Iso in kindergarten. Expressionism - distorted forms and strong emotions

Hi all! We continue to give interesting ideas for educators, parents and teachers. And today we will talk about non-traditional drawing techniques. These ideas are suitable for kindergarten and school. unconventional drawing It doesn't mean something complicated. On the contrary, it is the non-traditional technique that turns art classes into simple and fun fun. No need to draw complex elements, no need to masterfully master the brush. Non-traditional techniques are therefore CREATED, because they SIMPLIFY the work of the child, EASIER the task of the teacher in methodological plan and give the child an amazing creative experience with an excellent end result. You will see what beautiful pictures and drawings can be done in simple non-traditional drawing techniques. The child will love your activities - he will be drawn to art when he feels that he can create beauty with his own hands.

I have sorted all the non-traditional drawing techniques into SEPARATE GROUPS - and I will explain and show everything in order.

unconventional drawing

PALM PRINTS

In kindergarten, in the classroom for fine arts, it is important to choose a job that will be feasible for young children. In the second younger group, children do not control the brush well, it is difficult for them to make the brush draw a line, an oval, a circle ... Therefore, at this age, quick and beautiful drawings using the technique of painting with palms are interesting.

You can draw such a cute family of chickens and chickens with children's hands.

Green paint will give you a print that can be played with a frog. The eyes can be drawn separately on white circles of paper (by the teacher themselves) and the children simply stick the eyes on the drawing with PVA glue.

Here is another example of an appliqué drawing in this non-traditional do-it-yourself painting technique. If we add lateral wings and sharp tips of the ears to the palm print, then we will get the silhouette of an owl. The background for such crafts can be chosen from black cardboard, stick a large circle of yellow paper (moon) on it. And already against the background of the lunar disk, make an imprint of an owl-palm. And then when the print dries, add a long branch on which this owl sits.

The palm acts as a template - first a sketch, circle the palm on a piece of paper, and then try to draw an eye here or there. And look closely, you will see which character is looking at you.

Same for crafts in non-traditional technique "Palm + paint" you need to prepare the background in advance. Or create a green lawn and a pond for ducks from colored paper. Or draw in advance - toned the sheet in blue and green paint, dry and prepare for class (hold under heavy pressure from books).

As you can see in the photo below, overhead parts can be added to the palm element of the picture - applications made of paper and other materials. Below is an example of how ordinary gray paper from a box can become a prototype for crafts. To little child it was easier to draw circle-face of a lion- Give him a jar lid template. Let the children trace the round cap around the center of the “cardboard mane” with a pencil and then carefully paint over the circle with paint - first stroke with a slow brush along the edge of the line, and then paint over the middle. We finish the black details of the mustache, nose and ears with a marker (the teacher himself when the craft dries).

In non-traditional palm painting, images of birds are often used. Here is a simple idea for drawing a sparrow in kindergarten. Easy and quick to draw with your own hands for children in the middle group.

But the ideas of non-traditional palm painting for children of middle and senior group. Craft MONKEY. Here you need to already correctly position the palm - so that the fingers are turned towards the vine, on which the monkey will hang. Then with a brush draw a beautiful curl of the tail. And already lay out the head from the paper application.

But the lesson on non-traditional drawing of the older group - here you first need to draw a tree (trunk, branches, leaves). The leaves are just brush marks (they pressed the brush sideways. They lifted it sharply up so that the mark does not smear). While the children are busy drawing the leaves, the trunk will dry out well and on it, as against a dry background, the imprint of a koala bear cub will already lie perfectly. A beautiful craft for both kindergarten and school (grades 1-4).

And here is a beautiful bright craft-drawing GIRAFFE. Here we also see the base of the handprint. But a long neck element with a head is added to the drawing. Before applying the spots and strokes of the mane, you must wait until the red base is completely dry. The mane is placed with the imprint of the brush - we put the brush on the side and sharply lift it up, we get a trace-imprint like a patch of mane hairs - we still give a lot of prints along the entire cervical spine of the giraffe. .Round spots are easier to draw with a cotton swab (the circles will not turn out even with a brush - not all children know how to draw a circle with a brush - this is a complex technique that they will master after they learn how to write letters).

For the older group of kindergarten, a palm drawing in the form of a rainbow magical unicorn is suitable. Great craft for girls. The horn will be drawn by the teacher.

And the boys will like the drawing in the form of a dragon - also in this technique.

Also, small children are very fond of collective crafts. Where the whole kindergarten group participates in one common art work. For example, on a large sheet of paper, outline the outlines of the future body of a peacock - and build around it the prints of the feathers of its magnificent tail. And then when the tail dries, you can stick the body itself along the center.

Drawing with FORKS.

non-traditional technique in kindergarten.

Disposable plastic forks are a tool that can create an interesting non-traditional drawing technique for you. All drawings where needed characteristic shaggy smear, it will become easy and fast to draw even a small child.

Here is an example of such work for children in kindergarten. On a sheet of paper, the teacher draws a stump. From the stump comes up line is the AXIS of the future Christmas tree. We scoop up thick paint with a fork and apply prints in the direction from the side of the axis down. First, we process the right side of the axis, then the left side of the central rod of the Christmas tree.

And already the third stage - we put another layer of CENTRAL STROKE on top of these strokes - already more vertically down from the center, slightly diverging to the sides.

For convenience pour paint into bowls - jar lids are perfect.

And to reduce paint consumption , gouache can be diluted with PVA glue - one to one, or in a different proportion. Valuable advice- do not buy SCHOOL PVA in small tubes - go to a hardware store and buy a liter (or half-liter) bucket of PVA glue there. It will be called universal PVA, or construction PVA - don't let that bother you. By chemical composition it is exactly the same as school PVA glue. But at a price of 5 or 10 times cheaper. And in a bucket, the glue does not lose its freshness, as in a tube. And a liter bucket is enough for a kindergarten group for 3-4 months of active classes.

In such an unconventional technique, you can draw any SPIKED elements of the picture - for example, a Hedgehog or a CACTUS.

Also, a fork will help draw furry characters. For example, a yellow fluffy CHICKEN, or a kitten, or a bear cub.

Since the paint already contains PVA glue, it is not wet yet. dried paint you can glue any paper parts (beak, eyes, ears, tails, etc.).

Also, the fork smear is similar to the plumage of birds. Therefore, you can draw any bird using this technique. This is how it happens you can see in the photo of the craft below - COCK..

METHODOLOGY OF TRAINING - classical.
On two sample drawings.

What is the best way to TEACH DRAWING in kindergarten. Here is a technique that has been working great in kindergarten for several years now. This technique allows you to get the RIGHT first time children's drawing. Let's analyze it using the example of the same COCK from the picture above.

STAGE 1

We seat the children on a high chair (in 2 rows) in front of one table. On it, the teacher will make a show. On a piece of paper there is already the outline of a rooster, drawn in pencil. In three bowls different paint is poured - yellow, red, blue. Each color has its own fork.

In front of the children, we begin our work - we draw feathers with a fork, freely mixing paints. We show what is wrong and what is right. Let the children make sure in your example that it is better to draw lines ALONG the neck, and ALONG the lines of the tail, and not across.

STAGE 2

They drew plumage for one rooster in front of the children. Now we make him a friend - we take another sheet with a pencil rooster, and ask the children, “What should be done?”. Children prompt, you "mow", children correct you, prompt as it is necessary - you are corrected and continue to make mistakes, then correct. Now already children act as a “knowledgeable teacher”. After this game on drawing the second rooster. The children themselves sit down at the tables, where the same pencil rooster is waiting for them and, already with knowledge of the matter, each perform their craft.

As you can see, the demonstration technique always works better on 2-way training drawings by the teacher's hand.

• The first drawing, where the teacher does everything himself (teaching and explaining to children)
• The teacher performs the second drawing at the prompts of the children (“mistaking” and correcting).
• The third drawing is already done by each child himself, at his desk, with an intelligent, learned look.

Unconventional DRAWING

FOOT PRINTS

The imprint of a child's foot, like the palms, can be turned into an interesting drawing. A variety of characters can hide in a child's footprint.

These paintings can be created using the technique of unconventional drawing from the usual print of a child's foot.

I will say right away that in the realities of a kindergarten (where there are 30 children in a group) such foot painting is difficult to organize. In the case of drawings with palms, everything is simple: children wipe their palms with a wet cloth (remove the main layer of paint), and then go to the washbasin and wash their hands with soap. When drawing with his feet, the child cannot go and wash his feet in the washbasin. A gentle man with soap and several basins to wash his feet. You can't do this kind of work with a whole kindergarten group. But…

Such drawing can be done as a specially organized individual lesson. Children are divided into groups of 4 people. One child gives his legs for a print, the second draws eyes, ears, tails, the third child draws grass, the sun, the fourth a tree, a bird, and so on ... (depending on the theme and plot of the picture).

You can try this option for organizing the whole process. Before going to bed when the children are barefoot. Let the child step on a piece of foam rubber soaked in paint. And then immediately onto a piece of paper. And then immediately not a thick wet soapy terry towel, then into a basin of water ... and sleep in a crib.

That is, you need to buy a sheet of foam rubber(it is cheap in the construction department, sold by the meter). Wet the foam rubber, dilute the paint lightly with water so that it is well absorbed into the foam rubber (like ink in printing), put the foam rubber sheet on a plastic tray. Nearby, on the second plastic tray, there is a wet soapy towel (for wiping the paint), then there is a bowl of water, and a dry towel. There is a chair next to each tray and basin. Three chairs + three elements (coloring, soapy, rinsing, wiping).

It turns out the conveyor- the child sits on the first chair (steps on foam rubber with paint, hop - raises his leg), move the tray with foam rubber, put a sheet of paper in its place (hop - printed). The child moves his ass to the second chair, next to which is a tray with a soapy towel (hop-soaped his leg, wiped off the paint). The child moves his ass to the third chair, next to which is a basin of water, a rag floats in it (hop - we wash off the soapy foot, where we need three rags). And wipe with a dry towel.

Everyone is happy. Except for the sanitation station. It does not allow collective rinsing in one basin. The sanitary station requires 20 basins for 20 children, and 20 soapy towels ... 20 dry towels)))

unconventional drawing

HATCH method

And here's another beautiful technique for kindergarten. Where the drawing elements are created by hatching. It turns out an interesting texture of the image. This method is convenient to draw everything fluffy and furry.

The technique is well shown by the example of such a craft-HARE.

The drawing of a hare is divided into SERIES-SECTORS, each of which is shaded. We get even rows of hatching.

Here is a life size template for this craft.

You can modify this craft and present it as an appliqué. Where each element is cut out separately (ears, forehead, cheeks, nose, neck). Then each element is shaded. And then everything is assembled into a single whole application.

The ZONE HATCH method can be used to create any other furry character. For example, a fluffy ostrich.

That is, the teacher gives the child a sheet of paper - on which the eyes and beak of an ostrich are drawn. The task of the child around the eyes is to draw a fluffy cloud of strokes with a pencil or wax crayons. And then under the resulting fluffy ball, draw the neck, too, in rows of strokes. The teacher can help the children by drawing the circumference of the ball of the head and the lines of the future neck, and dividing the neck into sectors for striped multi-colored shading.

You can come up with any character and arrange it in the form of SECTORS for hatching - a cat, a parrot, a dog, and so on.

DRAWING in kindergarten

COTTON STUD

(unconventional technique).

All of us in kindergarten drew a FLUFFY DANDELION craft - with the help of cotton buds. Here it is (photo below). Let's think about what other pictures you can draw with a cotton swab.

