Didactic principles and teaching methodsin the lessons of fine arts and artistic work
Introduction
Over the centuries, the school has accumulated quite a lot of experience in teaching children. Thus, there are different points of view on the concept, the effectiveness of the application of various methods and principles of teaching.
The learning process is a rather complex phenomenon, and it cannot be represented as a simple transfer of knowledge by a teacher to students who do not yet possess this knowledge. Here, naturally, questions arise: “What to teach?” and "How to teach?"
The laws or rules that operate in any science reflect its objective, essential and stable connections, and also indicate certain trends in their development. However, these laws do not contain direct instructions for practical actions: they are only a theoretical basis for developing the technology of practical activity.
The task of didactics is to find out, on the basis of knowledge about the objective development of the educational process, how, on the basis of the laws of its development, the principles and rules of teaching are developed, which guide the teacher in his practical work. All this actualizes the research topic.
Object of study: lessons of fine arts and artistic work.
Subject of study: didactic principles and methods of teaching fine arts and artistic work.
Hypothesis: correctly and skillfully organized, methodically competent use of didactic principles and teaching methods in the lessons of artistic labor and fine arts contributes to the effectiveness of the educational process, namely:
· Helps to increase the activity, interest of students, which is reflected in the results of work.
Promotes the development of love for the fine arts and artistic work.
· Develops such qualities as: perception, attention, imagination, thinking, memory, speech, self-control, etc.
Promotes rapid and lasting assimilation of knowledge that develops into skills and abilities.
· Forms the ability to apply the acquired knowledge in practice.
Cspruce work: study and substantiation of the influence of didactic principles and teaching methods on the educational process at the lessons of artistic labor and fine arts.
The following results from the goal tasks:
1. Consider the concepts of "didactic principles" and teaching methods.
2. Consider the classification of methods and principles of teaching, their relationship.
3. Determine the basic methods and principles of teaching used in the lessons of artistic work and fine arts.
4. To study the features of the implementation of the main methods and principles used in these lessons.
5. To substantiate the influence of didactic principles and teaching methods on the activity of schoolchildren and the effectiveness of the educational process.
When writing the work, the following were used methods psychological and pedagogical research:
1. The study of methodological, psychological and pedagogical literature on the topic under consideration.
2. Observation of students.
3. Analysis of their own experience in school.
4. Analysis of the lessons of artistic work and fine arts.
Practical significance of the work: the presented material can be used as a result of preparation for the lessons of fine arts and artistic work.
Research base: secondary school No. 165 in Minsk.
Workload: introduction, main body and conclusion.
1. Didactic principles and methods of teaching in the lessons of fine arts and artistic work
1.1 The concept of didactic principles of teaching and their classification
Principles of learning are a necessary tool in teaching. Thanks to these principles, there is a process of combining theoretical ideas with pedagogical practice. The principles of teaching in pedagogy are, first of all, advisory in nature, and optional. This is because the activity of the teacher, during the process of learning, can be refracted through various forms and techniques.
The principles of training are the guidelines that underlie training and determine its content, methods and forms of organization.
Principles are the basic starting points of any theory, science in general, these are the basic requirements for something.
Pedagogical principles are the main ideas, following which helps to achieve the pedagogical goals in the best possible way.
Comenius put sensory experience as the basis of knowledge and learning and theoretically substantiated, revealed in detail the principle of visualization. Visibility was used before him. Teachers - humanists, for example, Thomas More, spoke about it, characterizing education on the island as "utopia". Books, both handwritten and printed, were often supplied with drawings before, but this was, so to speak, an empirical application of visualization without its theoretical justification, which was first given by Comenius.
He understood visibility broadly, not only as visual perception, but also as the attraction of all the senses to a better and clearer perception of things and phenomena. Comenius demanded that the teaching begin not with a verbal interpretation of things, but with concrete observations of them.
One should observe what is possible in nature; and in case of impossibility of direct observation of things, they must be replaced by paintings, models, drawings.
Great is the merit of Comenius in developing visualization as one of the most important didactic principles: he brilliantly substantiated, generalized, deepened and expanded some practical experience of visual teaching that had already been available by that time, applied visualization widely in practice, supplying his textbooks with drawings.
Comenius insisted on the systematic teaching. He pointed out the need to bring students to an understanding of the connection between phenomena and organize the educational material in such a way that it would not seem like chaos to students, but would be summarized in the form of a few basic provisions. He believed that in teaching it is necessary to go from facts to conclusions, from examples to rules that systematize and generalize these facts and examples; go from the concrete to the abstract, from the easy to the difficult, from the general to the particular; first give a general idea of the subject or phenomenon, then proceed to the study of its individual aspects.
Of great importance, according to Comenius, is the sequence of training. Everything that is offered to students for assimilation must be arranged so that the study of new material is prepared by previous lessons. Taking into account the age characteristics of children, Comenius advises first to develop the sensations (feelings) of students, then memory, then thinking, and finally speech and hand, since the student must be able to correctly express what he has learned and apply it in practice.
Valuable guidance was given by Comenius, putting forward the didactic demand that learning be feasible for students. Children should be given for learning only what is available for their age. The feasibility, accessibility in learning is achieved by the clarity of teaching, the communication of the main without unnecessary details.
Putting forward the didactic requirement of the stability of the assimilation of educational material by students, Comenius said that it was necessary to lay a “solid foundation”, not to rush into learning, to ensure that students fully mastered what he taught: everything that had a connection should be taught “in connection”. Each topic should be summarized in short, precise rules.
Exercises and repetition of the material learned by the students are of great importance for lasting assimilation. Having communicated the new educational material to the students, the teacher demands that the student called by him state, repeat what was said to him; invites another student to do the same. Thanks to this exercise and repetition, the teacher clearly sees what has remained incomprehensible to the students from his exposition. Repeated several times is firmly remembered. An important role in this repetition aloud is played by the development of the ability to express what one has learned, and the assimilation itself becomes more distinct and durable. To this end, Comenius recommends that students, having learned something, try to teach it to others.
“What is to be done must be learned by doing,” Comenius says, giving the rules by which the exercises should be organized. “Let schools learn to write by practicing writing, to speak by practicing speaking, to sing by practicing singing, to reasoning by practicing reasoning, etc., so that schools are nothing but workshops in which work is in full swing” .
For the correct teaching of skills, it is necessary for students to give a certain form and norm of what should be done; use of tools (for example, when drawing, etc.) to show in practice, and not just tell how to use tools. Exercises must begin with elements, and not with the performance of whole works; this applies to reading (first letters and syllables, then words, finally phrases), and to drawing (performing exercises on drawing individual shapes), and to artistic work (first acquaintance with the types of seams, and then making a toy), and to writing and grammar and other skills.
Having shown students a role model, the teacher must first require strict, accurate imitation of the form, later execution can be more free. All deviations from the samples made by students should be immediately corrected by the teacher, who backs up his comments with a reference to the rules. When teaching, it is necessary to combine synthesis with analysis.
Comenius strove, perhaps, to develop the cognitive abilities of students more strongly, “ignite the thirst for knowledge and ardent zeal for learning,” for which, he pointed out, it is necessary to combine business with pleasure, to encourage children's curiosity.
“In my students I always develop autonomy in observation, in speech, in practice and in application,” he wrote.
Material author:
T.G. Rusakova, Doctor of Pedagogical Sciences, Professor of the Department of KhEV OGPU
METHODOLOGY OF TEACHING FINE ARTS
Number of hours - 8
Practice #1
Topic: Monitoring the artistic and creative development of students in the lessons of fine arts and in extracurricular activities
Conduct form: practical session (2 hours)
Target: enrichment of the arsenal of diagnostic methods for teachers of fine arts. Strengthening the ability to monitor and analyze the results of their work on the artistic and creative development of students.
Basic concepts: diagnostics, diagnostic technique.
Plan
- Diagnosis of artistic and creative abilities of students "5 drawings" N. Lepskaya.
- Diagnostics of the development of artistic perception in junior schoolchildren A. Melik-Pashayeva.
- Diagnostics of aesthetic perception of students by E. Torshilova and T. Morozova.
