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What is a thematic still life? Introduction

What is a thematic still life? Introduction

26.06.2020

“Image of the objective world. Expressive possibilities of still life."

The main task of art and painting is to awaken the beautiful in a person, to make him think and feel. The artist’s task is to attract the viewer’s attention, to discern an extraordinary essence in ordinary objects. Still life introduces us to the world surrounding the artist. It gives you the opportunity to look back several centuries and relive, together with the master, his especially favorite motifs. In a still life, the artist tries with limited means to convey the multicolored objects around him and strives to reflect his mood. Along with the everyday genre, still life has long been considered a secondary form. Indeed, much of what is characteristic of works of historical, battle and other genres is inaccessible to still life. However, great masters proved that things can characterize both the social status and lifestyle of their owner.

The art of still life has its own history, its own traditions. As a genre, it originated in Holland. The artists depicted the most ordinary things, but it was beautiful and poetic. The most widespread and popular still life was in Dutch art at the turn of the 16th – 17th centuries.

“Still life” is a French word literally translated as “dead nature”. In Dutch the designation for this genre sounds like stilleven i.e. “quiet life” So STILL LIFE: a genre of fine art showing inanimate objects placed in a real everyday environment and organized into a specific group;

In Russian art, still life appeared in the 17th century along with the establishment of secular painting, reflecting the educational pathos of the era and the desire to truthfully and accurately convey the objective world.

Still life is one of the most famous genres of fine art. It has many functional features: it is used as an educational production, the primary stage of studying nature during the apprenticeship period, it can also become an independent painting, in its own way revealing the eternal theme of art - the theme of human existence. Still life is very popular among many professional painters. It is included as an important element in the training of the future artist. Here the ability to seamlessly combine several objects and understand the difference in their qualities is honed. It is better to start mastering drawing with a still life. You can draw him for as long as you like, carefully studying him from different points, without fear that he will get tired of standing and leave or change position.

So: On the one hand, drawing a still life is quite easy– you can always find several objects and make a composition out of them; with another– Drawing objects may seem monotonous and boring to students.

How to make work more fun and interesting, but at the same time educational.

The purpose of this work is:

Show the beauty of the surrounding world through still life, diversifying the work on it, using different methods and techniques

Job objectives:

Systematize students’ knowledge about still life as a genre in fine art

Master different methods and styles of working on still life

Foster interest in world culture and art

Display the characteristics and features of the surrounding reality through still life

conveying your attitude to the world around you.

The objectives of methodological work are determined by the goal.

The drawing process is a complex complex of mental and practical activities. Visual perception of nature, as a rule, is holistic. When performing a still life drawing, the number of stages is determined by the complexity of the still life setting. The work begins with finding a composition scheme. The selection of subjects is carried out according to the specified topic. For work on a still life to be truly interesting and useful, the still life must be well composed and correct. And this is the beginning of creativity and not as simple as it might seem. Taste and compositional flair are already evident here.

There are rules for staging a still life

The set of items cannot be random; they must be united by a specific theme.

If you place objects far from each other, emptiness may enter the composition, if you bring them closer, the still life will turn out to be bulky.

Identical objects located along the same line will create the impression of monotony.

A still life should have a compositional center - the object is either the largest, or the brightest, or the most expressive.

The background plays a significant role in a still life. After all, objects without background support will not have their expressiveness.

Just as a person learns to read and write from the very beginning, in the visual arts one cannot immediately be able to draw correctly. Undoubtedly, there are talented children who feel and can convey the correctness of what they see. But even they should know the rules and laws of drawing. Children receive the necessary concepts of artistic literacy in art lessons. They study the rules, learn to build a drawing step by step, and analyze the work. Just like in other sections, in the “still life” topic there are many patterns and necessary drawing rules.

It is important at the initial stage of work to pay attention to such concepts as

Perspective– a system for displaying the depth of space on a plane.

Perspective of a circle, square, central (one vanishing point) and angular (two).

Chiaroscuro– a method of conveying volume using shadows and light.

Light, shadow (incident and own), penumbra, highlight, reflex.

Proportions- the relationship of parts to each other or to the whole. Sighting method, axis of symmetry.

There are several types of still lifes: 1. plot-thematic; 2 training; 3. educational and creative; 4. creative.

Still lifes are distinguished: by color (warm, cold); by color (close, contrasting); by illumination (direct lighting, side lighting, against the light); by location (still life in the interior, in the landscape); by performance time (short-term – “slap” and long-term – multi-hour performances); by setting the educational task (realistic, decorative, etc.).

Still life is performed in painting, graphics, and is also found in sculpture. Stone reliefs from fruits, leaves and other decorative elements were used in ancient times.

In order for the child to have the opportunity to focus on the main thing, objects with a large number of small details should not be included in the first productions: the background should be simple.

Children are already familiar with many concepts by the 6th grade, but at this stage they are considered in the context of a specific topic - the topic of still life. It is necessary to show students the importance of knowledge and understanding of all these concepts, to make them realize that without them there is no correct drawing that will captivate the viewer.

Studying all these rules and laws of drawing can be considered preparatory work. This also includes studying the history of still life. This is important - the child must know and understand the entire integrity of this genre. After students have studied the rules and laws and understood a certain meaning of the work, they should try their hand at depicting objects. The children hone their skills on individual household items, applying the learned rules in practice. It is necessary to achieve automation in step-by-step work. Children must know where to start drawing.

Still life is, first of all, objects that are organized thematically, connected by semantic content and carry a certain idea. Based on drawing individual objects, the student learns to correctly convey the shape of an object, observe perspective and proportions; later, all skills will be useful in drawing a still life.

Next comes the search for a composition scheme. Guys don’t always understand how to create a composition correctly. To teach them to do this, words alone are not enough. It takes practice. We use different techniques and types of work.

Let's see what geometric figure the production can fit into. We consider several settings inscribed in one figure, and one statement, rearranging objects, inscribed in different figures

We use computer technology. Drawing takes a long time; you can use the “Insert Shapes” operation. Children enjoy creating images, and along the way they hone their computer skills.

Magnetic constructor: the teacher makes flat blanks with magnets in advance. Children practice drawing still lifes by placing magnetic figures on the board.

One of the working methods is photography. The students enjoy taking photographs. Before this, a composition is created from the proposed items. Then photographing, output to a computer, viewing, analysis. By comparing and discussing, it is easy to find the right composition solution. Work is progressing ahead of schedule (the study of photography is in the 9th grade curriculum). This technique not only diversifies the work, it is remembered by children and helps them see the advantages and disadvantages of the proposed productions. If you save images, you can view them repeatedly.

Students enjoy working on still life. Everyone has their own style, the works may not be similar to each other, the more interesting and informative this work is. We usually organize exhibitions of works by students from different years.

To diversify the work on still life, I suggest using techniques that will be interesting to the children.

