrast and moves to a more subtle, complex color scheme.
Another psychological process that is inextricably linked with the creative process is imagination. It is characteristic of any person, but people differ in its direction, strength and brightness. The imagination is especially pronounced in childhood and adolescence, but it gradually loses its strength and brightness. Most authors believe that this process is due to the fact that, during the period of schooling, the function of imagination loses its significance and does not develop. Simply put, to memorize the rules and new information, imagination and fantasy are not required. Therefore, the starting point for the development of imagination can be directed activity, that is, the inclusion of a teenager's imagination in solving some problem or task.
In the visual arts, it is no longer enough for a teenager to have one activity of creative imagination, he is not satisfied with a drawing made somehow, in order to embody his creative imagination, he needs to acquire special professional, artistic skills and abilities.
Moreover, as L. S. Vygotsky notes, the creative process of imagination is connected with the richness and diversity of the child’s accumulated experience: the richer the experience, the greater the base that the imagination has. Given this information, we can conclude that it is necessary to expand the experience of a teenager in order to create a sufficiently solid foundation for his creative activity. The development of the imagination not only significantly increases intelligence, concentration of attention - it is extremely important in adolescence for the successful resolution of life conflicts.
A significant role in the development of artistic abilities of adolescents is played by regulatory processes, which include feelings and emotions, the sphere of self-control and self-regulation.
Motives and the need for creativity, according to a number of authors, are formed under the influence of dominant emotions. Among the emotions most often dominant in creative personalities are joy and aggression. Thus, J. Getzels and F. Jackson, when studying highly creative children, note a large number of aggressive elements in the products of creativity. In the list of qualities, the main ones are two: optimism and the desire for dominance.
A necessary psychological condition for the development of artistic abilities is the creation of an atmosphere conducive to the manifestation of new ideas and opinions, the development of a sense of psychological security and a positive self-concept. Adolescents with low self-esteem often cannot realize their abilities, so teachers need to help develop a positive self-image in a teenager through an attentive and friendly attitude towards them, encouraging their activities. In addition, at this age, emotional processes stabilize, the intensity of emotional states decreases, which allows you to more positively perceive the colors of the world.
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ART AND THE BIBLE.- Images of the Holy. WRITINGS occupy one of the central places in J.I. those peoples among whom Christ spread. faith. Bible history. plots in painting (easel and wall), mosaic, * icon painting, plastic, stained-glass windows and book illustration (see Art. ... ... Bibliological dictionary
ART- at school, uch. and extracurricular artistic student activities; in the narrow sense subject (until 1964 "Drawing"). I. and. an important link in the system of general and aesthetic. education, one of the types and means of art. education of schoolchildren. Classes I. and. called upon... Russian Pedagogical Encyclopedia
Uruguay. Architecture and fine arts— C. Zucchi, F. H. Garmendia. Solis Theater in Montevideo. 184156. Side wings 186974, architect V. Rabu. Uruguay. Architecture and fine arts Architecture. The territory of U. for a long time was small ... ...
XII. Architecture and fine arts = Ancient period ... Great Soviet Encyclopedia
Science and culture. Architecture and fine arts- Fragment of the wall of the Saxahuaman fortress, near Cusco (Peru). 15th century Inca culture. Science and culture. Architecture and fine arts Architecture. The history of architecture in Latin America is divided into 3 periods: ancient (pre-Hispanic), ... ... Encyclopedic reference book "Latin America"
Senegal. Architecture and fine arts- J. Diop "Parents". Double mask. Tree. Dakar. Among the monuments of the medieval culture of Senegal are burial grounds in the form of low round mounds, megaliths menhirs of rectangular and round sections, set in a circle (XII-XIV centuries; Tamba region ... ... Encyclopedic reference book "Africa"
Books
- Favorsky, Gerchuk Yuri Yakovlevich. The book will become a "Guide to Tabor", this book will become an introduction to the artistic world of this profound master. The publication not only describes the main stages and circumstances of his life and ...
- Decorative composition. Textbook for university students studying in the specialty Fine Arts, Logvinenko G.M. Each chapter...