1. Diagnosis of artistic and creative abilities of students
"5 DRAWINGS"(N.A. Lepskaya)
Conditions: the child is invited to come up with and draw five drawings on separate sheets of paper of the same size (1/2 of the landscape sheet).
Instruction for children:
“Today I invite you to come up with and draw five drawings. You can draw whatever you want, what you can draw, or what you would like to draw and have never drawn before. Now you have that opportunity." Nothing in the instructions can be changed or supplemented. You can only repeat.
On the reverse side, as the drawings are made, the number of the drawing, the name and the answer to the question “What is this drawing about?” Are written.
Indicators:
1. Independence (originality) - fixes a tendency to productive or reproductive activity, stereotypical or free thinking, observation, memory.
2. Dynamic - reflects the development of fantasy and imagination (static indicates the absence of a work plan, an unformed ability to find and create ideas for one's drawings).
3. Emotionality - shows the presence of emotional responsiveness to life phenomena, attitude to the depicted.
4. Expressiveness - is fixed by the presence of an artistic image. Levels:
|
Criteria for evaluation |
||
Intention |
Drawing |
||
Original, dynamics, emotionality, artistic generalization |
A variety of graphic means of expression, proportions, space, chiaroscuro |
||
Indicators for type 1, but less bright |
Indicators for type 1, but less pronounced |
||
|
Type 2 indicators, but no level of artistic generalization |
There is no perspective, proportions are not respected, the sketchiness of individual images |
|
The idea is original, based on observations, but does not imply dynamics and emotionality |
Can convey proportions, space, chiaroscuro well |
||
|
The idea is original, but poorly based on observations |
Schematic, no attempts to convey space and proportions |
|
Stereotyped |
reproductive |
||
5. Graphic – conscious use of artistic means and techniques for working with various graphic materials
Results table:
№ |
List of students |
Indicators |
General |
Level |
||||
3. Diagnostics of aesthetic perception of students(authors E. Torshilova and T. Morozova)
Form Sense Diagnosis(Test "Geometry in composition").
Among the principles of shaping (the principle of reflection, the principle of integrity, the principle of proportionality and proportionality), this test highlights the principle of geometric similarity. The geometric structure is one of the properties of matter. Geometric figures and bodies are a generalized reflection of the shape of objects. They are standards by which a person orients himself in the world around him.
The stimulus material of the "Geometry in Composition" test includes three reproductions: (K. A. Somov - "Lady in Blue", D. Zhilinsky - "Sunday", G. Holbein the Younger "Portrait of Dirk Burke") and four neutral in color, identical in texture and approximately corresponding in size to the compositional prototypes of the paintings of geometric figures:
triangle(“The Lady in Blue” is a pyramidal composition), circle("day" - spherical composition), square(Holbein) and figure wrong forms (extra).
Instruction: find which geometric figure fits each of the pictures. Explanations like “Where do you see a circle here?” are unacceptable, since they provoke a fragmentary vision, which is directly opposite to the solution of a problem that involves a holistic vision of the picture.
Evaluation is based on the principle of correct and incorrect answers. The highest score is 6, 2 points for each correct answer. The value of the score itself is conditional each time and is given in order to understand the very principle of evaluation.
Loud - Quiet test.
The assignment material consists of color reproductions depicting three still lifes, three landscapes, and three genre scenes. The subject of the visual materials used throughout the methodology does not include plot images, since they provoke non-aesthetic perception, interest in meaningful information, and an assessment of life events. In addition, the selection of material for the test should meet the requirement of the greatest possible thematic similarity, so that when comparing illustrations, the child is less distracted by their differences, which are insignificant for the purpose of the task.
The researcher can pick up his examples and check their "sound" by peer review. It is impossible to accurately describe the principles of matching the image and its sound (loudness - quietness), it is only obvious that it should be associated not with the plot of the image or the function of the depicted objects, but with color saturation, composition complexity, the nature of the line, the “sound” of the texture.
For example, reproductions of the following paintings can be used in diagnostics: K. A. Korovin - “Roses and Violets”, I. E. Grabar - “Chrysanthemums”, V. E. Tatlin - “Flowers”.
Instructions: tell me which picture out of three is quiet, which is loud, which is the middle one, neither loud nor quiet. One may ask: what kind of “voice does the picture speak” - loud, quiet, medium?
The task is evaluated by pluses and minuses, the number of which is added up, and the child receives a total score for all answers. Absolutely correct answer: ++; relatively true, +-; totally untrue. The logic of such an assessment is that the child is forced to choose from three “sounds” and evaluate the three images, as it were, on a comparative scale.
TEST "MATISSE".
The goal is to determine the sensitivity of children to the figurative structure of the work, the artistic style of the author. As a stimulus material, children are offered a set of twelve still lifes by two artists (K. Petrov-Vodkin and A. Matisse) with the following instruction: “Here are paintings by two artists. I will show you one painting by one and another artist. Look at them carefully and you will see that these artists draw in different ways. These two pictures we will leave as examples of how they paint. And you, looking at these examples, try to determine which of the remaining pictures were drawn by the first artist and which by the second, and put them to the appropriate samples. The protocol records the numbers of still lifes that the child assigned to one and the other artist. After completing the task, the child can be asked how, in his opinion, these pictures differ, how, according to what signs he laid them out.
The artistic material offered to children is fundamentally different in its artistic manner. The defining feature of A. Matisse's still lifes can be considered decorative, K. Petrov-Vodkin is characterized by the development of a planetary perspective, the volume of the artistic solution. The correct performance of the task is associated with the ability, perhaps intuitive, to see the features of the artistic manner, the expressive means of the authors, how, and not what they draw. If, when classifying still lifes, the child is guided by the subject-content layer of the work, by what the artist depicts, then the task is performed incorrectly by him.
The Matisse test is a typical and rather complex example of diagnosing a sense of style.
TEST "FACE".
It reveals the child's ability to look and see (artistic perception) on the material of graphic drawings of a human face. The child's ability to understand, interpret the depicted person is revealed on the basis of his ability to determine the internal state of a person, his mood, character, etc., by facial expression.
As a stimulus material, children are offered three graphic portraits of A.E. Yakovlev (1887 - 1938). The first drawing (“Woman's Head” - 1909) depicts a beautiful female face framed by long hair, expressing some detachment, self-absorption, with a touch of sadness. The second drawing ("Man's Head" - 1912) depicts a smiling man in a headdress resembling a chef's hat. The person depicted in portrait number 2 probably has a lot of experience and a grasp of life. He obviously has such qualities as cunning, deceit, a sarcastic attitude towards people, which makes a rather unpleasant impression, but children, as a rule, do not notice this. In the third picture ("Portrait of a Man" - 1911) - a man, immersed in himself, thinking, perhaps, about something sad and distant. The man's face expresses a range of non-intense negative experiences, some transitional states.
The drawings are offered to children with the following instruction: “Before you are the drawings of the artist A.E. Yakovleva, look at them and tell me which portrait do you like more than others? Which one do you like less or don't like at all? Why? You probably know that by the expression of a human face you can learn a lot about a person, about his mood, state, character, qualities. People are depicted in these drawings in different states. Look carefully at the expression on their faces and try to imagine what kind of people they are. First, let's look at the portrait that you liked the most. What mood do you think this person is in? What is his character? Is this person kind, pleasant, good, or is he bad, evil, unpleasant in some way? What else can you say about this person? Now consider a portrait that you did not like. Please tell me everything you can about this person. What is he, in what mood, what is his character?
Then the same child tells about the person depicted in the third portrait. The maximum expressiveness of the ability for social perception (i.e., the perception of another person) is estimated at five points.
BUTTERFLY TEST.
The child is offered 5 pairs of reproductions, in which one is an example of “formalistic”, the other is a realistic life-like painting or everyday photography:
- I. Altman "Sunflowers" (1915) - 1a. Greeting card with pink daisies on a blue background.
- A. Gorky "Waterfall" (1943) - 2a. Photo of a garden and a man pulling a cart of apples.
- An artist's photograph of grass and stalks scaled up to the scale of trees. The conditional "children's" name "Algae" - Za. Photo "Autumn".
- BOO. Tomplin "Number 2" (1953) - 4a. A. Rylov "Tractor on forest roads." Conditional name "Winter Carpet" (1934).