Although even from a simple theme DANDELIONS you can create unconventional pattern- BRIGHT JUICY, as in the photo below.

For young children, it is best to use the technique of PUMPING WITH COTTON STICKS, to offer to draw only SOME ELEMENTS of the characters - only the tail of the fox, only the needles of the hedgehog.
That is, a teacher in a kindergarten combines the work of drawing a wadded stick with an application. First, on a piece of paper, the child makes an applique of a hedgehog muzzle (made of brown paper) and a hedgehog back skin (made of white paper). And then this skin-back needs to be completely stuck with multi-colored prints of a cotton swab. Merry children's activity for drawing and gluing.

You can use cotton swab drawing using the ZONE FILLING technique. On a sheet of paper, the outlines (silhouette) of a character are drawn with a pencil - for example, a seahorse. The child must fill this entire area, leaving no empty spaces and not crawling out of the pencil border. This is difficult, the child does not always see where it is thick and where it is empty. The teacher needs to repeat all the time looking for empty holes, filling the holes with different colors of dots, and not with dots of the same color.

Here the brain works, and attentiveness, and fine motor skills of the hands, and a sense of color. After all, you need to feel how you distribute the color over the zone - evenly or everything is yellow at the top, and everything is blue at the bottom.

Such a task can begin to be given in the younger group and then in the older one - and even an adult will learn something in such training for a sense of color and composition.

You can also make CHAIN ​​PATTERNS with a cotton swab. Like the rows of rings on the cacti below.

And also with dots you can draw whole pictures. This technique of non-traditional drawing can be called POINT-GRAPHY.

The most interesting thing is to select dots of different shades and place them in different ways on the objects of the image.

You can start this kind of drawing with small tasks. Pieces of landscape, elements of architecture.

There is an artist Angelo Franco who paints pictures using the POINT TO POINT technique. Here are large dots, contain smaller ones inside.

With a cotton swab and paints, you can draw beautiful MANDALA (photo below). Mandalas are circular patterns, symmetrical and multicolored. The birthplace of mandalas is the East. There are still laid out patterns of colored pebbles, colored sand, or flower petals.

For children, we must give ready-made graphic mandala templates with a given pattern. And the child's task is to REPEAT EXACTLY EXACTLY in each of the symmetrical zones of the mandala with a stick. That is ... if in one zone you made 2 yellow poke on a petal, then in the remaining zones you need to make 2 yellow poke, on the same petal, in the same place on the petal.

You can find many round mandalas for painting on the Internet. Choose the ones that are simple and easy to make for children of a certain age.

You can draw dotted mandalas and on plastic plates. As in the photo below.

You need to start drawing mandalas when the child has already mastered the elementary count up to 5. And he can count the number of TYKOVs in each ray or in each row of the mandala (if it is a row-ray mandala, as in the photo below).

Agree, this beautiful and unconventional drawing technique perfectly develops the child's mind, his mathematical abilities, constructive thinking, the ability to plan the result, calculate the drawing.

Drawing WITH A WET EFFECT.

(unconventional ways).

Here is another unconventional watercolor painting technique. Here we put a watercolor diluted with water on a sheet of paper and blow on it from a tube. We get watery stains and colorful streams. For such a drawing, it is not necessary to use watercolor, the same can be done with gouache diluted with water.

Below we see how this technique can be used in art activities classes in kindergarten and at school. We give the child a drawing of a face (boy or girl) and the task of the child is to blow out the HAIR HAIR for these characters.

You can use a board on which we attach a sheet of paper with a clothespin. We put a large drop of paint on the edge of the sheet and lift this edge of the board up - so that the drop flows down like a hill.

If part of the sheet is temporarily sealed with a piece of masking tape, then we will have an empty, unpainted place on the sheet. And then in this place you can place the application of someone under an umbrella. Here's how it's done in the photo below.

In the younger group of kindergarten, children will really like to draw cool monsters. Krakozyabra can be inflated from the tube in any direction. And then, after drying, stick application elements on them.

Now I want to introduce you to another technique - SOAP + PAINT. Pour into cups of ordinary liquid soap, or liquid for soap bubbles- Add a little gouache to each glass. We get a multi-colored soap paint. We dip a cocktail tube or a round “blower” into it and blow bubbles directly onto the paper. We get gentle bubble CLOUDS. They can be arranged into an interesting picture.

Bubble clouds can be LUFFY PEONS (as in the photo below). Bubbly areas can be scalloped on sea waves, like curly lamb skins, etc.

You can simply blow bubbles on the surface of a sheet of paper with a straw, and then cut out a craft application from this multi-colored sheet. An interesting idea for kindergarten classes.

You can also paint with splashes - just SPLASH multi-colored paint onto the paper. The best thing for this is a toothbrush.

unconventional drawing

WAX-GRAPHY method.

Here is another technique that can be called CANDLE GRAPHICS, or WAX GRAPHICS.

Suitable for this technique white candle wax (or paraffin). It can also be a children's wax crayon for drawing (but not any). Choose chalk that is more oily to the touch. Check in advance how the crayons work.

Now let's act. Draw a picture on a piece of white paper with white chalk. Then we take watercolor (not gouache !!!) and begin to apply watery (not thick !!!) paint over the lines drawn in chalk. That is, we simply paint over our sheet of paper with colored watery paints and an invisible white wax pattern begins to appear. The paint does not cling to the wax and these places on the paper remain white.

You can draw multi-colored round mandalas in this style (with streaks of different colors). Painted autumn leaves look beautiful: leaf contours and veins are waxy, and the filling of the sheet is multi-colored (red-yellow-orange).

Night rain over water looks beautiful. The slanting lines of rain, diverging circles on the water - it's all wax. And then we paint over with dark blue paint and get a beautiful picture of rain.

You can draw jellyfish and sea creatures with wax. And then apply dark (blue-violet-black) tones and the depths of the sea will come to life.

Children are delighted when you offer them such an activity. The educator or teacher himself draws jellyfish, turtles, small tadpoles and amoebas on each sheet in advance. And then the child must find out who is found in the depths of the seas. He paints a sheet of paper with paint and all these creatures appear under his brush.

Important rule. Before class, teach the children to IRON a sheet of paper with a wet brush, and NOT TO RUB THE SHEET WITH A BRUSH, LIKE A WASTE. Otherwise, the wax pattern may be damaged.

NIGHT pictures look beautiful in this technique. With wax we draw one line of the horizon, then waves, wax lunar path and the disc of the moon on the top half of the sheet. Now we paint over it in the colors of the night and get the sea, the moon and the white moon path.

WINTER pictures look good too. The white lines of the wax drawing as elements of white snow, the outlines of snowdrifts, the silhouette of a snowman, snow-covered huts - we draw all this with wax. Then the child applies blue or blue paint and a winter landscape appears on the sheet.

But important- before giving these pictures to children, check for yourself whether the quality of the wax is suitable. Do the lines of the drawing appear? What layer of paint to put (what degree of paint dilution with water)?

unconventional drawing

In the PRINT technique.

All children love this drawing technique. Because it gives a quick and beautiful result for every child. Even the most inept artist makes beautiful paintings. Children perceive the whole process as magic, an exciting game with the magical effect of the appearance of a picture.

In kindergarten, it is most convenient to organize the imprint technique. Let's see what materials are suitable for implementing this technique when drawing with children.

OPTION 1 - a piece of crumpled paper.

Wrinkled paper gives a beautiful torn structure to the print. This is suitable for painting the crowns of spring (yellow-green or pink) and autumn (orange-crimson) trees. The paint is taken from jars or watercolors, dripped onto a bowl (jar lid). We dip a napkin into this drop, try the print on a draft sheet and, if you like, transfer it to paper.

OPTION 2 - corrugated cardboard.

Packing gray cardboard is great for painting a rose using the print technique. We cut the cardboard box into strips across the corrugation line. We twist the strips with a tube, fix with an elastic band or thread. We make a stamp for a green leaf from a toilet paper roll.

Also, this ROLL drawing method is suitable for the image of the SNAIL SPIRAL, You can also make the LAMB SKIN CURL.

OPTION 3 - fluffy pompoms.

In craft stores (or craft sites) you can buy a bag of these soft pompoms. If you attach a clothespin to each, we get a convenient holder for work. Using the pompom-graphy technique, you can create decor for painting flat parts of handicrafts. And also paint pictures of white airy dandelions in watercolor.

OPTION 4 - toilet paper sleeve.

There are a lot of options, because the tube-sleeve can be given a different shape. You can cut the sleeve in half ALONG, and we get a half-ring stamp - an ideal stencil for drawing fish scales or tiers of coniferous legs of a Christmas tree.

A round roll can be flattened on both sides and you get a pointed oval - this is the shape of a flower petal, or bunny ears. Great idea for non-traditional drawing in kindergarten with younger children (bunny) or older children (flower).

A flower is more complicated than a bunny because you need to RADIALLY line up the petals around the middle of the flower.

You can also cut the EDGE of the ROLL into curly petals - and you will get ready-made petals for paintings. Such stamps are just a godsend for quickly drawing bouquets and flower beds for children. junior group. And even for the smallest kids in the nursery.

OPTION 5 - bubble wrap.

Wrapping film with bubbles also gives an interesting print pattern that can be played with non-traditional drawing in kindergarten. For example, make an imprint of honeycombs (as in the figure below).

Or make a drawing of a spring or autumn tree.

OPTION 6 - potato stamps.

From potato halves, you can cut stamps of any shape. Cut the potatoes in half. We wipe the wet potato slice with a paper towel. On the cut with a marker, draw the outlines of the future stamp. Cut with a knife along the drawn contours.

It is better to choose oblong elongated potatoes for stamps. So that the child's hand can comfortably grasp the potatoes. Below in the photo we present only two themes for such unconventional drawing - owls and tulips. But you can come up with your own options. If PVA glue is added to the paint, then details (eyes, nose, pens) can be glued over the prints.

You can make an experimental double stamp. Cut out the halves of the champs from two potatoes and fasten the two potatoes together by piercing them through with a toothpick and wrapping them with electrical tape or tape. Take a swing at a cool idea and experiment with creating stamps for it.

unconventional drawing

FLUSH paints.

And here is another cool material for non-traditional drawing, which is so loved by young children. This is a VOLUME PAINT for creating puffy drawings. This paint is made at home quickly and simply - in a bowl, mix PVA glue with gouache and add dad's shaving foam. We make several of these bowls (not necessarily large ones) under the idea that we will draw with children. For a watermelon, you need only two paints - that's where you start. Watermelon pits are a simple black gouache that we drip here and there.

A variety of ideas can be embodied in this drawing technique for children in kindergarten. The simplest is a waffle cone with ice cream. The horn is cut out of rough packaging cardboard, on it we draw a waffle grid with a marker. The child glues the horn on a sheet of paper (below) and lays out round balls of a three-dimensional pattern on it. You can give the child round templates, which he will first circle with a pencil over the edge of the horn, and then foamy paint will be placed in these round contours.

And you can also put a few spoons of different paint on the horn and then with the back end of the brush (or a wooden stick) mix the paint into multi-colored stains. You will get a beautiful mix ice cream. Great craft for kids in school or kindergarten in drawing class.

Methods of working with thick paint in children's classes.

You can mix the paint on a separate tray (or on a piece of oilcloth). It is better when each child makes a colored mixture himself - therefore we give each child his own oilcloth.