Creating a still life using the appliqué technique. Children learn to arrange objects on the entire plane of the sheet so that it is expressive and interesting. You need to figure out how to place the objects on the sheet, take colored paper, scissors and glue. Choose a beautiful paper color and determine what the background will be. We cut out several colored silhouettes of simple household items (a jug or vase, a mug, a bowl or plate, a round dish or a kitchen board), as well as silhouettes of several fruits. And then make a still life out of them.

No less interesting is the type of collage work. Images of objects are laid out from pieces of colored paper of different colors. When creating images, students not only observe the shape of objects, they try to choose the right tone and show light and shade. The work itself is exciting and unusual.

The “Still Life Storyteller” technique helps introduce children to the history of the genre. The teacher brings objects for production and invites students to compose a composition. Children take an object, but before putting it down, read historical information related to the still life genre.

The image of a decorative still life solves several problems. Children create two seemingly identical still lifes, but at the same time decorate them differently. They learn to be designers. Strong students can make two drawings, weak students can make at least one. In addition, it is simply interesting for children, because... does not keep them within certain limits, but allows them to fantasize.

We strive to teach a child not only drawing, it is necessary that he be able to see and hear the world around him, be extremely attentive, and be able to see the unusual in ordinary things. And most importantly, the child must be able to imagine and transfer it to a piece of paper. An exercise such as an artistic dictation helps, where students listen to a description of a picture, write down key words, then draw according to the idea. All the guys get their own image, but it is united by one plot. This exercise traces interdisciplinary connections, the development of imagination and perception of the world through one’s point of view.

Quizzes, polls, and tests play an important role in teaching the art of still life. Various options are possible, using computer technology. There is live communication, discussion of answers, search for the right solution. Children themselves love to come up with different tasks, make presentations, and arrange quizzes.

Work on a still life should be systematic. The success of the work depends on a number of conditions that generally create this system. Of course, children should want to draw, know the rules and laws, and perform training exercises. Using different types of work allows you to diversify still life drawing. Of course, the teacher's help and constant monitoring are needed.

So, to summarize, it should be noted that working on a still life has been and remains one of the most important stages in teaching students to draw. It shouldn’t be annoying and boring, so in my development I tried to show how to diversify it, make it more interesting and exciting. The kids really like these types of work and exercises; the lesson turns out to be rich, but not monotonous. Of course, much attention is paid to the rules for staging and performing a still life, compositional solutions and rules of perspective, as well as the sequence of work. But such a variety of works and styles does not interfere with realistic still life, but on the contrary helps all students, even very weak ones, to do their work correctly.

Still life is the most favorite genre in the work of many contemporary artists. In still life, artists strive to show the world of things, the beauty of their forms, the richness of relationships and the content of the setting. In art schools, still life is in first place in the system of teaching visual literacy. They write and draw still lifes during classroom lessons, also in the open air. The task of still life is to study the image of objects using the laws of perspective, the rules of light and shade distribution, and the rules of color science.

The basis of drawing up a still life is the selection of objects according to meaning and content.

There are several types of still lifes:

Plot-thematic;

Training;

Educational and creative;

Creative;

According to the statement of the educational task - realistic, decorative.

Still life in the open air can be of two types: composed in accordance with the chosen theme, the other - natural, “random”. Still life in the interior involves the arrangement of objects surrounded by a large space, where the objects of the still life are in subordination to the interior.

Thematic-thematic still life implies the unification of objects by theme, plot.

Educational still life. It is necessary to coordinate objects in size, tone, texture. Reveal the design features of objects, study proportions and identify patterns of plasticity of various shapes. Educational still life is also called academic or staged, the purpose of which is to teach the basics of visual literacy, promote the activation of cognitive processes and introduce independent creative work.

In a decorative still life, the main task is to identify the decorative qualities of nature and create a general impression of elegance. The main principle of solving a decorative still life is the transformation of the spatial depth of the image into a conventional flat space. At the same time, it is possible to use several plans, which must be located within a shallow depth. The creative task in decorative still life in junior grades is the interpretation of color and mastery of decorative painting techniques, and in senior grades - stylization.

From experience working in a children's art school:

Samples of work by students in grades 1-4, made in the genre of still life with various educational, plot-thematic, educational and creative tasks.

Tarasova Anya 3rd grade Rev. Sirazieva S.F.	Garipova Guzel 4th grade Rev. Mukhametdinov R.Z.
Khairetdinov Marcel 4th grade Rev. Sirazieva S.F.	Fairushina Leya 3rd grade Rev. Mukhametdinov R.Z.
Khairullina Dilyara 4th grade Rev. Mukhametdinov R.Z.	Kutik Lida 4th grade Rev. Khaziev M.Sh.
Khabiev Kamil 4th grade Rev. Sirazieva S.F.	Fairushina Leya 4th grade Rev. Sirazieva S.F.
Nuretdinov Aidar 4th grade Rev. Khaziev M.Sh.	Ganiev Damir 4th grade Rev. Mukhametdinov R.Z.
Sirazeeva Alsou 3rd grade Rev. Khaziev M.Sh.	Fairushina Leya 3rd grade Rev. Sirazieva S.F.
Nuretdinov Aidar 4th grade Rev. Sirazieva S.F.	Sirazeeva Alsou 4th grade Rev. Khaziev M.Sh.
Yulia Akhmetzyanova, 3rd grade Rev. Sirazieva S.F.	Akhunova Elmira 3rd grade Rev. Sirazieva S.F.

The creative process and the result are closely related to the artist’s worldview. The picture he creates involves his thoughts, feelings, imagination, skill, and attitude towards what is depicted. The artist always looks for the most expressive solution to his plan, ponders the plot and composition. The images that appear in his imagination have an objective origin, are born from the visible properties of reality and have their own specific forms. Therefore, the painter, embodying his plan, turns to those properties of objects and phenomena that he perceives visually. Only if there is visual authenticity of what is depicted can one express certain feelings, thoughts, and evoke corresponding experiences in the viewer, whose associative ideas are connected with the objective world. In a good landscape, the viewer will see not only material objects, but also the natural play of light and color, the silvery sheen of dew or the play of colors in the morning sky. Such an image evokes forgotten impressions, makes the imagination work, and activates thoughts and feelings associated with past experiences, with previous experiences. The emotional and aesthetic impact of paintings is associated with the peculiarities of this associative perception.

One should not think that the author of a painting, trying to achieve visual authenticity of the painting, must mechanically copy the appearance of the person depicted. Academic work is characterized primarily by cognition, in-depth and comprehensive study of nature. Often educational sketches are too “dried”, “fractional”, “protocol”, similar to each other not only in plot and thematic terms, but also in technical execution. All this is quite natural, and “dryness” and timidity of academic work cannot be considered signs of its weakness or the author’s lack of creative talent.