- G. Yucker "Forked" (1983) -5a. V. Surikov "Zubovsky Boulevard in winter." Baby name "Butterfly".
In terms of colors, the images in pairs are similar so that the child's sympathy for one or another color does not interfere with the experimenter. The comparative artistic merits of the originals do not serve as the main starting point, since a) interest in the obvious difference between images is fixed for children - abstractness or objectivity, ambiguity or obviousness, aesthetic imagery or functionality of information; b) the quality of the reproductions does not allow us to talk about the full-fledged artistic merits of the reproduced paintings. Nevertheless, examples of recognized masters (A. Gorky, N. Altman and others) were used as a formalistic model in the pair. Thus, formalistic samples have a certificate, as it were, attesting to their aesthetic merits. In each pair of images, one differs from the other in its unusual manner, its non-photographic nature, and the second, on the contrary, approaches photography. Distinguishing images in a pair according to this principle by children, as a rule, is immediately caught.
Instructions: show which picture (of the pair) you like best. All images - in all test tasks - are presented to the child anonymously, the author and the name of the picture are not called.
You can present pairs in any order, and swap pictures within a pair, but it is not advisable to limit yourself to one pair, the choice can be completely random.
The evaluation of the performance of this test task directly depends on the stimulus material itself and on the degree of originality of the choice - the typical attitude expressed by the majority of children.
VAN GOGH TEST.
The child is invited to choose the best, in his opinion, image from a pair of reproductions. The purpose of the survey is to identify the child's ability to show features of an aesthetic attitude that are not at all characteristic of most children. Therefore, in pairs selected for evaluation, children are offered a rather difficult task: to choose between bright and evil or good, but dark; understandable, but monophonic or unusual, although bright, etc. E. Torshilova and T. Morozov include not only “sad” pictures that are unusual in their pictorial manner, but also emotionally unusual for children, to more complex and requiring greater aesthetic development. The basis of such a position is the hypothesis about the direction of emotional development in ontogenesis from simple to complex emotions, from the harmonic undivided integrity of the emotional reaction to the perception of the "harmony-disharmony" relationship. Therefore, in a number of pairs, a sad and darker picture is considered to be both the best in aesthetic value and more “adult”. The test material includes six pairs of images.
- G. Holbein. Portrait of Jane Seymour.
1a. D. Hayter. Portrait of E. K. Vorontsova. - Color photograph of samples of Chinese porcelain, white with gold.
2a. P. Picasso "Can and bowl". - Photo of a netsuke figurine.
Behind. "Bulka" - fig. dogs "Lev-Fo" (bright and evil; book illustration). - Photo of the palace in Pavlovsk.
4a. W. Van Gogh "The Clinic in Saint-Remy". - O. Renoir. "Girl with a twig."
5a. F. Ude. "Princess of the Fields" - Photo of the Goat toy.
6a. Photo of the Filimonovo toy "Cows". - Greeting card.
7a. M. Weiler "Flowers".
Instructions: show which picture you like best. It is worth paying close attention to the degree of informality of the child's understanding of the task and try to include his assessment if he leaves it and automatically chooses always the right or always the left picture.
Pairs are selected so that the “best” picture, the choice of which indicates a developed cultural and aesthetic orientation of the child, and not the elementary age of taste, differs in the direction of greater figurativeness, expressiveness and emotional complexity. In the Van Gogh test, these are pictures under No. 1, 2a, 3, 4a, 5a and 6. The correctness of the choice was estimated at 1 point.
Literature
- Lepskaya N.A. 5 drawings. - M., 1998.
- Mezhieva M.V. Development of creative abilities in children aged 5-9 / Artist A.A. Selivanov. Yaroslavl: Academy of Development: Academy Holding: 2002. 128 p.
- Sokolov A.V. Look, think and answer: Checking knowledge in fine arts: From work experience. M., 1991.
- Torshilova E.M., Morozova T. Aesthetic development of preschool children. - M., 2004.
Exercise 1
List the diagnostic methods you use to monitor the artistic and aesthetic development of students. Submit your version of diagnosing students' knowledge or skills on one of the topics being studied (any form: tests, flashcards, crossword puzzles, etc.). Artistic (aesthetic, if it is a computer version using color printing) design of the material is required.
Task 2
Diagnose the aesthetic perception of students of the same age group (at your discretion), using one of the proposed diagnostic methods. Present the analysis of the results (quantitative and qualitative) in writing.
Practice #2
Topic: Methods and techniques for introducing children to the fine arts and artistic activities
(Modern art lesson)
Conduct form: practical session (2 hours)
Target: improving the knowledge of a modern teacher of fine arts about the principles of designing an author's lesson (lesson-image), methods and forms of organizing students' activities.
Basic concepts: fine arts lesson, lesson-image, lesson design principles, method, forms of activity organization.
Plan
- The modern art lesson is a lesson-image.
- Principles of building a new structure for an art lesson.
- Modern methods of teaching fine arts.
Based on the new concept of artistic education, art lessons can be considered as a special type of lesson, the structure of which, the elements of the movement of education and upbringing, must obey the laws of a special form of social activity - the laws of art. Modern art lesson is an image lesson, the creators of which are the teacher and students.
Since each teacher as a person is individual, the process he constructs can be individually unique. Just as in art, one and the same theme, idea, problem is expressed differently by different artists, depending on the personal attitude of the author, the specifics of his artistic language, style, and the characteristics of the environment (society, time, era) in which he exists, so art lessons from different teachers should be different, unique in their own way. Those. we can talk about the authorial nature of the art lesson. Moreover, success depends not only on the personality of the teacher, but also to a large extent on the level of emotional and aesthetic preparation of the class, each student, his psychological and age abilities.
An art lesson is a kind of "pedagogical work", a "mini-performance", an artistic and pedagogical action (having its own idea, its own plot, culmination, denouement, etc.), but internally connected with other "pedagogical actions" - lessons - links of one integral system defined in the program. Based on the features of the author's art lesson as an artistic and pedagogical "work", the following principles for designing a lesson-image are determined.
1. The main principle of building a new structure for an art lesson is REJECTION FROM AUTHORITARY-DOGMATIC TRANSITION TO A HUMANE-DEMOCRATIC MODEL, THE END OF WHICH IS THE PERSONALITY OF THE STUDENT AS A COMPONENT AND SELF-VALUABLE PART OF "COOPERATION" - the team of the class, school, environment based on communication - a person, people, Wednesday. It includes:
a) the priority of the value of a growing person and his further development as an intrinsically valuable object;
b) taking into account the age and living conditions of the child and the children's team: family, national, regional, religious, etc.;
c) taking into account individual personal qualities, the ability to self-development and self-education in this artistic and aesthetic) field of activity.
2. THE PRINCIPLE OF PRIORITY FORMING EMOTIONAL-VALUE RELATIONS among the main components of the system of art education (objective, artistic knowledge, ways of artistic and aesthetic interaction with the world, experience of artistic and creative activity and experience of emotional-value relations:
a) mastering the developing structure of one's own "I" (student);
b) the development and transformation of one's own "I" of the team, environment, society on the material of the content of artistic culture as part of spiritual culture;
c) interest and enthusiasm for the activities of the lesson;
d) experiencing and empathy with the artistic image in the process of its perception and feasible practical creation.
3. PRINCIPLE OF AUTHOR'S FREEDOM OF DESIGN (composition) in the implementation of the lesson-image model, depending on the creative possibilities of the teacher's artistic preferences and the level of artistic and emotional-aesthetic training of students:
b) the creation of the necessary (pedagogical and other) conditions for the participation of children in "composing" and conducting a lesson (co-creation) based on the preliminary preparation of students (homework for observation and analysis and aesthetic assessment of the surrounding reality, conversations in the family, communication with peers, extracurricular activities, etc.);
c) a pronounced priority of the dialogic form of organizing a lesson over a monological one.
4. PRINCIPLE OF ARTISTIC AND PEDAGOGICAL DRAMA - CONSTRUCTION OF ART LESSON as a pedagogical work based on the implementation of the laws of dramaturgy and directing:
a) the scenario of the lesson as a realization of the idea;
b) the idea of the lesson (the main goal);
c) dramaturgy of the lesson process itself (plot);
d) the presence of emotional and figurative accents of the plot of the lesson (epilogue, plot, climax and denouement), built on a variety of artistic and pedagogical game (role-playing, business, imitation, organizational and activity, etc.)