We put individual oilcloths for children on each table. In the center of the table we put bowls with 4 colors of paints. The child on his oilcloth mixes these colors into a common puddle - to the state of beautiful stains. Then he applies a paper outline of the character to the puddle (for example, seahorse). And then he lays it to dry (the contours of the skates must be signed in advance with the name of the child, and do not forget to remind the children to apply the unsigned side to the paint). Then the next day, when the foam paint dries on the silhouette of the skate, you can continue to work and make an application of the skate in sea ​​waters, draw spikes for him, algae around, stick shells, pour sand on the glue.

Here are some interesting drawing techniques you can try with children, both at home and in the garden. At school, this non-traditional drawing can be carried out in the lessons of fine arts, leaving the whole process to the child for independent creativity.

On the pages of our site you will find many more different techniques for unusual drawing paints.

We already have detailed detailed articles on the topic:

Good luck with your creativity.
Olga Klishevskaya, specially for the site
Good websites are worth their weight in gold you can support the enthusiasm of those who work for you.

comprehending the world, children try to express their impressions of him by means of cognitive and creative activity: playing, drawing, telling. Huge Opportunities here provides drawing. To enable kids to express themselves in a variety of ways, you can engage in drawing with your child both in traditional techniques and in the most unusual ones. The more interesting the conditions in which the child’s visual activity will take place, the faster his development will develop. Creative skills. Let's see what children's drawing techniques can be used for the development of the child.

Traditional drawing techniques

The basis of the general comprehensive development of the child is laid at a younger preschool age. Drawing is one of the most important means of child development, during which the baby learns the world, forms an aesthetic attitude towards it.

When drawing, a child develops a wide variety of abilities, namely:

• the child learns to visually evaluate the shape of an object, navigate in space, distinguish and feel colors
• trains eyes and hands
• develops the hand.

“Did you know that drawing is one of the main ways for the versatile development of a child, his sensations, fine motor skills of hands, a sense of shape and color? With the help of this simple and exciting activity, children convey their attitude to reality.

The success of education and training depends on what forms and methods a teacher or parent uses in creative activities with a child.

So, the main technique for children of primary preschool age is a demonstration of how to use a pencil and paints. At the same age, passive drawing is effective: when an adult leads the baby's hand. When the baby grows up a little, visual activity is taught by the information-receptive method: children study the shape of an object, circling it with their hand, feeling the outlines. Such a study of the subject helps the baby to create a more complete picture of the subject. The next step is the choice of drawing technique.

Traditional children's drawing techniques:

1. Drawing with a simple pencil.
2. Drawing with colored pencils.
3. Drawing with markers.
4. Drawing with a brush - watercolor, gouache.
5. Drawing with wax crayons.

When starting to choose a drawing technique for a crumb, you need to pay attention to his age and interest. To be useful and educational, drawing must first of all be fun.

Drawing with paints and pencils

Children enjoy drawing, especially if they are good at it. Even drawing with such traditional techniques as drawing with paints and pencils requires certain skills. If there are no skills, then the drawing may not turn out the way you intended. little artist, as a result of which the child may be upset and no longer want to draw. Younger preschoolers are not yet skilled enough in drawing.

Let's see how you can teach your kid to draw with paints and pencils.

Learning to draw with paints

Today, the first use of paint by a child is finger painting. As soon as the baby has learned to hold the brush in his hand, invite him to draw with it. For the first lessons, it is better to use: it does not need to be diluted with water and it leaves a bright mark. Show your child such a drawing technique as “sticking”: you need to attach a brush with paint to the paper with all the pile. This will turn out to be an imprint - a leaflet, a light, a trace of an animal, a flower, etc. Children can use this simple technique when depicting natural phenomena familiar to them. It will be interesting to draw on paper dark color(for example, blue) white gouache. So you can depict, say, a snowfall. The next stage of drawing with paints is the image of straight and wavy lines.

Usually the baby masters the work with paints and brushes by 3.5 - 4 years. From this age, the crumbs can be given paints at his disposal: let him draw what he wants. And parents just need to suggest topics for drawing and show the right techniques.

Starting to draw with a pencil

At first, it is better for the baby to give not a pencil in his hand, but a felt-tip pen: they leave a bright mark even with a slight pressure of the child's pen. When the hand gets stronger, put a pencil in his hand. Draw different figures together, moving the child's hand. So gradually he will understand how to move the pencil in order to get the desired drawing. Repeat the movements many times, fixing them.

"Advice. Support your child's interest in drawing by providing good conditions for creativity: high-quality supplies, a separate table and chair in a bright place, appropriate for the child's height.

Children's non-traditional drawing techniques

Non-traditional techniques of children's drawing stimulate the development of imagination and creative thinking, the manifestation of initiative and independence, the baby. In the process of such drawing, a preschooler will improve his powers of observation, form an individual perception of art and beauty, and try to create something beautiful. And non-traditional drawing brings children a lot of positive emotions.

Let's see what non-traditional drawing techniques you can do with your child at home.

For preschool children:

1. Finger drawing. The kid dips his fingers in gouache and paints on paper.
2. Drawing with palms. The baby applies gouache to the entire palm and makes prints on paper, which can later become funny pictures.

For children of middle preschool age:

1. Foam print. The child dips a piece of foam rubber into the paint and makes an imprint on paper.
2. Cork imprint.
3. Combined drawing with wax crayons and watercolor. The kid draws an image with wax crayons on paper, and then paints over only a sheet of paper with watercolors, without affecting the drawing.
4. Drawing with cotton swabs or drinking tubes. By dipping them in paint and applying them in different ways, you can make an interesting picture.

For older children:

1. Painting with sand or salt.
2. "Spray". By picking up paint on a brush and hitting it on the cardboard over the paper, the child will receive a whole firework of splashes of paint that will fall on the paper.
3. Drawing with crumpled paper. Pieces of crumpled paper are dyed and pressed against the paper where the painting plans to appear.
4. Classography. Through a cocktail tube, you can blow multi-colored blots. And you can put them with an ordinary plastic spoon. Using fantasy, blots can be turned into funny characters or landscape elements.
5. Monotype. Covering thick paper or ceramic tiles with a thick layer of paint, and then attaching a sheet of paper, we get a blurry print on paper that can become the basis for a landscape.
6. Engraving (grattage). Having painted over a sheet of paper with a dense layer of gouache, try scratching it out with your child using toothpicks.

We use different materials

“Did you know that a variety of non-traditional children's drawing techniques are becoming more popular every day? Drawing, kids act as they like.

The beauty of non-traditional drawing techniques is that in the creative process a child can use a variety of materials and their combinations. That is why these drawing methods are very interesting for both children and adults: there is no limit to imagination and self-expression.

What combinations of materials when drawing can be used to creative process brought pleasure, and the picture turned out to be unusual and expressive?

1. Imprints of natural materials. If cover different colors leaves, cones, flowers, and then attach to paper, you get an imprint. Having completed the missing details, the child will have an excellent one.
2. Plasticine. From plasticine, you can not only sculpt figures, but draw them on paper. This method is called plasticineography.
3. Everything at hand. With the help of a wooden spool for thread, the thread itself, buttons of various sizes and shapes, a cardboard tube, a fresh orange peel, a corn cob, knitting needles and everything that can be found in the house and adapted for creativity, you can draw. Each item leaves its own unique imprint. With a little imagination, you can create unusual paintings with the help of common household items. The coil will leave a trail that looks like a wheel or two tracks, a button - a circle with dots. Unusual stamps can be cut from the peel of an orange, for example, in the form of a spiral. And the function of the paint roller will be performed by a corn cob or a cardboard tube.

Drawing is a great leisure activity for a preschooler, a job that should not be forced. However, it is important to support the child and positively evaluate the results of his work. Expand your child's creativity. Traditional drawing will teach your child how to properly handle brushes, paints, pencils and felt-tip pens, teach them to recognize and draw different shapes, and distinguish colors. And non-traditional drawing techniques will help him become more creative, emotionally stable, confident in his abilities, proactive.

Goals:

Educational:

• To give children knowledge about the portrait genre, its features and features of the image: a single portrait, a group portrait, a self-portrait.
• Learn to correctly navigate the location of different parts of the face and its proportions.
• Learn to make a portrait from different parts of the face of your own choice and imagination. Pay attention to the symmetry of the person's face and proportions, to the similarity of the portrait with nature.

Corrective:

• Introduce the following concepts into the children's dictionary: genre, portrait, self-portrait, miniature, profile, full face, face.
• learn to select adjectives for nouns, select words - epithets;

Educational:

• Cultivate emotional responsiveness to works of art;
• cultivate aesthetic feelings through the examination of reproductions.

Painting reproductions:

• V.L. Borovikovsky "Children with a lamb";
• VI Surikov “Portrait of Olga Vasilievna Surikova, the daughter of the artist, in childhood”;
• V.A. Serova “Children. Sasha and Yura Serov”, “Portrait of the composer N.A. Rimsky-Korsakov”, “Portrait of the artist I.S. Ostroukhov”, “Portrait of the artist V.I. Surikov, “Portrait of Nicholas II”, “Portrait of Mika Morozov”;
• N.N.Ge “Portrait of Alexander Herzen”, “Portrait of Nikolai Ge, the artist’s grandson”,
• I.P. Argunova “Portrait of Catherine II”, “Portrait of an unknown peasant woman in Russian costume”,
• I. N. Kramskoy “Portrait of Pavel Mikhailovich Tretyakov, “Portrait of Vera Nikolaevna Tretyakova”, “Portrait of the artist I.I. Shishkin, “Portrait of the singer E.A. Lavrovskaya on the stage”, “Portrait of Dr. Sergei Sergeevich Botkin”, “Portrait of a woman”, “Portrait of the artist Dyakonov”,
• K.P. Bryullov “Portrait of the writer N.V. Kukolnik”,
• A. P. Antropova “Portrait of Shuvalov”.

Methodical methods: Conversation, teacher's story, looking at illustrations with self-portraits, using an artistic word, a surprise moment, individual work during the lesson, summing up.

Preliminary work:

• Examination of portraits of artists.
• Examination of the thematic dictionary in pictures from the series “The World of Man” on the topic: “Parts of the Body”.
• Drawing portraits with a simple pencil.
• Didactic game “Name it affectionately”, “Name the parts of the head”, “Name what a person has 2”, etc.

A child always has his own view of art, which is determined by a whole system of images, ideas, ideas, his own understanding of art. It can be wide or very limited - close to everyday life, real life. In any case, this system of views on beauty belongs to the child and this must be taken into account, while enriching his idea, developing the figurative side of the perception of a work of art, maintaining interest in art and culture.

It is very important that children see copies of museum exhibits shown at home and in kindergarten in the original.

The teacher's story about the genre of painting is a portrait.

Portrait - a genre of painting, which is based on the image specific person with a strong personality.

Portrait painting is one of the most difficult and significant genres in the visual arts.

The word portrait means, translated from French, “to reproduce the devil in the devil” of the depicted person. The portrait is always drawn from life. The artist chooses the person he wants to portray, gives him a beautiful pose, in other words, asks him to pose. The artist faces a difficult task - to convey the appearance of a person, his face, figure, movement, costume, environment in which he is. But main value of this genre is that it conveys to us not only the appearance of a person, but also his character, mood, his inner world, personality, age.

Familiarization of children with the genre of portraiture is necessary for the formation, development and consolidation of an understanding of the state of another person.

When getting acquainted with the portrait, children have the opportunity to feel either small children playing with a lamb (V.L. Borovikovsky “Children with a lamb”), or a child with a favorite toy (V.I. Surikov “Portrait of Olga Vasilievna Surikova, the artist’s daughter, in childhood”), then children admiring the sea (V.A. Serov “Children. Sasha and Yura Serovs”).