At the same time, the student’s free attitude to the tasks of the sketch, a certain “dashing” are not signs of creativity, as is sometimes believed. Educational works are not emotional, fresh and original enough, because they are still imperfect artistically, since students do not yet have experience, skill, and do not know the full variety of means for solving an educational problem or implementing a plan. Only with experience will come free creative mastery of nature and its laws, as well as technical perfection.

The point is that the educational tasks are consistently and clearly solved in educational work and, in connection with this, creative talents are nurtured and developed in students.

Main part

The ability to see and convey three-dimensional shapes and colors of objects on a plane is the essence of painting. This skill is acquired mainly through exercises from life. The more an artist paints sketches from life, the sharper his sense of color, harmony of colors and rhythm of lines becomes. As a result of constant exercises in depicting still lifes, landscapes, human heads and figures from nature, observation develops, the ability to emphasize the essential, discard the secondary, and express one’s emotions caused by the beauty of the surrounding nature and the diversity of life is developed.

The path to mastery begins with studying the theoretical foundations of painting and systematically performing practical exercises. Without knowledge of the laws of painting, students' practical work is carried out blindly and professional improvement slows down.

To portray is, first of all, to reason. When starting to paint, you need to think through your task well and clearly define your goal.

Leonardo da Vinci also said that “those who fall in love with practice without science are like writhing creatures setting sail without a rudder or a compass, for they can never be sure where they are going. Practice must always be built on good theory, and without it nothing can be done well in the case of painting."

INTRODUCTION ...................................................................................................3

1.1. ...............................................................................................6

1.2. ..................................................................9

2.1. ...................17

2.2. .................................................................................20

2.3. Stages of working on a still life .................................................24

2.4. ..............................................29

CONCLUSION .........................................................................................32

BIBLIOGRAPHY ......................................................................34

INTRODUCTION

The relevance of research. In the formation of a child’s personality, various types of artistic and creative activities are invaluable: drawing, modeling, cutting out figures from paper and gluing them, creating various designs from natural materials, etc.

Such activities give children the joy of learning and creativity. Having experienced this feeling once, the child will strive to tell in his drawings, applications, and crafts about what he learned, saw, and experienced.

A characteristic feature of art is the reflection of reality in artistic images, which act on the consciousness and feelings of the child, instill in him a certain attitude towards the events and phenomena of life, and help to understand reality more deeply and fully. The influence of art on the formation of a person’s personality and development is very great. The soul of a child is predisposed to the perception of beauty, the child is able to subtly feel painting.

The visual activity of younger schoolchildren as a type of artistic activity should be of an emotional, creative nature. The teacher must create all the conditions for this: he must first of all provide an emotional, imaginative perception of reality, form aesthetic feelings and ideas, develop imaginative thinking and imagination, teach children how to create images, the means of their expressive execution.

According to the methodology of teaching fine arts, the first stage of education in a secondary school should, through art, lay the foundations of artistic, aesthetic perception of the phenomena of the surrounding reality. During the four years of primary education, it is necessary to create in the consciousness and emotional development of the child a foundation of artistic ideas on which he can rely in all further education. From the very beginning of teaching, the teacher must create a “situation of assimilation” around the topic of the lesson, i.e. an atmosphere of joy, children's participation in the process of perceiving the material, and the need for active creative output when performing the practical work of each task.

The artistic activity of schoolchildren in the classroom finds various forms of expression: images on a plane and in volume, decorative and constructive work; perception of reality and works of art (slides, reproductions); discussion of the work of comrades, the results of one’s own collective creativity and individual work in class; study of artistic heritage; search work of schoolchildren to select illustrative material for the topics being studied; listening to musical and literary works (folk, classical, modern).

The learning process should be aimed at developing children's visual creativity, at creatively reflecting impressions from the surrounding world, works of literature and art.

Object of study This course work is still life as a means of developing visual skills.

Subject of study is a method of teaching still life to primary schoolchildren.

Goal of the work – consider the features of the methodology for teaching still life drawing to junior schoolchildren.

In accordance with the goal, the following were set tasks:

1. consider still life as a genre of fine art;

2. determine the role of art in the development of a primary school student;

3. study the organization of pedagogical work to familiarize children with still life;

4. identify the stages of work on a still life;

5. consider the rules for drawing up a still life.

Theoretical basis The work was based on the research of T.S. Komarova. Kosminskaya V.B., Khalezova N.B., Maksimova Yu.V. and etc.

Research methods:

1. analysis of scientific and methodological literature on the research problem;

2. targeted observation of the development process of children, analysis of existing programs and scientific and educational documentation.

Work structure - introduction, two chapters, conclusions and bibliographies.

CHAPTER 1. STILL LIFE AS A GENRE OF FINE ART

1.1. Features of still life as a form of fine art

Still life (French naturemorte lit. dead nature) - in the fine arts - an image of inanimate objects, in contrast to portraiture, genre historical and landscape themes.

Still life is one of the genres of fine art, dedicated to the reproduction of household items, fruits, vegetables, flowers, etc. The task of an artist depicting a still life is to convey the coloristic beauty of the objects surrounding a person, their volumetric and material essence, as well as to express his attitude towards the depicted objects. Drawing a still life is especially useful in educational practice for mastering painting skills, since in it the beginning artist comprehends the laws of color harmony and acquires the technical skill of pictorial modeling of form.

As an independent genre in art, still life appeared at the turn
XVI - XVII centuries in Holland and Flanders and since then has been used by many artists to convey the direct connection of art with the life and everyday life of people. This is the time of artists who glorified themselves in the genre of still life, P. Klas, V. Kheda, A. Beyeren and V. Kalf, Snyders and others.

Still life is the most favorite genre in the art of many contemporary artists. Still lifes are painted in the open air, in the interior, simple and complex settings, traditional and highly modern arranged sets of objects from everyday life.

In a still life painting, artists strive to show the world of things, the beauty of their shapes, colors, proportions, and to capture their attitude towards these things. At the same time, still lifes reflect a person, his interests, cultural level and life itself.

Drawing up a still life requires the ability to depict the shape of various objects using chiaroscuro, perspective, and the laws of color.

The main thing in drawing up a still life is the selection of objects in which its general content and theme are most clearly expressed.

There are several types of still lifes:

Plot-thematic;

Training;

Educational and creative;

Creative.

Still lifes are distinguished:

By color (warm, cold);

By color (close, contrasting);

By illumination (direct lighting, side lighting, against light);

By location (still life in the interior, in the landscape);

By performance time (short-term - “slap” and long-term - multi-hour performances);

According to the formulation of the educational task (realistic, decorative, etc.).

Still life in a landscape (en plein air) can be of two types: one - composed in accordance with the chosen theme, the other - natural, “random”. It can be either independent or an integral part of a genre painting or landscape. Often a landscape or genre scene itself only complements the still life.

Still life in the interior involves the arrangement of objects surrounded by a large space, where the objects of the still life are in plot subordination to the interior.

Thematic-thematic still life implies the unification of objects by theme, plot.