5. THE PRINCIPLE OF VARIABILITY OF THE TYPE AND STRUCTURE OF THE LESSON-IMAGE DEPENDING ON THE NATURE OF THE CONTENT OF THE INTERACTION OF THE ACTIVITY OF THE TEACHER AND STUDENTS, based on the concept of the lesson that determines the "genre" of the lesson, including:
a) depending on the pedagogical goal (reporting lesson, generalizing lesson, etc.);
b) depending on the content of the directing and performing functions of its participants - teachers and students: lesson-research; lesson-search; lesson-workshop; fairy tale lesson; lesson-call; a lesson in mercy; riddle lesson; song lesson; etc.;
c) a free, dynamic, varied structure of the lesson with its moving elements (the lesson can begin with a homework assignment, and end with a statement of an artistic problem - the culmination of the plot, which will be solved in the next lesson).
6. PRINCIPLE OF FREE INTEGRATION AND DIALOGUE WITH OTHER TYPES OF ART AND AESTHETIC ACTIVITIES, school and extracurricular activities:
a) the dialogue of cultures "horizontally" (using the experience of world artistic culture in various types of art and along the "vertical" (the connection of times in various types of art, in the experience of world artistic culture - the temporal and historical aspects of the dialogue of various arts and cultures);
b) integration of fine arts with other types of artistic and aesthetic activities (literature, music, theater, cinema, TV, architecture, design, etc.), in which not lessons are integrated, but topics, problems, cycles, depending on the idea of the lesson, goals and tasks of a quarter, a year, the entire system of artistic education.
7. PRINCIPLE OF OPENNESS OF THE LESSON OF ART:
a) involvement in work with children in the classroom (on certain topics, problems, blocks) of specialists outside the school: parents, figures of various types of arts, architecture, teachers of other subjects, etc .;
b) cooperation of children of different classes and different ages, participation in the conduct of classes by high school students with children of primary school age and vice versa, especially in generalization lessons, reporting lessons, including for the purpose of assessing (not to be confused with a mark) the results of artistic and pedagogical activities;
c) conducting (if possible) art lessons outside the classroom and outside the school, in conditions that are most appropriate for the idea of the lesson (in museums, exhibition halls, workshops of artists, architects, folk art crafts, printing houses, outdoors, etc. with the involvement of the necessary specialists), including in the design of the interiors of schools, kindergartens, the organization of exhibitions of children's works (and their discussion) outside the school (urban microdistricts, in the countryside, etc.);
d) continuation of the lesson outside the school: in the communication of students with the environment (in the family, with peers, friends), in their own self-knowledge, self-esteem and self-development, in personal hobbies and behavior.
8. PRINCIPLE OF EVALUATION OF SELF-ASSESSMENT OF THE PROCESS AND RESULTS OF ARTISTIC AND PEDAGOGICAL ACTIVITY IN THE LESSON ("art criticism" of the lesson):
a) assessment and self-assessment of the process of implementing the idea of the lesson (by students and teachers) through dialogue, game situations, analysis and comparison;
b) assessment and self-assessment of the results of the activities of the teacher and students, their compliance with the idea (goal) of the lesson;
c) holding a "public review of knowledge" (based on the principle of openness) with the involvement of students from other classes, parents, cultural figures, educators, etc.
d) joint determination (by the teacher and students) of the criteria for evaluating activities in the lesson:
- emotional-value and moral (responsiveness, empathy, aesthetic attitude, etc.);
- artistic and creative (artistic and figurative expressiveness and novelty);
- artistic erudition and literacy (knowledge of how to create an artistic image, visual skills, etc.).
methods and techniques of teaching fine arts at school:
Appeal to the history of methods of teaching drawing in Russia |
Literacy as a system of the foundations of a realistic image cannot be rejected, but in modern methodology it is built on a different basis - a figurative one. |
Method of teaching |
A special section of pedagogy that studies the system of the most effective ways of teaching and educating; |
Teaching methods |
Ways of interrelated activities of the teacher and students aimed at achieving educational goals; |
Visual art teaching method |
a system of actions of the teacher, aimed at organizing the processes of perception, experience of the topic, the work of the imagination to create an image of the future drawing, as well as the organization of the image process in children |
Connection of methods of teaching fine arts with specific sections of the content of art education |
For example, the experience of cognitive activity (knowledge about the world, about art, various types of artistic activity); |
Reception training |
a more private, auxiliary tool that does not determine the entire specifics of the activities of the teacher and students in the classroom, which has a narrow purpose. Reception is a separate component of the method |
Approaches to the classification of teaching methods: |
|
Classification of teaching methods by source of knowledge |
1. Verbal methods ( explanation, story, conversation, lecture or discussion). |
By the nature of the cognitive activity of students in the process of assimilation of the studied material |
|
Based on a holistic approach to the learning process (Yu.K. Babansky) |
Group I - methods of organization and implementation of educational and cognitive activities; |
Factors in choosing a method or system of teaching methods and techniques |
1. The purpose and objectives of this lesson. |
Literature
- Goryaeva N.A. First steps in the world of art: Book. For the teacher. M., 1991.
- Sokolnikova L.M. Visual arts and methods of its teaching in elementary school. - M., 2002.
Methodological recommendations for the performance of work
All tasks are completed in writing.
Practice #3
Practice #4
Topic: The main directions of teaching fine arts in the context of the modernization of education
(Elective courses as a means of forming the variable content of art education)
Conduct form: practical session (4 hours)
Target: the formation of a value attitude to the subject "fine arts", the formation of teachers' skills of pre-profile and profile training of students in the field of fine arts.
Basic concepts: elective courses; variable learning; differentiation; differentiated approach to learning; individualization; individualization of education; competence; principle.
Plan
- Elective course as a didactic unit.
- Specifics of elective courses.
- The structure of elective courses.
- The content of the electives.
- An example of an elective course.
An elective subject is a purposefully selected and structured content of education (what to study?), which, using the appropriate method / technology (how to study?), forms an elective course. Thus, an elective subject is being studied, an elective course is being developed.
From a didactic point of view, conceptual approaches to the selection of the content of elective subjects can be reduced to three main theories: encyclopedism, formalism and pragmatism (utilitarianism).
The technological component is developed within the framework of a wide range of psychological and pedagogical approaches, including systemic, activity-based, person-oriented, person-activity-based and competence-based.
Among the basic principles for the development of elective courses, reflecting the specifics of specialized education, should include: productivity principle educational activity, the principle of integrativity, the principle of correspondence between the content and activity components of education, the principle of variability, the principle of individualization, the principle of regionality.
The main function of elective courses is to give students an answer to such questions: “What can and I want to study? How? Where? For what?". After all, the subject profile can formally drive the student into rigid boundaries, cutting off individually significant areas of human culture from his educational trajectory. As a result, the educational trajectory of a student may become not individual, but profile. It is electives that help offset this risk.
There are no educational standards for elective courses. The non-standardization, variability and short duration of elective courses (“elective courses”) are their features. The variability of elective courses implies the following: within the framework of pre-profile training, a 9th grade student, focused on a particular profile (or vice versa, still hesitating in his choice), should try his “strength” in mastering different courses, which should be many as quantitatively, as well as content. The presence of a large number of courses differing from each other in content, form of organization and delivery technologies is one of the important pedagogical conditions for effective pre-profile training. Timeframes for specific elective courses may vary. However, teachers need to remember that a 9th grade student should try himself and test his strength in mastering different courses. Therefore, it is desirable that the courses be short-term.
The situation is different in the 10th and 11th grades. Elective courses in high school, when students have already decided on a profile and started studying in a specific profile, should be more systematic (once or twice a week), longer-term (at least 36 hours) and, most importantly, set completely different goals than it was in the 9th grade as part of the pre-profile training. In grades 10-11, the purpose of the elective course is to expand, deepen knowledge, develop specific skills and abilities, and get acquainted with new areas of science within the chosen profile.