The ability to put oneself in the place of another, to feel his joy, surprise or grief, gives rise to a sense of interest, belonging and responsibility. Children develop and consolidate the ability to understand the people around them, showing goodwill towards them, the desire for communication, interaction, sensitivity and caring.

In addition, familiarization with portraiture contributes to the development of emotional, aesthetic and artistic feelings of children. The sooner we develop the emotional-sensory world of the child, the brighter his imagination and thinking will work.

Through acquaintance with the portrait, the child joins the historical and cultural life of society, acquires knowledge about famous writers, artists, musicians, scientists, poets, public figures, about professions, life and appearance of people of different times.

V.A. Serov “Portrait of the composer Alexander Herzen”	N.N.Ge “Portrait of N.A. Rimsky-Korsakov”
V.A. Serov “Portrait of the artist I. S. Ostroukhov”	V.A. Serov “Portrait of the artist V.I. Surikov”
V.A. Serov “Portrait of Nicholas II	I.P. Argunov “Portrait of Catherine II”
N.N. Kramskoy "Village Chief"	I.P. Argunov “Portrait of an unknown peasant woman in a Russian costume”

Research by psychologists makes it possible to establish that the portrait as a genre of painting is accessible to the aesthetic perception of children from the age of 4. At this age, they emotionally respond to the expressive image of the portrait (smile, laugh, stroke it, etc.), show a positive interest in it. Carried away by the general content of the portrait, children at this age are still not quite able to explain the preference for choosing one or another portrait. However, some means of expression are already available to their understanding. So, in determining the emotional state of a person in a portrait, the main thing for them is the general facial expression, less often the eyes. Children are able to perceive and name the emotions depicted in the portrait - “smiling”, “laughing”, “crying”.

Children aged 5 also show a positive interest in the portrait. They emotionally respond to portraits of people whose images are not only close to their personal experience, but are also known to them from literature and cinema. Children like people with a positive emotional state more, although they also empathize, sympathize with sadness and sadness. A five-year-old child already pays attention to such means of expression, such as drawing. When determining the emotional state, he sees not only the face and its facial expressions (the movement of the eyebrows, the expression of the eyes, lips), but also the posture.

Artists do not specifically paint portraits for children, so it is quite difficult to select them for use in the pedagogical process. Some principles for selecting portraits:

Firstly, these should be highly artistic works both in content and in terms of means of expression.

Secondly, the artistic image of the portrait in terms of content and form of the image should be accessible to the understanding of children, close to the level of their emotional experiences. To a greater extent, these are positive emotional states of a person, although by the end of the middle preschool age some negative emotions (anger, pain, despair) can also be shown.

Thirdly, you should select portraits that are diverse in type, means and manner of depiction.

At the first stage of work with preschool children, it is necessary to introduce them to the portrait as a genre of painting, showing its difference from other genres (still life, landscape). Children look at a portrait - a face with a pronounced expression (for example, laughs, rejoices, is surprised).

Then, a bust portrait can be offered for consideration, where, along with the emotional state expressed on the face (facial expressions), hands are presented in any movement, gesture.

At the next stage, portraits can be selected, where the relationship of facial expressions, hand gestures, postures is presented and where clothing emphasizes the social role of a person. A more difficult stage will be to familiarize children with a portrait, where the environment brings a certain addition to the image, contributes to a deeper understanding of its idea.

Paintings by I. N. Kramskoy

For preschool children, the most suitable for the harmonious perception of painting are female and male portraits.

I.N. Kramskoy "Female portrait"

I.N. Kramskoy “Portrait of Dr. Sergei Sergeevich Botkin”

It is also necessary to consider a portrait of different ages (children, youthful, adult and elderly people).

In the middle group, children first get acquainted with the portrait as a genre of painting. The main tasks of the teacher in this process are:

• Arouse interest in the portrait in children, the desire to carefully examine it; express your thoughts and feelings.

Acquaintance with portrait painting in this group, you should start when the children already have some ideas about painting and its genres such as still life and landscape. Usually this is the second half of the year.

Portrait is a complex genre of painting. Understanding it requires children to have a certain social experience, knowledge of both the person himself and the fine arts, his language, and ways of creating artistic images. Therefore, long-term work with children is required, the content of which will include two directions. The first is the formation of ideas about a person, his feelings and emotions, moral attitude to many aspects of life. The second direction is the gradual formation in children of an understanding of the language of the pictorial image of a portrait. The first direction will be carried out in different classes, in games, everyday life, everyday activities. The second - in the classroom for familiarization with the portrait and in artistic activities.

In everyday life, the educator develops attention and observation in children. For example, Katya entered the group, she has a new hairstyle. She is in a good mood, laughing, joyful. The teacher says to the children: “Oh, what a cheerful, joyful Katya is today, she’s just all glowing! And her hair is beautiful!” Or draws the attention of the children to Anya: “Look at Anya, she is unhappy with something. Look at the drooping shoulders and head, and the face, how sad: the eyebrows are raised at the corners, and the tips of the lips are lowered. Let’s go up to her and ask how we can help her!”

The teacher constantly draws the attention of the children and to emotional condition adults - parents, educators, assistant educators.

Children should be taught to understand sign language, facial expressions, posture expression. A good educator often uses gesture, facial expressions instead of a stream of words. This teaches children to look at an adult from time to time, his reaction to their actions, develops attentiveness and observation.

So, instead of the word “no”, you can wag your finger, shake your head, spread your arms (“Well, well!”). "Go here!" - invite by hand. “Shut up!” - finger to lips. Approving gestures: stroking, applause. Children should also be shown other gestures, telling what they express (grief, resentment, fear, thoughtfulness, etc.). You can conduct special classes: “When we are happy, when we are sad”, “What does it mean?” “Scared”, “surprised”?”, “Guess what I'm saying” (using facial expressions and pantomimics). The purpose of such classes is to bring children to an understanding of the emotional states of a person and their external expression.

It is good to use imitative-figurative games, dramatization games, in which children practice in characteristic gestures, postures, and facial expressions.

Children really like games in which you need to guess, understand a gesture, movement, posture. For example, the games “Where we were we will not say, but what we did we will show”, “Tell without words”, “Guess who is doing what”.

Having introduced children to individual portraits, it is advisable to organize an exhibition in a group with the works of artists already known to children, and then go with them to the museum.

The word "museum" Ancient Greece meant a house dedicated to goddesses, patrons of poetry, art and science. And today the “museum” is also a house where outstanding works of the creative genius of artists, sculptors are kept - monuments of history and culture.

A visit to a museum is an event in a child's life. Direct acquaintance with the collections of art museums has a huge emotional impact on children, and this is invaluable in the formation of a creative personality.

First impressions are the strongest and deepest, which is why careful preparation for an excursion to the museum is so necessary - a real holiday for a child and an adult. It largely depends on the adult whether the child wants to come here again and again. No need to force him to memorize the names of paintings and the names of artists. Of course, you need to pay attention to this - with due respect and admiration. The child will gradually learn to remember and recognize. But the main thing for him will remain a sense of beauty, surprise and joy.

Chumicheva R.M. one

FOR PRESCHOOL CHILDREN ABOUT PAINTING 1

Chumicheva R.M. fourteen

FEATURES OF INTRODUCING OLDER PRESCHOOL CHILDREN 14

WITH GENRE PAINTING 14

Khalezova N., Chumicheva R. 18

HOW OLDER PRESCHOOL CHILDREN UNDERSTAND 18

THE SIGNIFICANCE OF SOCIAL PHENOMENA, 18

EXPRESSED IN GENRE PICTURES 18

Chumicheva R.M.

FOR PRESCHOOL CHILDREN ABOUT PAINTING

Genre painting tells about the work and life of different people, about their successes, joys and hardships. Since the theme of genre paintings is always born from life situations, then the products this genre allow us to introduce children to the social experience of our people, its national traditions moral and aesthetic ideals. The artist, using expressive means, evaluates the relationship of people, the relationship between society and the individual.

Paintings of genre painting, in contrast to the portrait, do not tell a specific personality, but a typical generalized character of a person. The image of a man-worker in the paintings domestic artists diverse. These are the field workers (A.A. Plastov "Dinner of tractor drivers", N.P. Karacharskov. "On the fields of Chuvashia"). In genre painting, the theme of childhood and adolescence is also widely represented. These paintings are permeated with joy, the sun, bright colors, they are life-affirming (A.A. Deineka "By the Sea", "Future Pilots").

The plots of genre paintings can be conditionally divided into simple and complex. Simple plots are always devoid of unfolding action and internal conflict, simple in content, expression of emotions. Complex plot expresses a vital conflict, there is always a contradiction in it.

The idea of ​​a genre picture is hidden from the eyes of the viewer. It is expressed in a specific meaningful artistic image. The idea of ​​the picture must be seen by analyzing the relationship between the depicted people, motivating their behavior, compositional construction and color scheme.

Genre painting reflects one life moment, but the artist recreates it in such a way that we perceive the depicted action as a long-term event, associatively reproduce the previous and subsequent pictures of the event. Such a quick reading of the content of genre painting is due to the compositional construction of the picture, where the semantic, compositional center immediately attracts our attention.

Genre paintings can be of various types: with a few actors and multi-figure compositions with a more complex plot.

Color in a genre painting helps to reveal the compositional center. It is brighter and more intense, attracts attention. Given the peculiarity of the attention of a preschooler - to notice everything bright, it is necessary to teach him to highlight the compositional center first with the help of color, to understand the relationship between color and content. The farther away from the compositional center, the color the light seems to go out, become muffled, only occasionally flashing like a spark in some detail.

The coloring of the picture always corresponds to the depicted moment of reality. It corresponds to the season, weather conditions, lighting, mood and condition of the people depicted. Color in a genre painting, in comparison with a landscape, acts as a bright emotional addition to the content and composition, influencing our thoughts, feelings, mood, and causes various kinds of associations.

The most important thing in genre painting is the deep and real reproduction of the images of people and events, the truth of life, through the perception of which the child joins life.

Can a preschooler understand painting?
Which artworks are children most interested in and why? Experience shows: from various pictorial genres, they prefer everyday life and still life. The motive for choosing these genres of painting is understandable: they are consonant with the experience of children, since preschoolers encounter many objects depicted in a still life in everyday life, and the feelings expressed by the artist in a painting with everyday content were experienced by them more than once.

Of great interest are works about the labor of adults, as well as canvases devoted to heroic themes, and those paintings whose content reminds children of an illustrated literary work,

What is the specificity of the personal attitude of children to painting?

At first, children explain their attitude to the picture with only one word - like it. It can be difficult for them to explain why they liked this or that work. They answer the question in monosyllables, there are no epithets, figurative comparisons, metaphors in their answers. The motives for choosing the picture you like are often abstract or conditioned personal experience. But as a result of the work, two types of relationships are noted.

The first- emotional-personal, which is characterized by personal motives, own interpretations related to the experience of the child, his emotions and interest. For example: “I liked the painting “The New District of Leningrad”. She talks about the construction of beautiful houses, about the new part of the city. I liked it because it reminds me of my mother's work, she is a builder. In this picture, everyone is busy, it seems that everything is moving - people, cars. Handsomely".

Second- this is when an older preschooler shows an aesthetic attitude to a work of art, gives an assessment of the content, moral and aesthetic relations of the people depicted in the picture. For example: “I liked the painting“ Guards Banner ”because I saw how difficult it was for our soldiers to fight with enemies. Here they are all wounded, but the banner is not abandoned. That was not easy. They are courageous. I want all children to see this picture. She is strong."