Educational still life. In it, as in a plot-thematic one, it is necessary to coordinate objects in size, tone, color and texture, reveal the design features of objects, study proportions and identify patterns of plasticity of various forms. An educational still life is also called academic or, as mentioned above, staged. Educational still life differs from creative still life in its strict goal setting: to give students the basics of visual literacy, to help activate their cognitive abilities and to involve them in independent creative work.

In a decorative still life, the main task is to identify the decorative qualities of nature, to create a general impression of elegance. “A decorative still life is not an exact depiction of nature, but a reflection on a given nature: it is the selection and capture of the most characteristic, the rejection of everything random, the subordination of the structure of the still life to the specific task of the artist.” .

The main principle of solving a decorative still life is the transformation of the spatial depth of the image into a conditional flat space. At the same time, it is possible to use several plans that must be located within a shallow depth. The educational task facing the student in the process of working on a decorative still life is to “identify the characteristic, most expressive quality and enhance it in its decorative processing; in the decorative solution of a still life, you should try to see the characteristic in it and build the processing on this.”

Decorative still life makes it possible to develop a sense of color harmony, rhythm, quantitative and qualitative proportionality of color planes, depending on their intensity, lightness and texture.

1.2. Artistic materials and techniques used when depicting still life

Drawing, as a rule, does not require complex devices. Everyone has had to draw with pencils, felt-tip pens or fountain pens on paper, but achieving mastery in accurately conveying movement and the nature of texture is not easy. In general, if we talk about paper, let children try different types of paper for drawing.

As you know, paper is mainly made from a mass of specially processed wood fibers with the addition of minerals (kaolin, chalk) and sizing agents, dyes, etc. According to legend, paper was invented in China in the 1st century. BC. It was made from tree bast, and in the 2nd century. AD - made of silk fibers, which is why its Latin name is associated. The secrets of paper production became known in Europe only several centuries later. It was made mainly from linen rags and began to be used for painting from the 14th century. .

There are different types of paper. To work with a pencil or paints, you need thick white paper - whatman paper or half-whatman paper - the highest grade of paper with a rough surface, it is durable and well-glued. Named after the owner of the English paper mill J. Whatman.

Paper coated with an even layer of chalk with a small amount of binders is coated, or chalk, paper. It accepts paint well, strokes and lines become distinct, and the ink goes on very smoothly and tightly. But the most important thing is that the finished drawing can be retouched, that is, making changes and corrections using a needle, scalpel, knife, etc. Here even such a new technical technique arises as a white line and stroke on a black background, which is reminiscent of engraving (the principle of linocut). However, it should not be abused.

It's good to draw on colored paper. This tradition of the old masters has a lot of meaning and rich technical capabilities; colored paper gives the drawing a tonal environment; it can be used to work with both dark and light colors at the same time. Such paper can be prepared as follows: rub finely crushed pastel or some other coloring powder evenly over the entire sheet with a cotton swab. Colored or tinted paper is also made by pouring a weak solution of tea or coffee, plain watercolor or gouache. The color and tone of painting the paper can be infinitely varied. The artistic possibilities of paper are very wide.

Educational practice has shown that for completing drawing tasks, the most preferred are graphite and colored pencils, felt-tip pens, watercolors, ink, sauce, crayons, as well as charcoal, sanguine, and pastels.

At the initial stage of learning to draw a still life, a graphic pencil is acceptable. It fits well, holds and can be removed with an elastic band, which is important when correcting mistakes. There are pencils of varying degrees of hardness and softness (hard, soft, medium).

A graphite pencil is equally convenient for both educational and creative work. It has a nice gray tone and some shine, can be easily erased with an eraser, and corrections can be made. This pencil creates drawings of linear, linear-dash and tonal-painterly spots. For drawing, a graphite pencil is the simplest and most accessible means of all materials. Graphite, in combination with other art materials, holds enormous possibilities for every artist.

Graphite fits well on any paper and does not crumble. You should select a pencil and paper in accordance with the tasks at hand. First you need to learn how to work with one pencil and try to use all its expressive capabilities. Lines and strokes work well on thick, smooth paper, while grainy paper is suitable for working with tone. Pencil drawings on paper that has turned yellow with age look good.

When working with a graphite pencil, you should not get too carried away with shading, as this may give the impression that the drawing is worn out and greasy. A graphite pencil is good for drawings in an album, on a Whatman paper, but if you need to cover large surfaces, then charcoal is usually used.

The expressiveness of the stroke and its iso-possibilities depend on the method of working with a pencil.

The eraser is important when working with a pencil. The good quality of an elastic band is determined by its softness.

Colored pencils can also be used to achieve a variety of graphic or painterly effects, especially watercolor pencils, which can be washed out with water.

Coal as a drawing material has been used by artists since ancient times, as it has great expressive capabilities; they use it to paint landscapes, portraits, still lifes and subject compositions. Coal can be worked in two ways; using lines and strokes and applying tonal shading. For fine lines, the coal is sharpened obliquely, since the middle part (core) of coals made from twigs is looser. When working on canvas, the charcoal sharpens itself. Drawing coals should be different in size and shape. Draw wide lines and quickly shade large surfaces using the side. Charcoal gives a deep velvety black color and a wide range of tonal transitions. They perform quick sketches, sketches and long-term drawings. It is very convenient to use and easy to wash. Charcoal clearly reveals the shape of an object and allows it to convey light and shadow. They are used to draw on paper, cardboard, canvas, walls and other surfaces. It is better to use rough paper, or thick drawing paper, which should be lightly rubbed with fine sandpaper. Interesting charcoal drawings are obtained on a colored background of soft tones.

It is allowed to combine charcoal with other materials - sanguine, chalk, pastels, colored pencils, watercolors, and a special charcoal pencil "Retouch".

It is recommended to rub the coal with a cloth or a special brush made of suede, kid leather or thick paper in the form of a tightly twisted roller with pointed ends. In this case, you should not use a rubber band, as it will cause the charcoal to lie unevenly. You can lighten the tone by brushing off excess charcoal with a cloth or bristle brush. It is possible to work out the illuminated areas of the form with chalk.

Charcoal drawings should be fixed with a special fixative or hairspray. It is sprayed gradually, in several stages, from a distance of about one meter, avoiding the formation of drops. Keep in mind that even the most careful fixing will make the drawing darker.

When drawing with a felt-tip pen, you need to take into account its capabilities. The felt-tip pen glides easily across the paper and leaves a beautiful, smooth line that cannot be erased, so you need to work with it with a firm and confident hand. Felt-tip pens come in thin and thick, different colors, this characterizes their artistic capabilities. The drawing is done using lines, strokes or decorative spots. Felt-tip pens are good for sketches from life, sketches of landscapes, and decorative design work.