These are the main differences between elective courses in grades 9 and in grades 10-11, the requirements for development and design are similar.
The curriculum should include the following structural elements:
- Title page.
- Program summary(available separately for students and parents)
- Explanatory note.
- Educational and thematic plan.
- The content of the course being studied.
- Methodological recommendations (optional)
- Information support of the curriculum.
- Applications (optional)
Explanatory note.
- The explanatory note should begin with an indication of which educational field this elective course belongs to, and a brief statement of the goals of the field for a given level of study and a given profile. This helps to increase the integrity of training, allows you to implement the requirement for the unity of programs. Then there should be a disclosure of the specific functions of this elective course.
- Formulating the goals of the elective course is the most important section. First of all, the goals arising from the function of the elective course as part of a particular educational field should be disclosed. It is important that the goals are formulated meaningfully, so that they take into account: the relevant profile of education, the knowledge previously acquired by students, the requirements set by the charter of the educational institution, the information and methodological capabilities of the knowledge industry.
- The next element after the formulation of the goals that needs to be covered in the explanatory note is a brief description of the composition and structure of the content of the elective course.
- To achieve certain learning outcomes, strengthening the instrumentality of the program, the ways of its implementation are important. Therefore, it is advisable to characterize the leading methods, techniques, organizational forms of training recommended for the implementation of this content.
- In connection with the description of the learning process, it is desirable to name the main teaching aids, designate typical diagnostic tasks of both practical and theoretical nature, which should be performed by students not only with the help of a teacher, but also independently. It should be indicated, due to which a differentiated approach to teaching students is carried out.
- Forms of summarizing the results of the implementation of the curriculum (exhibitions, festivals, educational and research conferences, competitions);
- At the end of the explanatory note, it is advisable to indicate the distinctive features of this program from those already existing in this area; what is new in the selection of material, its distribution, teaching methods.
Educational and thematic plan.
Lecture hours make up no more than 30% of the total number of hours.
- a brief description of topics or sections;
- description of the methodological support of each topic (techniques, methods of organizing the educational process, didactic material, technical equipment for classes).
Information support of the educational program includes:
- list of literature for students and teachers;
- list of Internet resources (URL address, WEB pages);
- list of video and audio products (CDs, video cassettes, audio cassettes).
Terms:
Elective courses- compulsory courses of choice of students, which are part of the profile of study at the senior level of the school. Elective courses are implemented through the school component of the curriculum and perform two functions. Some of them can “support” the study of the main profile subjects at the level set by the profile standard. Others serve for intraprofile specialization of education and for building individual educational trajectories. The number of elective courses must be in excess of the number of courses that the student is required to take. There is no unified state exam for elective courses.
Variable learning- training based on the implementation of variant educational programs, where the variability of educational programs is determined by the construction of the content of general educational programs (basic, additional, specialized) taking into account the interests of students, regional and national characteristics, the capabilities of the teaching staff of an educational institution and the choice of educational resources of the environment.
Differentiation - it is the orientation of educational institutions towards the development of the interests, inclinations, abilities and pedagogical possibilities of students. Differentiation can be carried out according to various criteria: on the basis of academic performance, abilities, taking into account the choice of subjects, etc.
Differentiated approach to learning- a learning process that takes into account the characteristics of different groups of students, designed for the feasibility of learning each group.
Individualization- this is the consideration and development of the individual characteristics of students in all forms of interaction with them in the process of education and upbringing.
Individualization of learning – learning, in which the methods, techniques and pace are consistent with the individual capabilities of the child, with the level of development of his abilities.
Competence- the ability of a person to realize his ideas in a multifactorial information and communication space.
Principle- a guiding idea, a basic rule, a basic requirement for activity, behavior.
An example of an elective course in fine arts and the MHC(Internet) .
The program of the elective course “Art and Us”(artistic and pedagogical direction) T.V. Chelysheva.
Chelysheva T.V. “Pre-profile training for ninth-graders. Educational area “Art”. Teaching aid. - M .: APK and PRO, 2003.
Explanatory note
This program is designed to provide pre-profile preparation of ninth-graders for training in the artistic and pedagogical direction of the humanitarian profile.
Purpose, objectives and principles for implementing the content of the elective course "Art and Us"
The purpose of the elective course "Art and Us" is to form the interest and positive motivation of schoolchildren in the artistic and pedagogical direction of the humanitarian profile by familiarizing them with the types and methods of activity necessary for the successful mastering of the professional training program for a music teacher or fine arts.
The elective course "Art and Us" is prognostic (propaedeutic) in relation to the profile course in art and increases the likelihood of a conscious choice of a graduate of the main school of art and pedagogy in the humanities.
Among the subject-oriented (trial) courses, the elective course "Art and Us" is designed to solve the following tasks:
- give the student the opportunity to realize his interest in the artistic and pedagogical direction;
- clarify the readiness and ability of the student to master the chosen direction at an advanced level;
- create conditions for preparing for elective exams, i.e. on the subjects of the future artistic and pedagogical profiling.
It is assumed that this elective course will contribute to the development of psychological readiness for the implementation of the choice of artistic and pedagogical profession for specialized education in high school. At the same time, an orientation is carried out on the professional qualities of an art teacher, which are considered from the point of view of developing the following abilities:
1. Ability for psychological and pedagogical activity
- the ability to create a trusting creative atmosphere of the lesson;
- the ability to interest students in art;
- the ability to organize mental activity when perceiving a work of art;
- the ability to conduct classes based on the principle of artistry;
- ability to artistic and pedagogical improvisation.
2. Abilities for art history, musicology activities:
- the ability to determine the artistic intent of the work;
- the ability to single out the elements of artistic speech, which have become for the author the means of translating this idea;
- the ability to determine the nationality and authorship of the work;
- the ability to identify the functions of art on the example of a particular work of art;
- the ability to form students' own attitude to life on the basis of its emotional-figurative cognition.
3. Ability to perform professional activities:
Music.
- the skills of a performer-instrumentalist, performer-singer (show a work by expressively performing it, use sound extraction and sound science techniques in creating an artistic image of a work, combine technical and artistic tasks in the concept of performing culture, etc.);
- choirmaster skills (to turn the process of learning into an artistic and pedagogical analysis of a work, to show the ability to conduct with one hand while simultaneously performing a choir part on an instrument with the other hand, to work with a choir a cappella, to reflect the artistic image of a work about a conductor's gesture, etc.);
- accompanist skills (possession of nuance, tempo-rhythm; listening to the choir, soloist, the ability not to drown it out; the ability to support the expressiveness of one's own performance; the ability to merge with the choir, the soloist; the ability to get out of a difficult situation when the soloist makes a mistake, to be a support for him; the ability to feel the choir ; the ability to pick up and harmonize a melody "on the go");
- possession of technical teaching aids (sound-reproducing and audio-visual equipment).
art
- knowledge of the language of fine arts as a means of universal communication (be able to draw, paint with watercolors, oils; be proficient in graphic techniques and tools, techniques of decorative art, modeling techniques; write in 2-3 fonts);
- the ability to organize their own artistic and creative activities in the field of arts and crafts, fine arts, sculpture, architecture and design;
- the ability to compose graphic, pictorial, decorative and designer compositions using various techniques, techniques, means of artistic and figurative expression;
- the ability to complete and arrange an exhibition exposition of works of art, creative works of children and teachers: mastery of technical teaching aids.
The content of the elective course is implemented according to the principles of consistency and consistency. It includes two sections: "Art and Life", "The Specifics of Art and Features of Art Education". In the process of implementing these sections, on the one hand, there is a deepening and expansion of the content of the basic programs of the basic school in music and fine arts, programs of optional courses in world art culture, traditional folk culture, etc., on the other hand, awareness of the features of the artistic and pedagogical profession of the school teachers.
It is assumed that ninth-graders have experience in the emotional and value perception of works of art, experience in artistic and creative activities, and their own impressions of the artistic and pedagogical activities of music and fine art teachers.
Based on this experience, the process of pre-profile training of ninth-graders with a focus on the artistic and pedagogical direction of the humanitarian profile is built in the form of "ascent to the profession." Of essential importance for this is the development of the students' own attitude, their independent view of the role of art in people's lives, the peculiarities of art education, and the specifics of the profession of a school art teacher.