(...) older preschoolers highlight the cognitive, aesthetic and moral value of the content of the picture. Assessing the cognitive value of the work, they easily understand what the artist said in his painting. “The artist told about the work of grain growers so that we know how they work - from morning until sunset, so that bread grows, and we take care of it” (A.A. Plastov “Tractor Driver’s Dinner”). However, they do not succeed immediately in understanding the artist's intention, the idea of ​​the work. They perceive storyline, but they still cannot analyze the relationship conveyed by the artist (between images, content and means of expression, between the main and the details): “This picture is not about men, but about soldiers. They are at war, one is wounded, and the other is with a machine gun ”(F.V. Savostyanov“ Scouts ”).

The guys talk about the aesthetic value of the content of the picture with a special emotional mood: “The artist himself saw a multi-colored meadow, beautiful from flowers, his mood became joyful, so he told us about this beauty” (A.A. Plastov “Haymaking”). But a preschooler approaches such a relatively high assessment of the aesthetic significance of the content of a work based on an emotional reaction to beautiful combination colors ("The picture is beautiful, because there are many different colors").

Children are able to determine the moral value of the content of the picture: “The picture tells about friendship in the family, teaches kindness” (G.P. Sorogin “Family”). But it is more difficult for them to understand the moral value of the portrait genre than of a narrative work. Understanding the nature of the depicted person, his mental state is achieved only with active, purposeful, emotional guidance of the perception process. Examining the portrait “Girl with a Doll” (artist V.A. Tropinin), the children noticed that the picture shows a kind girl – she carefully presses the doll with her hands. Understanding the artistic images in the work causes strong feelings in children, manifested in empathy with the heroes of the work. ... they (children) change their own behavior in accordance with the ideals of the artist.

With purposeful classes, children's perception of beauty changes qualitatively. The child begins to understand the beauty of the combination of colors, lines, to see the rhythm in the picture. The deeper and more diverse children's knowledge about surrounding reality the stronger the feelings. Children are excited about the beauty of the landscape, still life, expressive face in the portrait, genre paintings that reflect current events of our time.

Their (children's) ideas about the means of expression - color, composition, line, chiaroscuro, etc. - are being improved. They correctly perceive expressive means - as a form of conveying the content of the work, its mood. ... they (older preschoolers) single out color right away, since it is bright, familiar to children, they constantly draw, “play” with color, easily link it with the mood expressed in the work. However, children of the 6th year of life are able to perceive color as a means of revealing the main idea of ​​the content, through color they evaluate the aesthetic merits of the picture: “Sad music sounds here. The artist showed thoughtful music through brown and blue. The pianist's face is pensive, he thinks" (D.D. Zhilinsky "Plays Svyatoslav Richter").

Children easily perceive facial expressions, understand this means as an expression of the mood of the work as a whole, and an expression of the moral relationship between the depicted people. In faces, lips are first examined, then eyes, and last of all, eyebrows: “The faces of the scouts are sad, their lips are compressed, sad, they leave the Germans. Bad mood - you can see it on their faces, because they are at war. And everything here is dark - the forest, the river, the trees, even the mud" (F.V. Sevostyanov "Scouts").

It is more difficult for children to highlight the compositional construction of the picture. They easily single out the compositional center (if the question is posed accurately and correctly), but find it difficult to answer the question why the artist arranged the people in the picture in exactly the way that he wanted to emphasize.

Children learn that the compositional center can be distinguished by color, size, shape. They can independently "read" that the artist in the content of the work places the most important thing in the foreground, paints large people, objects.

Subsequently, they define different ways compositional solution However, children still cannot establish a relationship between the composition and the main idea of ​​the work, they need the help of a teacher. If the content of the work arouses interest among the children, then they independently begin to carefully examine the picture, make discoveries that are interesting for themselves.

At first, older preschoolers cannot perceive rhythm, line, chiaroscuro in a work of art on their own, this skill is formed in the systematic work of getting acquainted with painting. When examining the original paintings in the museum, children pay attention to different writing techniques: “The strokes here are rough, thick, but here they are almost invisible, they are small.” They try to guess why the artist painted his work the way it did. An encounter with genuine art in a museum has a stronger emotional impact than reproductions, it arouses interest.

Having mastered the ability to allocate means of expression in genre painting, older preschoolers easily transfer it to other pictorial genres. Considering, for example, a portrait, they independently come to the conclusion that in a portrait people are written differently: “In genre painting there are always a lot of people and they are in motion, but in portraits they are motionless, thinking.”

Rural children perceive the landscape and the themes of agricultural labor in the artist's works brighter and more emotionally. ...the themes of these paintings are close to the experience of children.

STAGES OF ACQUAINTANCE WITH PAINTING

First stage

The main method of introducing children of senior preschool age to the visual arts at the first stage is art criticism story of the teacher. The choice of an art history story ... is determined by the content and construction of the work, which reflects its elements in a logical relationship.

The structure of the story: the message of the name of the painting and the name of the artist; what the picture is about; what is most important in the picture, how it is depicted (color, construction, location); what is depicted around the main thing ... and how the details are connected to it (deepening in content, ... the connection between the content and the means of its expression; what the artist showed beautiful with his work; what is thought about, what is remembered when you look at this picture. Use such a structure of the story is possible until the children begin to adequately answer the questions posed after the story about the content of the picture and acquire the skill of monologue speech when answering the question, what the picture is about.

An art history story helps to differentiate in the minds of children such concepts as “theme” (what the picture is about), “content” (what is depicted), “expressive means” (how expressed), understand the aesthetic value of the picture, and also contributes to the formation of figurative coherent speech of preschoolers .

Immediately after the art history story, it is legitimate to offer concrete questions, aimed at listing what they saw in the picture, at a detailed examination of it, in order to lead the children to an understanding of the content of the work. For example: “What is shown in the picture? Where are ... objects, people? What is the most important thing in a picture? How did the artist portray it? What is the brightest thing in the picture that immediately catches your eye? What did the artist mean by this? What mood did the artist convey? How did you guess that this mood is reflected? How did the artist do it? What do you think or remember when you look at this picture?

In questions ... take into account the principle of gradual increase in complexity. ...there are almost no questions containing an explanation of the relationship between content and means of expression. Last question It is aimed at the manifestation of emotional reactions by children, the activation of associations and feelings.

justifies itself the technique of "entering" the picture, recreating the events preceding and following the content of the picture. These techniques should evoke certain feelings in children ... are closely related to the game, creative fantasy, with a certain kind of settings for a detailed expressive storytelling. For example: “Now let's mentally transport ourselves to this place (point to the picture) and listen ... What do you hear? What can the noise be compared to...?”. The emotional attitude of the child to the picture is an indicator of the interest that has arisen in the work.

Children of older preschool age can already choose the picture they like on their own, but they find it difficult to answer the question why they liked it, since the motives for choosing are inadequate to the content of the work, the ratings are still very concise, based on the external bright signs of the picture

In order to form in children an emotional and personal attitude to the picture, which would be characterized by expansion, emotional associations, it is necessary to use techniques that become more complicated as they master the ability to “read” the picture, understand its content and expressive means.

One of these approaches can be considered the story is an example of the teacher's personal attitude to the picture he likes. This story has a certain structure, its content is emotionally colored, rich in intonations. Report who painted the picture and what it is called; to tell what the work is about, with what colors it is written, what mood is conveyed in it, what you especially liked, what feelings and thoughts arise when you look at this picture.

In the process of introducing children to painting, it is important synthesize different types of art in the classroom especially at the initial stage. Skillful use of music expressive reading, enhances interest in painting, sharpens the aesthetic feelings of the children, increases their emotional susceptibility.

So, at the initial stage of introducing children to fine arts, the task is to create interest in painting, in the artist’s picture, to form the ability to carefully examine it, and emotionally respond to its content.

Second phase

... tasks: to develop the ability to independently analyze the content of the picture, to allocate expressive means, to form the ability to "read" the picture, to motivate the emotional and personal attitude to the work.

Children are taught the ability to analyze what is depicted on the canvas. Based on the analysis, the ability to perceive a holistic, generalized image of the picture is formed.

First of all, we excluded the teacher's art history story (if the children have mastered the skill of analyzing a picture). The examination of the paintings began with asking questions of a more general nature. They are built taking into account a higher level of perception of the picture by children and their ability to analyze the work. For example: “What is the picture about? Why do you think so, tell me. What would you name the painting? Why exactly? Compare with the author's title. (The teacher notes which of the children most accurately gave the name to the picture and carefully examined the work.) What was beautiful and amazing conveyed by the artist? How did he portray it in the picture? What mood does the painting evoke? Why does this mood arise? What did the artist want to say with his painting? What did he especially highlight so that we can see it in the picture?

Questions direct the attention of children not to the listed images, but to establishing and explaining the relationship between content and means of expression. They contribute to the development of the ability to reason, prove, analyze, draw conclusions and conclusions at the level of generalization.

...sometimes children find it difficult to immediately answer the question of what the picture is about. In this case, you must use receiving precise settings.

The use of precise settings ... allows you to teach them (children) to reason logically and opens the way to an independent search for an answer to the question posed, teaches a rational perception of painting, as well as a vision of the aesthetic merits of the work. ... precise settings ... make it easier for a preschooler to get to know the artist's intention.

For preschool children, the perception of the content of the work and its expressive means is a certain difficulty. The solution of this problem at preschool age is facilitated by the use of techniques of compositional and coloristic options. The essence of the techniques: ... the teacher verbally or visually shows how the content of the picture, feelings, mood expressed in it change depending on the change in composition or color in the picture. For example: “What has changed in the picture between the people, objects depicted by the artist? (At the same time, the teacher closes part of the compositional construction with a sheet of paper, matched to the general tone of the picture and corresponding in shape to the silhouette of the image being closed.) What would the picture tell if the artist arranged the grain growers not in a circle, but individual groups? Compare the size of the image of the person in the picture with the silhouette image on the card. (The teacher several times superimposes a silhouette image of a figure on a card on the image of the image in the picture.) Explain why the artist depicted the image of a person or object of such a size? After the children's answers, the teacher shows a contrasting picture of the artist in terms of dynamics and mood. “What did the picture tell us about, how would its name change if the artist painted the depicted people, objects differently?”.

Used in work with preschoolers acceptance of color options, the essence of which is to change the color of the picture by verbal description or overlaying a color film on the color of the artist. ... questions: “What would change in the mood of the people depicted, in their relations, if the artist painted a picture in cold tones, and not warm? Compare which color in the picture "sounds" more beautiful - red, chosen by the artist, or, say, blue? What did the artist want to convey with this color?

Reception ... allows you to teach to understand the relationship between content and means of expression, at the same time, it kind of includes the child in "co-creation" with the artist. This activates the emotional and intellectual sphere of the child, enriches his experience and imagination. By mentally changing the color scheme of a picture or its compositional construction, the child acquires his own aesthetic experience.

At the second stage, changes method of forming the personal attitude of children to painting. Instead of a sample story of the teacher's personal attitude to the picture they like, they use dismembered questions. ... at the second stage, they use techniques that activate the mental activity of the child. Such an approach is concrete questions.

As soon as the children learn to isolate and explain the image of the object, person they like in the picture, you can ask the question “What did you like about it?”. This allows you to learn to isolate not a single image, but an action, to establish an elementary connection between the depicted objects and phenomena. This question, as it were, prepares the child to understand why they liked the picture.