Sanguine, a red-brown material, was used in drawings by Leonardo da Vinci. Another name for this material is red chalk. Sanguine is produced in the form of round or square sticks of different shades. Sanguine drawings are linear, line and tone. It shades well on rough paper, cardboard, and primed canvas. Artists often combine sanguine with charcoal, chalk, and pencil. Working with sanguine is recommended for those who already have drawing skills. Mastering the technique of working with this material should begin with sketches, and continue in longer drawings from life or from an idea.

The works of outstanding masters - Leonardo da Vinci, Raphael, Rubens, Michelangelo, Rembrandt, Titian, Chardin and many others, created with sanguine, are diverse in technical techniques.

Sauce is a drawing material in the form of thick pencil sticks made of pressed dyes with glue, wrapped in foil. It is used in large and long drawings, in sketches and sketches. The sauce provides rich tonal possibilities, has a deep velvety black color (sometimes gray or brown), and shades well; applied to paper with a stroke, shading (dry sauce) or blurred with a brush with water. Similar to watercolor (wet sauce). It is better to fix or store drawings made using the dry sauce technique, covered with thin paper, or under glass.

Sauce as a graphic material became known in the late 18th – early 19th centuries. It has become especially widespread in Russia. I. Kramskoy, I. Repin, A. Savrasov and others loved to work in this technique. The sauce goes well with charcoal, ink and other materials. This opens up new expressive possibilities for drawing.

The “wet” method is as follows: grated sauce powder is diluted with water to the required consistency. First, use a brush to cover your own and falling shadows with a medium-saturated solution. Large parts of the mold and the surrounding area are then coated with a weak solution. Then they begin to study the subject in detail. Thus, the method of working with “wet” sauce is in its own way close to the technique of working with watercolors (grisaille). You can also work with the sauce using a combined method.

The use of charcoal materials, sauce and sanguine when drawing gives children the opportunity to creatively approach the figurative characteristics of a full-scale production.

Pen drawing is an excellent school for training the hand and eye. Feathers come in different sizes and from different materials. The pen is an artist's tool. It is used to write beautiful fonts in calligraphy and for graphic designs,

In the old days they painted with bird feathers (goose, swan, crow, peacock, etc.). For example, A.S. Pushkin made sketches in the margins of his manuscripts with a quill pen. Drawing with bird feathers has still not lost its meaning. The flexibility and elasticity of such pens allows you to make lines of very different thicknesses, however, this tool breaks down very quickly, and preparing a new pen is quite labor-intensive and requires a certain skill. The end of the feather is cut off obliquely with a sharp knife and then incised lengthwise by a few millimeters (the name “penknife” is associated with this process).

A wooden stick has been widely used for drawing with ink in the past and now. Its preparation is very simple: an ordinary thin stick at the end is sharpened like a feather in the way the artist himself needs it.

Still life can be performed along with graphic materials, as well as paintings.

A realistic image is not a mirror image of nature. Its goal is to create an artistic image that correctly conveys the meaning and content of natural and life phenomena. Painting, like drawing, is based on strictly defined laws of constructing a realistic form. Teaching painting is a way of studying the methods, techniques and means of constructing a pictorial form of color. Factors influencing color change include light and air environment, color environment, and lighting sources.

In younger schoolchildren, it is necessary to develop the ability to see objects in the environment, to look at a still life as a harmonious group of objects that have reflexive and spatial connections. The only method that allows you to successfully create a visual image of nature is the method of relationships. The process of development of visual perception goes in parallel with the accumulation of knowledge and skills.

Colors are divided into achromatic colors (white and black). They vary in lightness. All colored paints are called chromatic. Colors can be either warm or cool. Also, when working with still life, we are faced with the phenomenon of contrast. Any achromatic color becomes lighter when surrounded by something darker, and darker when surrounded by something lighter. This is a light contrast. The change in color tone depending on the color next to it is called color contrast.

Hue is a sign of color that distinguishes one color from another. Lightness is the difference in lightness, saturation is the degree of expression of a particular color tone. Halftone is an intermediate part of the form between light and shadow.

Work on a still life is done with various painting materials. One such medium is watercolor.

Watercolor painting: watercolor - water paints, from the French aguarell, from the Latin agua - water. It can be hard - in tiles, semi-soft - in cups, soft - in tubes. The main property of watercolor is the transparency of the ink layer. This property should also be taken into account when applying one color to another.

There are two ways of working in watercolor:

Glazing is the application of one transparent layer of paint to another, while the first layer is dried.

Alla prima - all colors are taken at once in the required strength, each color detail begins and ends in one step. Also called "working raw".

Lightening a saturated tone occurs by diluting the watercolor with water. Watercolor painting is based on the technical technique that first light tones of paint are applied to paper, leaving the highlights uncovered, then saturated colors are gradually introduced.

The next painting material is gouache - the French word gouache - opaque watercolor paints. In terms of production technology, gouache is close to soft varieties of watercolor, but differs from it in its opacity. Has good covering properties. Thanks to this, you can apply one color to another. Lightening the color is achieved by adding white. Obtaining derivative colors is carried out by pre-mixing paints on a palette. After drying, gouache paints become lighter. Acquaintance with the gouache technique should begin with a still life in which color relationships are clearly outlined.

Thus, still life as a form of fine art has its own characteristics. In teaching junior schoolchildren the art of still life, for a more accessible, systematic understanding of this issue, it is necessary to use special teaching methods and techniques that were developed by many teachers earlier, and are being developed and updated at the present time.

CHAPTER 2. STILL LIFE AS A MEANS OF DEVELOPING ARTISTIC AND VISUAL SKILLS IN SCHOOLCHILDREN

2.1. The role of art in the development of a primary school student

An analysis of the artistic activities of schoolchildren shows that art is an indispensable tool for personality formation; It is thanks to him that junior schoolchildren can get acquainted with socially significant ideas and concepts and become affirmed in their value orientations. Introduction to art gives a junior schoolchild the opportunity to experience and reproduce special, primary forms of creativity, to touch the richest, half-forgotten layers of universal human culture; is a good starting position for mastering subsequent stages of art development.

The formation of schoolchildren’s value orientations in art is facilitated by their understanding of how correctly the artist used the expressive means of one or another type; the relationship between art and personality, its spiritual needs, emotional preferences and practical experience.

As is known, an important component of the formation of an aesthetic attitude to reality is the form of its manifestation - an incentive to sensory experiences, comprehension of a work of art.

The most characteristic form of motivation is artistic interest, value orientation in the field of artistic culture and aesthetic need, forms of comprehension of art - artistic perception, aesthetic appreciation and creative interpretation.

It is known that artistic creativity plays a big role in the development of the personality of a primary school student. Developing the universal human ability to see and comprehend beauty, it is one of the ways to activate his imaginative thinking, imagination and intuition.

Fine arts lessons in secondary schools are designed to develop children's ability to express themselves, reveal their creative potential, and sharpen their sense of beauty. To increase the interest of younger schoolchildren in artistic creativity, it is necessary, in our opinion, to develop in them, along with these abilities, an emotional and creative attitude towards a particular type of activity, to promote a joyful expectation of interesting work and the opportunity to demonstrate their point of view, to show their “I”.