This approach is facilitated by the thematic construction of sections of the course that are in close interaction. The dialectic of ascent to a profession is due to the natural connection between the multifunctionality of art, general art education as a mechanism for the cultural development of a person and society, as well as the enduring role of an art teacher in this process. Awareness of thematism, built according to the principle from simple to complex, develops along three lines:
- From an emotional response to school art classes - to the realization of the need for their pedagogical organization.
- From independent experience of communication with works of art (outside school) to pedagogically directed experience of organizing this process (school classes),
- From the role of a student (slave) to the role of a teacher (leader).
Each of the lines gets "expansion" as the theme develops (from simple to complex).
The dialectical logic of ascent to the profession is to establish a correspondence between the topics of the program, their artistic and pedagogical design, the psychological and pedagogical basis and the tasks of professional orientation of students, solved within each topic.
This approach is reflected in the following "Structural and logical scheme of the thematic construction of the elective course "Art and We" and in the table "Dialectical Logic of Climbing the Profession".
Dialectical logic of the ascent to the profession
Program Section: Art and Life
Topic name |
Number of hours |
Forms of conducting classes |
|||
Why do we need art |
Visiting the concert hall: theater, art. exhibitions, etc. |
Emotionally conscious response to a work of art |
Artistic perception and artistic thinking as a psychological tool for human communication with art |
Definition of artistic perception and artistic thinking as the psychological basis of the professional activity of an art teacher |
|
"Art is a social technique of feelings" Ya. S. Vygotsky |
Free discussion |
||||
Man in the art world |
Attending a music or art class. Seminar |
From understanding the role of art in human life - to establishing the interdependence of art and schooling. |
From artistic perception and artistic thinking to artistic and pedagogical communication |
Awareness of the role of the pedagogically directed process of communication with works of art |
Topic name |
Number of hours |
Forms of conducting classes |
Artistic and pedagogical concept of the topic |
Psychological and pedagogical foundations for the implementation of the topic |
Career Guidance Tasks |
Problem-search activity. Extracurricular artistic and creative activities |
Expanding knowledge about different types of art in the process of designing school activities and extracurricular activities |
Artistic and pedagogical communication is a factor that determines the process and result of art education |
Identification of the importance of the pedagogical activity of an art teacher for the formation of the artistic culture of schoolchildren |
||
School art lesson - what is special about it? |
Designing a school art lesson as an artistic and pedagogical action |
Solution of design-prognostic tasks of artistic and pedagogical activity |
Motivated modeling of artistic and pedagogical activity |
||
Art-teacher-student |
Extracurricular workshop |
||||
Profession-teacher-artist |
Round table |
Identification of professional qualities necessary for artistic and pedagogical activities |
Motivation for the profession of an art teacher |
Acquaintance with the educational map of the region (artistic and pedagogical direction) |
The criteria for success in the elective course "Art and Us" are:
- the degree of development of interest in the profession;
- the degree of manifestation of abilities for artistic and pedagogical activity;
- the degree of manifestation of independent views, positions, judgments about the process and result of artistic and pedagogical activity.
The effectiveness of classes is monitored according to these criteria based on observations of students in the process of work, interviews with them, as well as the completion of an essay on one of the proposed topics.
"Art is a social technique of feelings" (L.S. Vygotsky).
"Man in the Art World".
"Art as a system of figurative languages".
"Art in School".
"Art - teacher - student".
"A lesson in art - a lesson-action."
"Profession - teacher-artist".
The abstract that completes the study of the course is a form of reporting for ninth graders. The essay is practice-oriented and includes reflections of schoolchildren based on the information obtained in the classroom, literary sources recommended by the teacher, as well as specific examples from artistic and pedagogical practice.
Methods and forms of implementation of the content of the elective course "Art and We"
The content of the course is implemented on the basis of the methods of artistic and pedagogical dramaturgy, generalization, problem-search method and project method. The method of artistic and pedagogical dramaturgy contributes to the implementation of the psychological adaptation of schoolchildren in the chosen subject, which is in full accordance with the specifics of art and the process of art education. The problem-search method, the method of generalization and the method of projects optimize the process of ascent of ninth-graders to the profession, as they help to form an independent view of it, a conscious perception of its features.
"Art and Us" is a dynamic course with a bright practice-oriented orientation, as evidenced by the various types and forms of conducting classes. There are two types of classes: extracurricular and classroom. Among extracurricular activities: visiting a concert hall, theater, art exhibition, etc.; attending a music or fine art lesson in one of the classes of the main school; extracurricular workshop (conducting a fragment of a lesson in music or fine arts in the main school); extracurricular artistic and creative activities. Thanks to the frequent change of activities, students will be able to engage in artistic creativity according to their interests, regardless of their special skills, as well as try themselves as a teacher of music or fine arts. Lessons are held in the following forms: problem-search activities with modeling of educational situations, seminars, free discussions, round tables using audio and video recordings.
The round table completes the elective course "Art and Us". Teachers and students of educational institutions involved in the professional training of an art teacher, as well as a specialist in any artistic profession, can take part in its work. The main task of the round table is to identify the special qualities of an art teacher, which are manifested in his abilities for psychological and pedagogical, art criticism and professional performing activities.
During the round table, it is possible to demonstrate the level of development of these abilities among students of the relevant educational institutions (study school situations are simulated; musical, dance, poetic works or their fragments are performed live or recorded; drawings or decorative and applied products are created, etc. ). Invited participants are expected to answer questions from ninth graders. Upon completion of the work, students receive an educational map of the region with an advertising brochure for each of the institutions of a special artistic or artistic and pedagogical orientation represented in it.
Course plan and lesson content
Course syllabus
Educational and thematic plan of the course
No. p / p |
Name of topics |
Total hours |
Of them |
|
extracurricular |
||||
Art and life |
||||
Why do we need art? |
||||
"Art is a social technique of feelings" (L. S. Vygotsky) |
||||
Man in the art world |
||||
Specificity of art and features of art education |
||||
Art as a system of figurative languages |
||||
Art and Art Education: A Historical Excursion |
||||
School art lesson - what is special about it? |
||||
Art - teacher - student |
||||
Profession - teacher-artist |
||||
Total: |
||||
Program content of the course
SECTION I. Art and life
Topic 1. Why do we need art? (2 hours)
The lesson is held outside the school: in a concert hall, theater, exhibition or art museum. Ninth-graders are invited to reflect on the meaning of art in a person’s life on specific examples of what they saw or heard. Reflections are recorded in the diary of impressions. For the logic of reflection, reference questions are offered:
- What is common and special in different types of art?
- Is it possible to call the work of art with which you "communicated" a masterpiece?
- Why?
- What is the reason for the immortality of great works of art?
- What can you say about the author of the work of art you have seen or heard?
Topic 2. "Art is a social technique of feelings" (L. S. Vygotsky) (1 hour)
The topic is implemented in the form of a free discussion with the involvement of the material of the previous lesson and the reflections of ninth-graders recorded in the diary of impressions. The discussion is based on the guidance questions proposed in topic 1.
Through collective reflection, the functions of art associated with the transformative, cognitive and evaluative activity of a person, with his participation in the process of communication, should be determined. To do this, during the classes, a collective search for answers to the questions is conducted:
- What feelings, emotions did the seen (heard) work of art evoke in you?
- What did you learn from him?
- Is it possible to say that you had a process of communication with the characters of the work and its author? Why?
- What is your attitude to the characters of the work and to the work as a whole?
- What did the author want to say with his work?
Topic 3. Man in the world of art (2 hours)
The first hour of classes on the topic is a pedagogical workshop in the form of a collective visit to one of the lessons in music or fine arts in any class of the main school.
5-7 minutes before the lesson, the music teacher (fine arts) briefly characterizes:
- Pupils of this class in terms of their general and musical (artistic) development:
- general development of children - intelligence; speech; general culture and hobbies; activity; attitudes towards art classes; success in non-artistic disciplines, etc.;
- musical (artistic) development of children - interest in a particular type of art; volume of listener's (viewer's) attention; musical (artistic) passions; the degree of development of special skills and abilities; theoretical, historical and bibliographic knowledge about music (visual arts), etc.