The teacher uses various kinds of emotional attitudes: “What do you remember when you look at the picture? What is thought, what is imagined? Such attitudes evoke certain feelings in children, empathy, encourage them to use individual experience in perceiving the picture. Only on the basis of the consistent application of specific questions and emotional attitudes can children be brought to an understanding of the complex generalized question “Why did you like the picture?”. So the preschooler learns to express in detail the emotional and personal attitude to the work he likes.

Third stage

... the teacher introduces new methodological techniques, with the help of which the children's creative perception of works of art is formed. Such techniques include comparison, classification of paintings, mental creation of one's own painting by the name of the artist's painting, and various didactic games. The techniques are based on the comparison of works different artists, genres, comparison of what is depicted in the picture with his personal experience, reality.

Comparison technique introduced gradually, with some complications. At first, children are given for comparison two paintings by different artists, of the same genre, but reflecting a contrasting mood. For example, the paintings "Sons" (art. P.P. Ossovsky) and "Fair" (art. A.A. Plastov), ​​and then paintings by the same artist, but different color solution: "Golden Autumn" and "March" I.I. Levitan. For comparison, you can call the paintings of different artists, but the same subject.

Reproductions of paintings are first compared by contrast - mood, color, composition, highlighting only one feature. When children learn to identify one contrast feature, when comparing two pictures, they will be able to name different features- by color, location, illumination, dynamics.

You can learn to compare pictures by contrast using the technique classification of paintings by topic, general color scheme mood, genre.... different reproductions of paintings are hung on the wall, the teacher invites the children to select those that tell about one season (for example: “March” by I.I. Levitan, “Joyful March” by V.N. Gavrilov, “March in Forest" by Y.P. Kugach, "In March", "In Gorki. Beginning of March" by N.I. Barchenkov, "March Shadows" by V.Ya. Yukin), and compare what is common in these works, how they differ that they noticed beautiful things in them, how March is depicted in the pictures. In another case, the educator suggests selecting reproductions in pairs: peace and movement, fun, joy and thoughtfulness, sadness, as well as paintings made with color spots and bright, juicy, local color.

Comparison allows you to delve deeper into the content of previously perceived works, to see them in a new way. Returning to familiar paintings at the level of classification and comparison leads to the development of a steady interest in painting in children, affects the formation of their aesthetic taste. Comparison of reproductions of paintings of the same subject among themselves and with real phenomena of reality, establishing similarities and differences in them contribute to the manifestation of strong emotional feelings, which is very important for creative perception preschoolers works of art.

Used with children the technique of mentally creating your own painting by the name given by the artist. This technique is interesting for the child because it puts him in the position of "co-creation" with the artist. ... the child learns to independently think creatively, to understand the relationship between the content and form of a work, to draw his own conclusions, acquires the ability to bear an idea, the need to express it in his own creative activity. ... it is more expedient to use the technique ... when the children have acquired the ability to determine the means of expression, to accurately and figuratively tell about the work.

In the process of observing social and natural phenomena, as well as in verbal games and exercises, the educator enriches the children's speech with epithets, figurative comparisons, in speech development classes he teaches them the correct construction of sentences, the logical presentation of thoughts, forms the ability to accurately operate with pictorial terms (color, chiaroscuro , rhythm, color spots, construction of a picture, plan of a picture, etc.).

At first, the educator uses precise settings (an instruction to perform certain operations in a certain order) ...

Reception of fine settings used in the second stage. However, now the educator complicates the questions somewhat in order to ... form their ability to mentally create a picture according to the laws of painting, prepare them for independent creative visual and verbal activity, and also develop ... analysis, synthesis, comparison, generalization.

At the third stage of children's acquaintance with painting, a personal emotional attitude to the perceived work is also formed. ... even at the third stage, children still experience some difficulties in explaining their emotional and personal attitude to the picture. To help the preschooler, the teacher uses the settings: “Before explaining why you liked the picture, you need to say what this work is about, what it is called, how the artist showed the main thing, what you think about when looking at the picture, and then tell why it you liked it. Thus, the children are given an orientation to compose a mini-story.

In the process of forming the personal attitude of preschoolers to the content of the work, game elements, stimulating the child’s desire to talk about the picture he liked: “Who will tell better, more interesting, why the work was liked,” the educator suggests.

The emotionality of personal assessments, the presence of figurative comparisons and epithets in them speak of the favorable influence of art on the intellectual development of the child, his monologue and emotional sphere. Therefore, it is very important at all stages to create conditions for the active creative perception of the work by children, to encourage them to raise questions about the work they have viewed.

Teaching children skills to ask questions, the teacher can use this technique: “Children, today we looked at the artist’s picture very carefully, you answered many questions. I would like to know what question should be asked in order to find out how the artist managed to show the evening on the city street. What other questions can you ask to learn more about this work?

The work will be effective if the children ask each other questions about the viewed work. This increases the interest in painting.

Children are greatly delighted with the competition “Who will ask interest Ask about this piece?" Then the competition becomes more difficult: “Who will ask more questions about this work?”. Indicators of an interesting question are originality, a question that has not yet been asked by anyone or that reflects the personal vision of the picture. The more questions children have in the process of perceiving a work of art, the higher their interest in this type of art increases, the higher their aesthetic, moral, cognitive, social activity is manifested.

Children's questions are usually multifaceted. Therefore, they can conditionally be combined into groups.

1. 
   On the means of expression used by the artist.
2. 
   O moral standards people's behavior.
3. 
   About the activity of the artist himself.
4. 
   About the events preceding the picture and subsequent.
5. 
   about the surrounding reality.

In the classroom for the classification of landscape painting, well use music and poetry.

Consolidation of skills to emotionally, figuratively express judgments about a work of fine art in the form of a detailed story is also carried out in the process didactic games that can be done as a lesson. They allow you to control the strength of the formed ability to logically express your thoughts "read" the picture, create conditions for preschoolers to transfer their knowledge and skills of examining works into new game conditions. Didactic games are best used after the children learn to examine the work in detail, to perceive its overall mood, the main color, to express a personal attitude towards it. Didactic games are carried out as an independent activity, but they can also be used in individual work with timid, shy children or with a group of children with a low level of speech development, a special level of development of thought processes.

EXAMPLES OF DIDACTIC GAMES

"Art Salon". Children examine exhibited in " art salon» reproductions of paintings, those who wish to “buy” the one they like. Acquired the largest number works of art has the right to arrange an exhibition.

Rules. The picture is “for sale” if the child was able to tell the name of the work, why he wants to buy it, and also answer the questions: “What is the work about? What mood is conveyed in it? How did the artist show the main thing in his picture? Why did you like the picture? The one who bought more reproductions draws up an exhibition and receives the role of a salon seller. So in the course of the game, both sellers and buyers change.

"Exhibition of paintings". The teacher instructs two children from reproductions that differ in content and genre to arrange exhibitions. They try to place the pictures on the wall beautifully. And the rest of the children come up with a guide's story according to the plan: why are these works placed in this way? What piece did you like and why? What did the artist show especially beautifully in his work and in what way?

Rules. The “Best Designer” badge is given to the one who has arranged the paintings more successfully and selected them by theme, genre, color combination. The “Best Guide” badge is awarded to a preschooler who has compiled the most interesting and consistent story based on the picture, as well as correctly answered the children's questions. And the one who asked the most interesting question receives the “Best Viewer” badge.

"Find the mistake". The teacher in the art history story describes the content of the work and the means of expression used by the artist, explains what mood the artist wanted to convey in his work, but at the same time deliberately makes a mistake in describing the picture. Before the start of the game, the children are given an installation - to watch and listen carefully, as a mistake will be made in the story.

Rules. Listen and look carefully, detect and correct mistakes. The winner is the one who sets more errors and correctly corrected them. He also gets the right to be the leader in the game - to compose an art history story based on another work.

CLASSES OUTSIDE CLASSES

A repeated return to the previously viewed pictures is necessary in order to consolidate the emotional impressions received from the primary perception in preschoolers, deepen the understanding of the content of the picture, evoke new associations and stimulate their re-emergence.

Introducing children to art in their free time is carried out in various forms: individually, with a differentiated subgroup of children, in didactic games and entertainment, through slideshows, reading books from the “Meeting with a Picture” series, during “excursions” to exhibitions of reproductions of works arts organized in a specially created "hall of the arts" or in the halls, kindergarten groups.

Individual work is carried out with children who are in the lesson on fine arts they did not acquire knowledge about the new work, as well as with closed, shy guys, with distracted attention, not showing any interest in painting, with an underdeveloped emotional sphere. ... with gifted children.

With the first children, the educator can limit himself to only a detailed examination of 1-2 works, with the second, it is possible to use a combination of the perception of painting and the organization of their own artistic activity, or the perception of painting, music and fiction.

Working with differentiated subgroups of children. Such subgroups include children who have the same level of intellectual and emotional development and have approximately the same understanding of the content of the picture and include their impressions in speech. ...we have identified several differentiated subgroups of children with a high, medium, low level of development of ideas about paintings and emotional and personal attitudes towards them.

Indicators of the levels of children's ideas about works of art

High - answers the questions, what is depicted, what is the picture about, what the artist said, confirms the logical connections between the content and expressive means(color, composition, shape, facial expressions, posture), accurately determines and justifies mood, feelings, knows how to use figurative language.

Medium - answers the above questions correctly, but does not know how to prove why he thinks so, that the picture tells exactly about this, weakly uses epithets, figurative comparisons in speech.

Low - finds it difficult to answer the questions posed, reveals insignificant connections in the content and expressive means.

Indicators of the levels of emotional and personal attitude of children to works of art

Low - the choice of the picture you like does not motivate or is limited by the definitions of "beautiful", "bright", "cheerful", etc.

One of the forms of introducing preschoolers to art is entertainment. Structure: entertainment "What a beautiful world"; emotional story of the educator about the picture of one artist or about the magical world of colors (preferably against the background of music); an exhibition of reproductions of paintings and a competition for the best story of a child about a painting they like; conducting the game "Music and Painting", in which children practice in correlating a piece of music with the mood expressed in the picture; a quiz about paintings and artists, the children's mental creation of their own painting by the name given to the painting by the artist.

AT evening time with children of older preschool age, slides of paintings by artists are often viewed. For one such viewing, children are able to perceive the content of 5 to 8 slides.

And in this form of work, the art criticism story of the educator is used or else better story a child prepared in advance (with a high level of ideas about works of art) about the picture he liked.

Reading of books from the series "Meeting with the picture" is also carried out in the evening. It is more expedient to carry out this work after viewing the reproduction of the picture in the lesson, since the primary acquaintance of children with the work should be carried out through a visual image.

Exhibitions of reproductions of paintings are sometimes dedicated to one artist, whose paintings the children got acquainted with in the classroom, and sometimes to a specific genre of painting. The emotional impact on children is enhanced if there is a lively exchange of opinions at the exhibition, music is played.

Guides at such exhibitions can be educators or pre-prepared children with a vivid imagination, well-developed emotional and monologue speech, a high level of development of ideas about paintings.

Several options for combining musical and visual works:

V a r i a n t A. Alternate inclusion of works of different types of art.

Option B. Pairwise inclusion of works of different types of art.

Option B. Simultaneous inclusion in the perception of different types of art.

Option G. Inclusion of contrasting works of different types of art.

Chumicheva R.M. Preschoolers about painting.

– M.: Enlightenment, 1992. - S.6-10, 30-33, 35-54.

Chumicheva R.M.