An analysis of scientific literature has shown that mastering artistic skills is of great practical importance for the student’s future work activity, as it makes it possible to use graphic recording and a visual method of explanation when conveying one’s thoughts, develops the clarity and completeness of visual representations necessary when constructing and designing, and teaches more subtly distinguish colors and shapes.

It is known that the educational impact of art on a person is a two-way process, representing an active interaction between a work of art and a person. A special feature of this pedagogical influence on the younger generation is the formation of an aesthetic attitude towards art. A large role in shaping the artistic and creative development of a schoolchild is played by the family as a “microenvironment” in which he receives his first artistic impressions.

It has been noted that the greatest interest in art is developed in those children whose parents are passionate or engaged in creative activities. It should be recognized that the authority of the family and parents decreases with the age of the child.

That is why in the development of artistic interests of schoolchildren, an important role is assigned to the school, which gives them a certain level of knowledge, develops culture, satisfies spiritual needs, and is the main source of knowledge about art. Unlike the family, the school deals with the formation of children’s artistic interests purposefully and systematically.

The main form of artistic and pedagogical work of the school is art classes. However, with age, as observations show, schoolchildren become less dependent on the information received in the classroom: their taste preferences are formed not only under the influence of family and school, but also through the media system.

That is why the aesthetic education of younger schoolchildren must be built taking into account the peculiarities of the psychology of their age, introducing them to art, forming creative potential.

In addition, artistic creativity, as is known, develops flexibility and productivity of thinking in schoolchildren, makes it possible to see their natural inclinations for a particular type of activity, and creates conditions for their implementation. Being a practically spiritual activity, it presupposes the mandatory presence of specific performing skills. As is known, every artistic and creative process involves mastering the objective environment by certain means. That is why the need to develop adolescents’ interest in artistic creativity is dictated by the fact that their fruitful introduction to art is possible only on the basis of their genuine awareness in the field of artistic culture. Involving children of primary school age in visual and creative activities is an indispensable aspect of the educational process.

It is known that the practice of introducing visual arts is based on traditional folk art, which synthesizes all types of fine arts. With this approach, education acquires a universal character, becomes accessible and effective.

a means of development of a junior schoolchild, reveals his creative abilities, forms artistic skills. A feature of artistic and visual activity is, in our opinion, its creative nature, the spontaneity of lesson fragments, and the improvisation of the teacher and students. All this contributes to the development of children’s creative abilities in every situation in which imagination, writing, and observation are actualized. Inventing, imagining, fantasizing, they make discoveries, revealing for themselves the boundless world of art.

2.2. Organization of pedagogical work to familiarize children with still life

Having chosen still life from the genres of painting, let’s consider how you can teach children to understand the language of art. The world of art is designed in such a way that a child cannot enter it without the help of an adult, who will reveal to a growing person the meaning and laws of art and teach the language of various arts. The methodological search of a teacher will be successful provided that he himself performs practical work, as a result of which he masters the means of representation and joins the world of art. Therefore, it seems significant to us to reveal the creative activity of a teacher of fine arts, where, along with the emotional and imaginative perception of the world of art, a methodological search for means of depicting it would be revealed.

Still life is the first genre of painting with which, as studies by teachers and psychologists show, it is necessary to introduce younger schoolchildren. It not only evokes the greatest emotional response in children from the age of 3-4, associations with their own life experience, but also attracts children’s attention to the means of expressiveness of painting, helps them look more closely at the beauty of the depicted objects and admire them. Experiment N.M. Zubareva showed that the children’s greatest attention was attracted by genre everyday paintings and still lifes. The motive for children’s choice of these genres of painting is clear: they are consonant with their experience, since many objects depicted, for example, in a still life, children encounter every day in everyday life. N.M. Zubareva established the levels of aesthetic perception by children of a picturesque still life. At the first level, the lowest, the child rejoices at the depiction of familiar objects that he recognized in the picture. Children of three years of age stand at this level, but if pedagogical work is not carried out with them, then they remain at the same level at 6, 7, or more years of age. At the second level, the child begins to realize the elementary aesthetic qualities of the work - they can evaluate both the color and color combinations of the depicted objects and phenomena in the picture as beautiful, and less often - the shape and composition. At the third level, the child is able to grasp the internal characteristics of an artistic image. This is still a partial, not complete comprehension of the artistic image, but it allows the child to aesthetically experience at least part of the artist’s intention.

Art awakens emotional and creative beginnings in children of primary school age. With the help of painting, younger schoolchildren are taught to understand the harmony of nature. When we look at a number of still lifes by different artists, we see how diverse they are in content, in means of expression and in the individual creative style of each artist. Art historians do not divide still lifes by type, but for pedagogical work with children this seems important to us. A single-species still life depicts objects of one specific type: only vegetables, only fruits, only berries, mushrooms, flowers; food or household items are possible, for example: P. Konchalovsky “Peaches”; I. Repin “Apples and Leaves”; I. Levitan “Lilac”; V. Stozharov “Bread. Kvass"; P. Konchalovsky “Dry paints” and others. If the picture presents dissimilar objects (vegetables and fruits, flowers and fruits, dishes and vegetables, etc.), we conditionally define such a still life as mixed in content, for example: I. Khrutsky “Flowers and Fruits”; I. Mikhailov “Vegetables and fruits”; K. Petrov-Vodkin “Glass and Lemon.” Plot still lifes include still lifes depicting living creatures: birds, animals, humans - or still lifes including a landscape, for example: F. Tolstoy “Bouquet of Flowers, Butterfly and Bird”; I. Serebryakov “At Breakfast”; P. Krylov “Flowers on the Window” and others.

In elementary grades, children should be shown a variety of still lifes. In addition to single-order and mixed still lifes, we offer children still lifes of a plot nature, as well as those written in a generalized realistic, detailed and decorative manner, in warm, cold and contrasting colors, lyrical, solemn and others. Still lifes are selected with a variety of compositions.

In the selection of works by form, the principle of diversity in the means of expression and manner of execution used by the artist is taken into account. For viewing with children, paintings are selected in which artistic images are arranged in a circle, a triangle, asymmetrically, symmetrically, in the center, statically, dynamically... The principle of concentricity is also taken into account, the essence of which is to return to previously perceived paintings, but at a higher level of cognition . The same picture is repeatedly offered for viewing by children during the school year. But the children’s attention is directed to different goals: to highlight individual images, name colors, determine the mood, analyze the logical connections of the picture, establish the relationship between the content and means of expression.