- The program of the upcoming lesson on the following positions:
- topic of the quarter; the theme of the lesson, its place in the system of lessons of the quarter, year;
- artistic and pedagogical concept of the lesson;
- musical (artistic) material.
For further work on the topic, ninth-graders record the characteristics given by the teacher, as well as their own impressions of the lesson. In addition, they can take part in the artistic and creative activities of this class.
The second hour of classes on the topic "Man in the world of art" is held as a lesson-seminar. Preliminary preparation for it is carried out by schoolchildren on the basis of the following indicative questions:
- Can art exist indirectly from a person?
- What kind of people are involved in the creation and operation of a work of art?
- Why do we need art objects in a comprehensive school?
- Who is a participant in the artistic and pedagogical process in an art lesson?
- School art teacher. Who is he? What should he be?
The specific practical material for work at the seminar is the lesson attended, which is subjected to constructive analysis.
It is assumed that in the process of the seminar, answering the proposed questions, ninth-graders independently establish the interdependence of art and life, art and man, art and schoolwork.
SECTION II. Specificity of art and features of art education
Topic1. Art as a system of figurative languages (10 hours)
Classes on this topic are divided into two blocks: a block of problem-search activities and a block of artistic and creative activities.
Block of problem-search activity There are eight sessions of one hour each. These classes are practice-oriented, conducted in any form with the simulation of situations of a school lesson and the demonstration of works of art or their fragments. In this case, artistic material can be used, which students got acquainted with in the lessons of music, fine arts, literature.
First hour
Art as the highest form of aesthetic comprehension of the world. "Eternal" themes in art. Artistic image. Beauty and truth in art. Syncretic origins of art. Kinds of art. Literature. Music. Art. Tradition and innovation in art.
second hour
Theater. Drama, musical, puppet theatres. Actor, director, playwright, artist, composer - creator of stage action. famous theatrical names.
third hour
Synthetic arts.
Choreography. Dance language. Variety of dances: classical, folk, historical and everyday, ballroom, modern. Ballet on ice. Outstanding masters and choreographic groups.
fourth hour
Synthetic arts. Cinema as an art born of the scientific and technological revolution. Types of cinema, its genre diversity and figurative specificity. The artistic process of making a film. Screenwriter, film director, cinematographer. Great names in cinema.
fifth hour
Photography is the art of "light painting". Genre themes of photography (still life, landscape). Photo portrait and events in the frame. Informativeness of the photographic image and artistic photography.
sixth hour
Design. The art of organizing the human environment, decorating his life. areas of design. Floral design as a manifestation of the aesthetics of everyday life The profession of a designer today.
seventh hour
New types and genres of art in the second half of the 20th century. Television: the specificity of expressive means and the main television and video genres. Art and computer technologies (computer music, computer graphics, computer animation, multimedia art, website development, etc.).
eighth hour
Spectacular arts. Circus (acrobatics, balancing act, musical eccentricity, clowning, illusion). Variety as a synthesis of vocal, dramatic, musical, choreographic and circus art. Famous pop names. Creation of pop concerts and show programs.
The block of artistic and creative activity serves to fulfill the creative needs of students and is designed for two hours of extracurricular work.
Individual work of ninth-graders or work in small groups is supposed, which is further embodied in collective extracurricular activities. The main principle of the implementation of artistic and creative activity is the free choice of a specific creative event, preparation for which takes place during the extracurricular time allotted for this block.
The following forms of artistic and creative activity are expected:
- implementation of artistic projects (theatrical performances, evenings, exhibitions, video filming, festivals, holidays, competitions, etc.);
- collective creation of scenarios; elements of directing, acting, dance and plastic creativity; artistic and musical design of a theatrical and entertainment project;
- artistic photography, creation of video programs, video films;
- elements of publishing activities (decoration, poetry almanacs, photo exhibitions, school thematic magazines and newspapers, booklet releases, etc.);
- dance evenings, ballroom dancing as a means of communication and socialization of schoolchildren.
The implementation of artistic and creative activity is facilitated by the knowledge and skills acquired by ninth-graders during classes in music and fine arts in the main school, as well as the information that they received in this electic course in previous classes.
Topic 2. School art lesson - what is special about it? (1 hour)
A lesson-seminar for which ninth-graders prepare on their own on the following guiding questions (based on the material of previous lessons of the first and second sections of the program):
- What is the difference between art and science?
- What is the difference between school scientific disciplines and art objects?
- What is the difference between school and special art classes?
- How is the art lesson at school? What is his dramaturgy?
- Is an active position of schoolchildren necessary in relation to works of art? How can this be manifested in the lessons of art disciplines?
- What is the interaction in the triad "Art - teacher - student"?
- What is the role of the teacher in the art education of schoolchildren?
It is assumed that as a result of the work at the seminar, students will be convinced that an art lesson in a secondary school is an artistic and pedagogical action, which is built according to the laws of art; has equal participants; encourages an emotional response to works of art, to active independent reflection on the life problems raised in them; motivates for artistic and creative activity; causes a desire to learn and understand more than the lesson offers, to learn a specific type of artistic activity.
Topic 3. Art - teacher - student (2 hours)
The topic is implemented in the form of two extracurricular workshops. aimed at establishing dialogic unity in the triad "Art - teacher - student".
Ninth-graders participate in conducting music and (or) visual arts lessons in one of the classes of the main school.
Each of the settlers prepares a fragment of the lesson with any artistic material. One of the ninth graders takes on the role of coordinator, whose task is to structurally combine these fragments into a single artistic and pedagogical action. The teacher leading the pre profile training is the organizer of this process.
Topic 4. Profession - teacher-artist (2 hours)
The lesson is held in the form of a round table with the invitation of teachers and students of art and art-pedagogical educational institutions of the region. The main task is to identify the main professional qualities of an art teacher and provide students with information about educational institutions in the region profiled in this direction.
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Your professional career: Didactic material for the course / Ed., S.N. Chistyakova. - M.: Enlightenment, 2000.
In studying this course, teachers may be advised to: methodical benefits:
- Dementieva E.E. Diagnostics of the professional activity of teachers of fine arts and world art culture / Ed. Brazhe T.G. - Orenburg: Publishing house of OOIPKRO, 1998.
- Dynamic tables in the lessons of fine arts: Guidelines / MGPI, Comp. IN AND. Kolyakin. - Magnitogorsk, 1996.
- Achievements of students in fine arts as a result of educational activities / Compiled by N.V. Karpov. - Orenburg: Publishing house of OOIUU, 1998.
- Architecture of the Urals as a regional component of art education: Proceedings of the regional scientific and practical conference. April 27-28, 2001 / Rev. ed. IN AND. Kolyakin. - Magnitogorsk: MaGU, 2001.
- Game methods and techniques in the art education of children: Materials of the city scientific and practical seminar / Ed. O.P. Savelyeva. - Magnitogorsk, 2001.
- Toy as a means of ethno-art education and development of students' creative abilities: Proceedings of the city scientific-practical conference / Ed. IN AND. Kolyakina. - Magnitogorsk: MaGU, 2000.
- Collective creativity in the lessons of fine arts: Guidelines / MGPI, Comp. IN AND. Kolyakin. - Magnitogorsk, 1996.
- Designing from paper at the lessons of fine arts in elementary grades / Magnitogorsk, state. ped in-t; Authors-comp. IN AND. Kolyakina, T.M. Dmitriev. - Magnitogorsk, 1996.
- Crossword puzzles in the classroom of fine arts at school: Methodological recommendations / Comp. Savelyeva O.P. - Magnitogorsk: MaGU, 2000.
- Kuzmenkova O.V. Diagnosis and development of the teacher's personality: Methodological guide. - Orenburg: Publishing house of OOIPKRO, 1999.
- Personal achievements of students as a result of the activity of a teacher of fine arts: Collection of texts / Comp. I.L. Morozkina, V.M. Bustard. - Orenburg: Publishing House of OOIPKRO, 2000.
- Maksimova V.D. Development of creative activity of students in a rural school / Methodological recommendations for organizers of the educational process. - Orenburg: Publishing House of OOIPKRO, 2000.