FEATURES OF INTRODUCING SENIOR PRESCHOOL CHILDREN

WITH GENRE PAINTING

In our study, we set a goal to explore the possibility of using genre paintings as an educational tool in the process of socialization of the individual. The objectives of the study were to find out preferences for various genres of paintings, to study the peculiarities of children's understanding social significance paintings by Soviet artists.

From conversations with children, we found that children are interested in looking at pictures, and not pictures of artists. We have identified several groups of pictures in which children are interested: pictures based on fairy tales - 29.5%, pictures about animals - 18%, pictures about inanimate nature - 14%, pictures on a military theme - 11%, pictures about toys - 3, 2%. A group of children also stood out without any particular interest in the painting. Some answered that they like to look at everything (14.2%), others - what they would talk about (3.1%), and some children could not remember what they like to look at pictures about (7%).

From these data, we concluded that children of senior preschool age show interest in pictures that are visual and illustrative in nature. None of the children named paintings by Soviet or Russian artists. Of all the respondents, only one (a child) said that the picture was painted by artists and named I.E. Repin, but he could not name the picture that the artist painted.

We offered the children to choose one of the five paintings of different genres that they liked. Of the examined children, 29% chose a picture that reflects social activities Soviet people. It was a painting by the artist V.F. Zhemerikin's "Silver Rails", reflecting the construction of the BAM, a social phenomenon that is not directly perceived by children, but certainly children have heard from adults, on radio and television. The picture was somewhat difficult for children to understand, and the difficulty lies in the compositional construction: the versatility, the richness of the picture with the various actions of the workers, the conventionality of the image. Despite this, the children were able to understand the main idea of ​​this work; or they singled out the aesthetic quality of the picture: “beautiful”, “painted for beauty”.

The children also showed interest in the painting by the artist M.V. Savchenko "The Tractor Driver's Family", revealing the life of adults and children (33%). In our opinion, this is due to the fact that the children understood the content of the picture, it is mediated by the child's personal experience, their own impressions of family relationships. However, despite the availability of the content of the picture, preschoolers could not specifically determine their attitude to the picture they liked. Basically, the choice motive was of an abstract, inadequate nature: “I like it because a cat is drawn here”, “I like it because a baby is drawn here”, and some children were generally silent and could not justify their choice. The attitude to the picture was expressed in a compressed, non-expanded form.

So, we found that older preschoolers show interest in paintings household genre. Let us dwell on what is the peculiarity of understanding the social significance of paintings of this genre by children of older preschool age.

Children were asked to choose from five paintings of the everyday genre one painting they liked and one that, in their opinion, all children should see, explain the motive for the choice. In the first case, it was supposed to find out the features of an individual attitude to the picture, and in the second case, to find out the features of preschool children's assessments. The question "Why should all children see the picture?" aimed at clarifying the understanding of the social significance of paintings in the life of children.

The results ... showed that children ... have differences in assessments and individual attitudes towards a perceived work of fine art, which in 77% of children do not coincide, and in 22% of children, assessments and attitudes coincide. The motivations for the choice are characterized by inadequacy, a low level of explanation, and extremely concise responses from children.

For individual relationships of older preschool children characteristic feature is that they can be roughly divided into two groups. The first group of individual relationships (55%) is characterized by the presence in the choice motives of significant connections depicted in the picture, i.e. relations adequate to the essence of the picture. When analyzing the motives for choosing the picture that the child liked, several of their varieties were identified, justified:

• 
  the aesthetic qualities of the painting: “beautiful” (about A.A. Plastov’s painting “Summer”), “it’s beautiful here, they carry potatoes in baskets” (about I.N. Vorobyov’s painting “Potato Cases”);
• 
  the dream of a child: “I dream of becoming a schoolgirl” (about the painting by A.S. Grigoriev “The Goalkeeper”);
• 
  the life experience of the child: “I saw how potatoes are harvested” (about the painting by I.N. Vorobyov “Potato Cases”), “summer, warm, I love summer” (about the painting by A.A. Plastov “Summer”);
• 
  moral values ​​of the picture: “about sports, sport can cure” (about the painting by A.S. Grigoriev “The Goalkeeper”), “I like it because potatoes are transported to people’s shops”, “there are kind people”, “there is work” (about the painting I. N. Vorobiev "Potato cases");
• 
  the main idea of ​​the work: “gather potatoes” (about the painting by I.N. Vorobyov “Potato affairs”, “grandmother says goodbye” (about the painting by A.A. Mylnikov “Farewell”).

The second group of individual relationships (40%) is characterized by the inadequacy of the motives for the significance of the picture: “I liked the picture, because the flags hang far away” (about the painting by A.S. Grigoriev “The Goalkeeper”); singling out one action or image: “aunt pours milk” (about A.A. Plastov’s painting “Tractor Driver’s Dinner”); or listing everything that is drawn in the picture.

They (preschoolers) expressed themselves extremely succinctly, not in a detailed form, they lacked explanations and comparisons. In our understanding of comparison, comparison of what he saw in the picture with his life observations become indicators of the active attitude of preschoolers to those social values ​​that are reflected in the fine arts.

Our study showed that assessments of the social significance of paintings differ from the attitudes of preschoolers towards them. Assessments of the social significance of paintings by preschoolers were studied using the selection method in two versions: first, children were asked to choose a painting for the exhibition and explain why they think that this painting should be seen by all children and what this painting teaches; secondly, the children were asked to choose a picture for their mother and explain why their mother likes it and what the painting will tell their mother about.

These questions are aimed at determining the peculiarities of understanding the significance of paintings for other people, the ability to highlight the most significant and important aspects of the picture, to highlight the social experience that everyone needs to know.

The study showed that the choice of a picture for everyone differs from the choice of a picture that a child likes. The difference lies both in the choice of paintings that are different in content, and in their different motivations. The following were proposed as the basis for the motives for choosing paintings for everyone:

• 
  aesthetic qualities of the painting: "beautiful";
• 
  the main idea of ​​the work: “milkmaids milk cows” (about A.A. Plastov’s painting “Summer”).

The data suggest that the motives for choosing a given work for everyone are less diverse compared to the motives for choosing a painting for oneself. This is due, in our opinion, the complexity of the task presented to children of older preschool age, because assessment of the social significance of the picture in this case requires a high level of analysis and the ability to take the position of everyone who needs to see the picture, which increases the responsibility of the child to the group of children.

After the question “why the selected picture should be seen by all children”, the question was asked “what does the selected picture teach”, aimed at clarifying the peculiarities of understanding the social significance of the picture. ... the question "what does the picture teach" can be transitional to the question "why did the artist paint the picture?" the first question is more specific and understandable to children, and the second is somewhat more complex, involves a higher level of generalization, and children have difficulty answering it.

With the help of the question “what the picture teaches”, we found that in the paintings of the everyday genre, preschoolers highlight the social significance of the paintings, in particular their moral value: “teaches kindness”, “befriend friends”, “how to treat cows”, “to have fun "... The children found it difficult to answer the question "why the artist painted the picture". The answers were not common, they lacked definitions, comparisons, explanations, but, despite this, they allow us to conclude that it is possible for preschoolers to get acquainted with the social experience of people reflected in the paintings, and lead to an understanding of the question "why the artist painted the picture."

To choose a painting for my mother... the main motives for choosing were the aesthetic value of the painting and the moral value. ...the choice was motivated by some children on a relatively high level generalizations: “I like the picture because it is about bread” ... or “beautiful, mom loves beautiful things.” A feature of motivations ... was their emotional coloring.

The nature of the choice ... is determined by the love of children for their mother, the desire to please her. The emotional basis of the choice gave both more adequate assessments and a more in-depth analysis of the logical connections of the picture. This fact speaks about the influence of emotions on the assessment.

Our study has shown that children of older preschool age have a difference in determining their individual attitude to a picture and assessing its social significance. The motives of individual attitudes are much more diverse, they are more emotional in nature. ...this is due to a closer and more understandable task. The motives for assessing social significance are less diverse, but they speak of the child's penetration into the moral essence of the picture, into its social significance. Relationships and assessments of preschoolers in the process of cognizing social experience through everyday genre painting are mainly characterized by inadequacy, inability to explain logical connections at the level of generalizations, as well as extremely poor and concise formulations of motives for choice.

The originality of motivations ... is due to several reasons. ...children have little life experience. ...children, having a certain stock of knowledge about the surrounding reality, cannot rise to a higher level of abstraction on the basis of an independent analysis of the connections depicted in the picture. ... vocabulary insufficient, due to age, it lacks epithets and figurative comparisons. ...we explain the low level of the ability to express an individual attitude and assessment from pictures by the general formulation of educational work in preschool institutions in the section "development of speech" and to familiarize children with painting. ...the absence of a special methodology for familiarizing children of senior preschool age with social experience through the painting of Soviet artists.

The familiarization of preschoolers with the social experience of the people will make it possible to acquaint children with the spiritual values ​​of our country and make optimal use of the functions of art in comprehensive development preschooler personality.

Chumicheva R.M. Features of familiarization of older preschoolers

With genre painting

// Formation of the initial foundations of social activity

in preschool children

/ Ed. R.G. Kazakova. – M.: MGPI, 1984. – P.137-145.

Khalezova N., Chumicheva R.

HOW OLDER PRESCHOOL CHILDREN UNDERSTAND

THE SIGNIFICANCE OF SOCIAL PHENOMENA,

EXPRESSED IN GENRE PICTURES

The most common type of fine art for preschoolers is painting, paintings that reflect a significant moment in the life of society, revealing the social experience of mankind. The essence of genre paintings is always a person, his actions, feelings, thoughts. Knowing spiritual world person, the child thereby joins the social experience of the people, to its aesthetic, moral, political and other social ideals.

In our opinion, knowledge and evaluation of the significance of social experience expressed in art affect the change in personal attitude to the perceived picture. In turn, personal attitude deepens the knowledge of the significance of art.

In our study, we set the following goal: to find out how older preschoolers understand the features of genre paintings, and to develop a teaching methodology.

Some social phenomena are available to preschoolers, moreover, they show interest in them, are able to establish causal relationships in the observed phenomena (R.I. Zhukovskaya, S.A. Kozlova, F.S. Levin-Shchirina, E.K. Suslova , L.A. Taller et al.).

Our study set the following tasks: to find out whether preschoolers understand the significance of social phenomena expressed in genre paintings Soviet artists, which genres they prefer. (Children of the sixth year of life participated in the experiment).

Conversations with children showed that they still do not differentiate the concepts of "picture" and "picture", do not understand whether a picture is a work of art. Their interests are directed only to the content of the depicted. Fairy-tale themes attract the most (22.5%), followed by reproductions on the themes of animals (18%), inanimate nature (14%), military theme(11%) and about toys (3.2%). Consequently, children show interest in pictures that are visual and illustrative, and not in works of art.

At the lesson, we offered to choose one of five paintings of various genres and justify the motive. Many (29%) paid attention to the painting by the artist V.F. Zhemerikin "Silver Rails". Its theme is the pathos of the BAM construction. The children justified their choice, although primitively, but quite correctly: “I liked it because the picture is about workers”; “I liked it because it is interesting to watch how the rails are built”; "I liked the picture, because the nature is beautiful."

The painting of the artist M.V. Savchenko "The Tractor Driver's Family" (33%), revealing family relationships. However, even in this case, the children did not specifically define their attitude. Basically, the statements were abstract, in a compressed, non-expanded form, without epithets, comparisons: “I like it because a cat is drawn”, “I like it because a baby is drawn”.