Works of painting and still lifes should realistically reflect phenomena of social life and nature familiar to children. The painting must clearly express the artist's idea and intent. When selecting still lifes for viewing, it is necessary to clearly understand what the picture is about, what main idea the artist expressed, why he created this work, how he conveyed the content (what artistic means he used). The theme of the still life should be close to the child’s social experience and life impressions. When selecting still lifes for presentation to younger schoolchildren, they take into account the individual creative vision of reality in similar themes of still lifes. Younger schoolchildren are introduced to still lifes created by different artists on the same theme. By perceiving these still lifes, children acquire the ability to compare different manners of execution of the same phenomenon by different artists, and to highlight their attitude to what is depicted.

Pedagogical work to familiarize children with art requires the creation of material conditions and a special creative, joyful atmosphere, spiritual contact between adults and children. In introducing younger schoolchildren to painting, in particular, still life, explanations, comparisons, the technique of emphasizing details, the method of evoking adequate emotions, the tactile-sensual method, the method of reviving children's emotions with the help of literary and song images, the technique of “entering the picture” are widely used. , method of musical accompaniment, gaming techniques. The unity of techniques and methods used in working with children in the classroom ensures the formation in younger schoolchildren of a sustainable interest in art, depth, vividness of impressions, and the emotionality of their relationship to the content of painting. “A child by nature is an inquisitive researcher, a discoverer of the world. So let a wonderful world open up before him in living colors, bright and vibrant sounds - in a fairy tale, a game, in his own creativity, in beauty,” said V.N. Sukhomlinsky.

2.3. Stages of working on a still life

First, you need to consider the still life from different points of view and choose the most successful one, paying attention to the lighting effects, that is, from which point of view the shapes of objects look more interesting. They usually look more interesting and expressive when lit from the side. Sitting against the light is not recommended.

You should think about what paper format to choose and how best to arrange the still life on a sheet - vertically or horizontally. For example, if you need to include a corner of a table in the composition, then it is better to place a sheet of paper vertically.

Alberti wrote: “Never take up a pencil or a brush until you have thoroughly thought about 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 them from the picture.”

You should always start your drawing with the compositional placement of the image. It is very important to arrange the entire group of objects so that the sheet of paper is filled evenly. To do this, we mentally combine the entire group of objects into one whole and think about its placement in accordance with the format of the sheet of paper.

The teacher should explain to the students that more space should be left on top than below - then the viewer will get the impression that the objects are standing firmly on the plane. At the same time, it is necessary to ensure that the depicted objects do not rest against the edges of the sheet of paper and, conversely, that there is not a lot of empty space left.

The compositional problem is not always easy to solve. Sometimes a student has to spend a lot of time and effort to achieve success. And if the production is very complex, then you cannot do without the help of a teacher. This is explained by the fact that in addition to placing the image on a sheet of paper, the student also needs to find the compositional center on the picture plane.

In most cases, the visual center does not coincide with the compositional center, depending on the location of the main subject around which the others are grouped. After all, the spatial position of objects relative to each other in the image also depends on the choice of point of view, which certainly affects the layout of the still life in the intended format.

In order for educational work to proceed successfully, the teacher needs to take all this into account in advance and provide timely assistance to students. On the chalkboard, the teacher must demonstrate the sequence of linear construction of a still life drawing, paying special attention to determining the compositional arrangement of the entire group of still life objects on a sheet of paper. The teacher should also show the correct and incorrect layout of the drawing on the sheet.

The teacher then erases the drawings from the chalkboard and the students get to work.

First, lightly touching the paper with a pencil, we outline the general nature of the shape of objects, their proportions, as well as their location in space. Students use short line segments to limit the general spatial arrangement of the entire group of still life objects.

Those students who are unable to determine in a drawing the general composition of a group of still life objects can be allowed to draw each object separately, starting, however, with an approximate estimate of the size of each of them. Next, you need to clarify the size of each item separately.

We construct the shape of objects in the same way as in tasks for drawing individual objects. We outline the surfaces of each object, both visible and invisible. Thus, the figure looks like an image of wire models.

So, in the middle of the intended outline of an object (for example, a teapot), an axial vertical line is drawn, on which the height is specified, and horizontal segments are drawn through the points that determine its height. They determine the width of the neck and bottom of the teapot. We consider the proportions of the main part of the teapot - the vessel and draw the bottom and neck. Using thin lines we outline the spout, lid, and handle of the kettle. We check again and immediately clarify the proportions of both the entire shape of the teapot and the main parts.

You need to work on the image of an apple in the same way. You should not immediately draw and clarify the outline of objects; the main thing is to determine the size and proportions of each item (height, width, depth).

When identifying the constructive basis of the shape of objects, it is necessary to carefully check the perspective. Particular attention should be paid to the perspective image of the bases of objects. In a drawing, the mark of one object should not be allowed to “step on” the mark of another, in other words, the student must clearly understand which object is in the foreground and which is in the background. Beginning draftsmen usually don’t pay attention to this, and they don’t get the space between objects in their drawing. Then they begin to introduce tone into the drawing, hoping that the defect can be corrected in this way, but this does not give the desired results.

The method of linear constructive image construction helps solve this problem. It is important for the student to clearly imagine the location of objects (marks) on the plane of the table, the distance between them. Then he must imagine this plane with traces, depicted in perspective.

P.P. Chistyakov wrote: “The first and most important thing is to pay attention to the plan, the points that the figure touches. For example, marks on the floor.” Here, in the lines, you should outline the boundaries of light and shadow, so that later you don’t have to look for them on each object separately.

Separately, it is necessary to say about the image of the drapery, which descends from above and covers the object plane. When depicting drapery, we first determine the horizontal and vertical planes, and only then proceed to drawing the folds. The fabric, light in tone and thin in its structure and material, forms folds on the vertical plane that are expressive in plastic and light-and-shade modeling. On the object plane, the folds of the drapery are slightly outlined. When constructing volumetric folds, you can use the method of generalizing the shape (cutting). The student must extremely generalize the complex shape of the folds to rectilinear geometric shapes. This method will help you understand the shape of the folds and correctly solve the tone problems of the drapery pattern.

Then we draw in more detail all the objects of the still life, removing the construction lines.

In the process of learning to draw from life, students must learn to see and understand the relationship between the design of an object and the phenomena of chiaroscuro, and master the means of chiaroscuro drawing. Without knowing the laws of light distribution on the shape of an object, they will passively copy light and dark spots from nature, but will not achieve convincingness and verisimilitude of the image.

During the learning process, the teacher should dwell in more detail on the theory of light and shade and tone in drawing.

When starting to identify the volume of objects, first of all you need to determine the lightest and darkest place in the still life. Having established these two poles, you should pay attention to the penumbra. To do this, we carefully trace the direction of the light rays and determine which plane of the object the light rays fall directly on, that is, where there will be light, and which plane they do not fall on at all, that is, where there will be a shadow. Then we outline the shadows falling from each object.

First, lightly touching the paper with a pencil, we draw shadow places on each object in tone: on a teapot, an apple, drapery. This will help you see the mass of each item more clearly, and therefore once again check the proportions and general condition of the drawing.