But the fact that our guys showed interest in paintings, the theme of which is the work of Soviet people, their heroism, determined the further selection of reproductions, such as “Responsible for Life” (artist A.O. Kurnakov), “Scouts” (artist F. V. Savostyanov), "Soldier's feat" (artist B.M. Lavrenko), "Guests" (artist O.B. Bogaevskaya), "Potato Affairs" (artist I.N. Vorobieva), "Dinner of tractor drivers" (artist A .A. Plastov), ​​"Goalkeeper" (artist A.S. Grigoriev), "Family" (artist B.P. Sorogin), "First Snow" (artist I.A. Popov).

While talking, we determined how children understand the theme of the picture, the social significance of its content. Data analysis identified three levels of understanding - medium (20.2%), low (40.6%) and zero (39.2%). We could not note a high level of understanding at all. However, our children, it turns out, understood the moral value of the paintings (“Teaches kindness”, “Teaches friendship” - about the painting “Family”); cognitive (“A picture in order to learn how to harvest potatoes” - about the picture “Potato Cases”); aesthetic (“The picture was written to tell about beauty” - about the painting “Guests”).

The children's answers showed that, assessing the significance of the content of the picture, they differentiate the concepts of "good" and "beautiful", substantiate the first with universally recognized norms of morality, and the second with aesthetic qualities. Children highlight the aesthetic value of the picture, not limited to enumeration, and make generalizations. In our opinion, today's children differ significantly in terms of development from children of the 40s and 60s. (...)

The children also showed a relatively high level of generalization in determining the theme of the picture under consideration. Answering the questions “What is the picture about? What did the artist want to depict?”, They substantiated the theme with one logical connection: “A picture about the war” (about the picture “Scouts”), or “A picture about bread, they plow the land here” (about the picture “Tractor driver’s dinner”). Some, very accurately defining the topic, understanding its main idea, nevertheless could not substantiate the answer with any logical connection (“This picture is about a birthday” - about the picture “Guests”), others limited themselves to listing the episodes they saw.

Conversations on the pictures on the heroic theme showed that half of the guys correctly determine the theme of the work and its social significance (“Here soldiers with machine guns and a dead man are being transported, because the picture is about the war”; “The picture was written so that everyone knows how the Soviet Army saved the country »); more easily establish the relationship between the idea of ​​the work and the means of expression than in those pictures that reveal the work of people. And this is confirmed by their answers: “War is depicted here”, “They caught the criminal, they are already tired, and their faces are dark.”

We assumed that the brevity of the answers was due to the lack of a special methodology, the age characteristics of the children, i.e. low life experience, lack of ability to generalize and explain the displayed events at a higher level of mental activity, insufficiently rich vocabulary.

Our methodology included: teacher's story; creative story the child about the events preceding and following; game elements; mental change in the color of the picture; conversations with the formulation of problematic issues.

First stage of training: the teacher's story about the picture as a whole and the children's creative story to recreate the events preceding and following the picture.

However, passive contemplation of the picture on the basis of the teacher's verbal story did not bring positive results. In order for art to evoke adequate emotions, to awaken thought, an active process of cognition of the picture was necessary in the unity of rational and emotional, content and form. From here it flowed second stage of training- game elements, posing problematic questions, mental color change. For example, a teacher, covering a part of a reproduction with a piece of paper (matching the tone of the picture), asked: “What would have changed in the title of the picture if the artist had not painted this part?” or “What would the picture tell us if the artist had depicted the characters differently?”. The teacher verbally described possible options for rearranging artistic images. (...)

In the first lessons ... the teacher's own story is useful. Introducing, say, a picture of I.A. Popov’s “First Snow”, he seems to be thinking aloud: “But it seems to me that without these girls dancing in a round dance, the picture could not have been called “First Snow”. It would be just a street, just houses, just snow. The first snow ... It fell at night, when everyone was sleeping, fell unexpectedly. The snow is white, light, fluffy, like a feather bed, star-shaped. "Hooray! the girls scream. "We'll be sledding soon!" Remember, guys, how you met the first snow, why you like winter.

In these classes, we also included problematic questions with a mental change in the color of the picture (“What will the picture look like if you change the color?”; “Why did the artist choose the main red color for the picture, and not cold blue?”) And not by chance: by doing so, we we bring children to understand the unity of the color of the picture and the main content, to understand the mood of the characters, the social significance of the depicted event.

The work showed that children relatively easier and faster establish the relationship between the social significance of content and color than the relationship between composition and content. They associate color in a work of art with the mood of the characters, with the aesthetic qualities of the work as a whole, with its main idea, with the features of the landscape background. (...)

An effective method and comparison of two paintings that are similar or contrasting both in theme and in means artistic expression. Comparison with the help of problematic questions (“Find the similarity of these paintings”, “What is their difference?”, “Why did one artist choose light, joyful colors for writing, and the other dark, sad ones?” Etc.) increases mental activity , develops the ability to think creatively, independently, allows you to see a variety of connections and relationships in the depicted phenomenon, to better understand the social significance of the content.

Thus, the study showed that children of senior preschool age can understand the social significance of the content of the everyday genre painting. A variety of methods will allow teachers to more actively and optimally use the functions of art in the comprehensive development of children.

Khalezova N., Chumicheva R. How older preschoolers understand the significance

social phenomena expressed in genre paintings

// Preschool education. -1985. - No. 3. - P.52-54.

Conversation about the genres of painting. Visiting the paintings
Article from the Festival of Pedagogical Ideas "Open Lesson"

Program content

• The ability to distinguish genres of painting from the total mass of paintings
• To consolidate in children the idea of ​​​​painting as a form of fine art, to know the features of each genre
• To develop an aesthetic assessment, the ability to see with what means of expression the picture is depicted by the artist
• Cause in children an emotional response to the works of artists, that is, what they liked
• Ability to work in a team during the game “Creating a Still Life”
• Introduction to the Animal Genre

Material for the lesson

Presentation for the lesson, in the sequence of the studied genres, as well as the game “Find an extra genre”.

When conducting such a lesson, you will need a large room - it can be a music room or a large art studio, a theater studio.

Conducting the game “Creating a Still Life” with a large number of benefits: tea sets, vegetable and fruit dummies, ceramic dishes, baskets, artificial flowers.

On the AWP is a fragment of the usual lesson in visual activity with the children present in the hall.

Attributes for Krylov's fable "Swan, cancer, and pike" - caps of characters, capes on the shoulders.

Lesson Plan

1. Introduction - definition of the genre of painting

• Still life (domestic and natural)
• Game "Creating a still life"
• Landscape (simple and complex)
• fairy tale genre
• Animalistic genre (Krylov's fable "Swan, cancer and pike")

1. Game "Find an extra genre"
2. creative work
3. Summarizing

Lesson progress

Children sit on chairs for spectators, and felt-tip pens, watercolor crayons, A-4 paper are prepared on the children's work tables.

1. ... Guys, today we will remember the main genres of painting, and also, in the process of our lesson, we will get acquainted with a new genre.

… Tell me, what is the genre of painting? (children's answers) The teacher gives a complete definition: the genre of painting is a type of artistic work with certain plots, artistic images, transmitted by artists with the help of paints.

The teacher offers to listen to A. Kushner's poem, and for the correct addition of children to this poem, a fragment on a particular genre will be shown on the AWP: still life, landscape, portrait.

If you see in the picture, a cup of coffee on the table
Or fruit drink in a large decanter, or a rose in crystal
Or a bronze vase, or a cake,
Or all items at once, know what it is ... still life

(On the ARM, you can show still lifes of children of past years of this group or reproductions of famous artists Khrutsky “Flowers and Fruits”.)

The teacher reminds that still life is divided into domestic and natural. In the course of the conversation, the children complement what a household still life looks like, but how natural. Fragments of drawings of the children of this group are shown on the AWP during the conversation.

• After examining the still lifes, the teacher invites the children to consolidate their knowledge of everyday still life and nature with the help of the game “Creating a Still Life”. The children present at the lesson are divided into three teams in order to collect still lifes: household, natural and natural household. Attributes for this game are located on three tables in a mixed mess. This game can be conducted by a teacher, a psychologist or a teacher from the studio.

Explanation of the rules of the game

Natural household still life

household still life

natural still life

The game takes 5-7 minutes to play. After the game, the teacher examines with the children the correctness of creating still lifes, thanks the children, the conversation about genres continues, the children are invited to sit down in their seats in the auditorium.

If you see a river in the picture
Or spruce and white frost, or a garden and clouds,
Or a snowy plain, or a field and a hut
landscape

(On the ARM, you can show landscapes of the children of the past years of this group or reproductions of famous artists Levitan “March”, Shishkin “A Felled Tree”.)

... In addition to this, the teacher, in the course of the discussion, suggests recalling that the landscape can be simple and complex: in simple scenery- one plan or two, and in complex from three to six plans.

• If you see that from the picture, someone is looking at us,

Or a prince in an old cloak, or like a climber,
A pilot or a ballerina, or Kolka is your neighbor,
The painting must be called... portrait

(On the ARM show reproductions of portraits of famous artists)

The teacher examines three types of portrait with the children: front - straight view, turn 34, profile - side view.

(The teacher suggests that the children remember what genres of painting the children considered earlier, in the art lesson. During the conversation, the teacher asks leading questions.)

• ... In the lesson, we considered fantasy genre, let's look at the reproductions of the great storyteller artist Vasnetsov.

(The artist’s works “Three princesses of the underworld”, “Ivan Tsarevich on a gray wolf”, “Bogatyrs”, “Alyonushka” are shown on the AWP - it is necessary to consider the character of all the characters in these works, how the artist conveyed the kindness, beauty of the world around him with the help of colors.)

• Then the teacher introduces the new genre… animalistic and in the process of the story, he shows fragments of the artist Khokhlov’s works for the cartoon “Mowgli”, which is well known to everyone, on the AWP, you can also consider illustrations for Krylov’s fables in addition.

Animal is an animal, that is, the artists painted animals in human form, it was understood that they could walk like people on their hind legs, etc.

The teacher says that the animal genre is a work that is inherently complex, since the artist needs to draw this or that character so that this idea is understandable to the viewer, because the artist, conveying the nature of the characters - animals means in their appearance people: good and evil, rich and poor, cunning, etc.

A group of children tell Krylov's fable "The Swan, the Cancer and the Pike".

Attributes for this game are prepared in advance by the teacher - these can be hats of characters.

1. The teacher invites the children to relax and consolidate their knowledge of the genres of painting, play the game “Find an extra genre”. This game can be conducted by a psychologist or an art teacher. On the ARM, fragments of landscapes are included, on the fragment the fourth landscape is superfluous, 5 minutes are allotted for this game.

3. After the game, the guys are invited to go to the desktops and draw one of the genres of today's lesson. Creative work is accompanied by music “Seasons”.

On the creative work 10 minutes are allotted. At the end of the work, the teacher, together with the children, examine their drawings.

4. ... Guys today we are with you, we did a great job, considered new genre, in a playful way, consolidated knowledge about what has already been studied. We remembered the great, famous artists, as well as the names of their paintings. You did a very good job, I thank all the guys here for their active participation and good behavior. On that good note, our lesson is over.

Abstracts of classes in kindergarten:
Recommendations for teaching preschoolers with disabilities of the VIII type the ability to compose stories from a picture. Kindergarten 82
Components of children's subculture in the subject-developing environment of the preschool educational institution as a means of enriching the social experience of a preschooler. Kindergarten 82
The development of ethnic perception of color in children of senior preschool age. Kindergarten 82
A complex lesson for the preparatory group in fine arts "City of folk craftsmen" (decorative drawing). Kindergarten 82