Then we lay out the penumbra, enhancing the tone in shady places and, finally, the shadows falling from objects. It is this procedure for revealing the volume of objects in tone that is considered mandatory by all artists.

Leonardo da Vinci wrote: “First cast a general shadow over the entire filled part that does not see the light, then place the penumbra and principal shadows, comparing them with each other. And in the same way, apply the filling light, kept in half-light, and then apply the middle and main lights, also comparing them.”

When the general drawing of the still life is outlined correctly, you can increase the pressure of the pencil on the paper and set the tone, starting to draw each object in detail.

At the end of the lesson, the teacher must organize the repetition and consolidation of theoretical material in fine arts.

When drawing a detailed form, you must carefully observe all the shades and transitions of light and shade, all the details of the form. But when working on a part, we must not forget to compare it with the one next to it. P.P. Chistyakov recommended: “You should not work on a part for a long time, since the acuity of perception disappears; it is better to move on to another, nearby part. When you go back to the work you did at the beginning, it’s easy to see the shortcomings. So, throughout the entire work, moving from one place to another, keep the whole figure in your eye, do not immediately strive for the general, but delve into the details, do not be afraid of the initial diversity, it is not so difficult to generalize it, there would be something to generalize.”

When working out the forms of still life objects, serious analytical work must be done. It is necessary to carefully draw every detail of the object, identify its structure, convey the characteristic features of the material, trace how the component elements are linked with each other and with the overall shape, for example, a handle, the spout of a teapot, the texture and shape of an apple, how the highlights on different objects differ from each other.

We carefully draw the shadows falling from the details - the shadow of a teapot, an apple. Such elaboration of the form will help make the drawing convincing and expressive.

Having completed the drawing, students, under the guidance of the teacher, carefully analyze the tonal relationships of the still life objects, determining the general tone of the teapot, apple, drapery, various shades of tone in the light, in the shadow, in the penumbra: in the foreground and background. It is necessary to carefully ensure that individual objects are not too strong in tone (black) and do not fall out (break out) from the picture. To do this, you need to look at the drawing from a distance with narrowed eyes and compare the strength of your reflexes with nature. It must be remembered that reflexes should not be very bright or conflict with light or partial shade. And when the painter looks at them with narrowed eyes, they should disappear, merge with the shadows.

2.4. Rules for drawing up a still life

Drawing up a still life must begin with a plan, in our particular case, with setting an educational task (constructive, graphic, pictorial, etc.). Through comparative analysis, they come to determine the most characteristic features of the form and generalize observations and impressions. It must be remembered that each new object in the production is “a new measure of all the things included in it, and its appearance is like a revolution: objects change and change their relationships, as if falling into another dimension.”

It is important to choose a certain point of view correctly, in accordance with a specific educational task, i.e. horizon line (foreshortening). The next stage of drawing up a still life is the arrangement of objects in the space of the object plane, taking into account the design of the grouping in the composition.

The moment of drawing up a still life by the students themselves is important, since such exercises will allow them to carry out plastic tasks and the most advantageous groupings of objects.

One of the objects should become the compositional center of the production and stand out in size and tone. It should be placed closer to the middle of the production, and to add dynamism to the production (movement of spots) it can be moved to the right or left.

When solving a still life spatially, a small object that differs in texture and color from other objects can be placed in the foreground as an accent. To complete the composition, as well as to connect all the objects into a single whole, draperies are added to the production, thus also emphasizing the difference between solid objects and the soft flowing texture of the fabric. The fabric can be smooth and patterned or patterned, but it should not distract attention from other, especially the main items. It is often placed diagonally to direct the viewer's gaze away from the viewer and towards the compositional center for a better spatial solution.

Thus, we can conclude that the essence of composition is to find such a combination, organization of visual elements that would help identify the content.

Lighting - artificial or natural - plays an important role in the composition of a still life. Light can be lateral, directional or diffused (from a window or with general lighting). When a still life is illuminated with directional light from the front or side, objects appear in contrasting chiaroscuro, while to highlight the first (or main) plan, you can block some of the light falling on the background. When lighting a still life from a window (if the objects are placed on the windowsill), there will be a silhouette of dark on light, and some of the color will disappear if the still life is painted in color. The tonal difference between objects is more noticeable in diffused light.

In educational still lifes, objects of different tones are selected, without combining only light or dark objects in one setting, and at the same time taking into account the shapes of falling shadows.

Consists of three objects (one large - the center of the composition and two or three smaller ones) and draperies;

Items are different in color, but not intense colors;

Small objects can be active in color (they are used to compare color characteristics);

Objects and draperies should have a pronounced tonal difference;

Place the production in direct daylight (large color relationships are easy to read and have decorative appeal).

Compliance with these rules will allow students, in the process of practical work on an educational still life, to most clearly identify the main pictorial relationships and will aim at the correct vision of tonal differences, which will contribute to the correct transmission of the materiality of things by color.

CONCLUSION

The development of artistic perception and practical activity are presented in the program in their substantive unity. A variety of types of practical activities lead students to an understanding of the phenomena of artistic culture; the study of works of art and the artistic life of society is supported by the practical work of schoolchildren.

Introduction to art begins in elementary school, it gradually expands - from the immediate environment to the art of native and other peoples, foreign art.

The visual activity of a child, which he is just beginning to master, needs qualified guidance from an adult.

Works of painting, rich in their ideological content and perfect in artistic form, form artistic taste, the ability to understand, distinguish, and appreciate beauty not only in art, but also in reality, in nature, in everyday life. Painting recreates all the richness and diversity of the world. By means of painting, the real world is recreated with spatial depth, volume, color, light, air.

A still life for teaching primary schoolchildren to draw is a very convenient nature in all respects: it is motionless, retains its appearance for a long time, still life objects can be given any position and an interesting combination of shapes, movements, textures, sizes and colors can be obtained. Still life teaches you to solve basic educational problems, and along with them, creative problems. It is more convenient to start mastering the techniques of depicting a still life by drawing well-known three-dimensional objects with a pencil and paint of the same color.

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27. Programs of general education institutions. Art. 1 - 9 grades./ Scientific supervisor V.S. Kuzin. - Moscow: education, 1994.

28. Programs of general education institutions. Fine arts and artistic work. 1 - 9 grades./ Scientific supervisor B.M. Nemensky. - Moscow: Education, 1994.

In the selection of works by form, the principle of diversity in the means of expression and manner of execution used by the artist is taken into account. For viewing with children, paintings are selected in which artistic images are arranged in a circle, a triangle, asymmetrically, symmetrically, in the center, statically, dynamically. They also take into account the principle of concentricity, the essence of which is to return to previously perceived pictures, but at a higher level of cognition. The same picture is repeatedly offered for viewing by children during the school year. But the children’s attention is directed to different goals: to highlight individual images, name colors, determine the mood, analyze the logical connections of the picture, establish the relationship between the content and means of expression.

Stages of working on a still life