- Guidelines for organizing elements of collective activity in the lessons of fine arts / MSPI; Comp. IN AND. Kolyakin - Magnitogorsk, 1996.
- Morozkina I.L. Introduction of elements of the regional component into the practical activities of the teacher of fine arts // Scientific and information bulletin "Man and Education" OOIPKRO, No. 5. - Orenburg, 2001, pp. 80-86.
- Poetic text in the lessons of the image and perception of nature: Methodological guide / MGPI; Comp. IN AND. Kolyakin. - Magnitogorsk, 1996.
- Rusakova T.G. Decorative arts at the lesson in elementary school / Lectures on the methodology of teaching fine arts. - Orenburg: Publishing House of the OGPU, 1999.
- Rusakova T. G. Fundamentals of spectator culture / Special course program. A set of didactic tasks and exercises for the formation of artistic communication skills in younger students. - Orenburg: Publishing House of the OGPU, 2004.
- Rusakova T. G. Methods of teaching fine arts with a workshop / Educational-methodical complex. - Orenburg: Publishing House of the OGPU, 2004.
- Traditions of the development of artistic paintings in the contemporary decorative art of Russia: Proceedings of the city scientific and practical conference / Ed. T.V. Salyaeva. - Magnitogorsk: MaGU.2001.
- Chadina T.A. As the art says. - Orenburg: Publishing House of the OGPU, 2005.
- Chadina T. A. Visual technologies in kindergarten and elementary school / Methodological guide. - Orenburg: Publishing House of the OGPU, 2005.
- Chadina T. A. What and how artists work. - Orenburg: Publishing House of the OGPU, 2005.
Exercise 1
Carefully read the elective course "Living Space - ART" by Kirillova L.V. and analyze all the structural components of the program (in writing). Point out strengths and weaknesses.
1. Primitive art. The emergence and development of fine arts in primitive society. Methods of teaching drawing in ancient Egypt The conversion of primitive people to a new type of activity for them - art - is one of the greatest events in the history of mankind. Primitive art reflected the first ideas of man about the world around him, thanks to him knowledge and skills were preserved and transferred, people communicated with each other. The Stone Age (over 2 million years ago to the VI millennium BC), is divided into Paleolithic, Mesolithic and Neolithic. The first works of primitive art were created about 30 thousand years ago. The oldest sculptures are Paleolithic Venuses - primitive female figurines. In addition to women, animals were depicted from stone or bone. Stone Age people gave an artistic appearance to everyday items - stone tools and clay vessels. Later, primitive masters began to pay more attention to details: they depicted wool with strokes, learned to use additional colors) In the XII millennium BC. e. cave art reached its peak. The painting of that time conveyed volume, perspective, bloom proportions of figures, movement. At the same time, huge picturesque canvases that covered the vaults of deep caves. The exact time of the creation of cave paintings has not yet been established. Dozens of large animals are depicted on the walls of the caves: mammoths and cave bears. Mineral dyes mixed with water, animal fat and plant sap made the color of the cave paintings especially bright. (Altamira Cave, Lascaux Cave) Mesolithic Art. In the Mesolithic era, or the Middle Stone Age (XII-VIII millennium BC), (coastal mountainous regions of Eastern Spain, between the cities of Barcelona and Valencia), figures of people depicted in rapid movement, multi-figure compositions and scenes of hunting with egg white, blood , honey. Neolithic Art (5000-3000 B.C.) These are, for example, rock paintings of deer, bears, whales and seals found in Norway, reaching eight meters in length. In addition to schematism, they are distinguished by careless execution. Along with stylized drawings of people and animals, there are various geometric shapes (circles, rectangles, rhombuses and spirals, etc.), images of weapons and vehicles (boats and ships). The first rock carvings were discovered in 1847-1850. in North Africa and the Sahara desert (Tassilin-Ajer, Tibesti, Fezzana, etc.) bronze (it got its name from the then widespread alloy of metals - bronze). The Bronze Age began in Western Europe about four thousand years ago. in the Bronze Age, all kinds of household items were made, richly decorated with ornaments and of high artistic value. In III-II millennia BC. e. there appeared peculiar, huge structures made of stone blocks, menhirs - vertically standing stones more than two meters high. (Brittany Peninsula in France) dolmens - several stones dug into the ground, covered with a stone slab, originally used for burials. Numerous menhirs and dolmens were located in places that were considered sacred. Especially famous are the ruins in England near the city of Salisbury - the so-called. Stonehenge (II millennium BC). Stonehenge is built from one hundred and twenty boulders weighing up to seven tons each, and thirty meters in diameter. In other Egypt, a special art school arose and strengthened, training was systematic. The method and system of education for all teachers were the same, because the approved canons prescribed the strictest observance of established norms. They were the first in the history of human culture to lay the foundation for the theoretical substantiation of drawing. Teaching drawing was based on memorizing the developed rules and canons. Although the canons facilitated the study of drawing techniques, they fettered the artist, did not allow him to depict the world as he sees it. Drawing in Dr. Egypt was a general education subject, was closely related to teaching writing. The leading school of the ancient kingdom was the Memphis Court School of Architects and Sculptors, she yavl. Artistic The center, other schools were formed around it. There was even an institute where young men studied. Teachers used special methodical tables. The principles and methods were based on frontality, all drawings are linear, there is no three-dimensionality, perspective, chiaroscuro, there were proportions of standing, sitting, and other figures. A lot of valuable and interesting material for studying the methods of teaching fine arts is given by the monuments of Egyptian culture: paintings on the walls of tombs, palaces, temples, on household items; drawings for reliefs, and, finally, drawings on papyri. The main attention of Egyptian artists was paid to the image of the human figure. The task of the artist of Ancient Egypt did not include a real depiction of life. Life for them was like a temporary phenomenon, the main existence began after death. The artist combines within one image different points of view on the subject: some parts of the figure are depicted in profile (head, legs), others - in front (eye, shoulders). The features of ancient Egyptian painting were, in essence, coloring and for a number of centuries were reduced to filling the silhouette with one color, without introducing additional tones and colored shadows. 2. Methods of teaching fine arts in Ancient Greece (Ephesus, Sicyon, Theban schools) Having studied teaching methods at Dr. Egypt, the Greeks approached the problem of education and upbringing in a new way. They called for a careful study of earthly life, and not the afterlife. In 432 BC e. in Sicyon, the sculptor Polikleitos wrote an essay on the proportional laws of the human body, studied its internal mobility. The statue "Dorifor" served as a visual aid. Polygnot called for the reality of the image, owned the means of linear drawing, sought to convey the texture, not knowing chiaroscuro, drawing in full size, polychrome painting. The line played a paramount role, the clarity and clarity of the image were observed. Apollodorus of Athens and his student Zeus included mixing of colors, gradation, and introduced chiaroscuro into the painting technique. Parrasius betrayed symmetry to painting, was the first to convey facial expressions, and achieved primacy in contours. By the 4th century BC e. Greek art reaches a high stage of development in Greece, there were several known. schools of drawing: Sicyon, Ephesian and Theban. Theban sh. - the founder of which was Aristide, or Nicomachus, attached great importance to "chiaroscuro effects, the transmission of life sensations and illusions." The Ephesian school, which is considered to be the founder of Ephranor from Corinth, and according to other sources - Zeuxis, was based on "sensual perception of nature and external beauty." This school strove for illusion, but was not perfect in drawing. Sikyonskaya sh. -hold. scientific data of natural science and the laws of nature, sought to bring closer and teach the student to honor the laws of the structure of nature. founded by Eupomp, was based on the scientific data of natural science and strictly adhered to the laws of nature. This school demanded "the greatest precision and rigor of drawing". She had a great influence on the methodology of teaching drawing and on the further development of art. art. Artists learned to convey on the plane not only the volume (three-dimensionality) of objects, but also the phenomena of perspective. Learning to draw from nature, Greek artists also studied anatomy. Greek artist-educators established the correct method of teaching drawing, which was based on drawing from life. (Policlet. Doryphorus. Marble. V century BC. Neapolitan Museum.) The fine arts of the ancient world, in comparison with the Egyptian, were enriched with new principles and methods for constructing an image, and at the same time with new teaching methods. Greek artists for the first time in the history of the development of educational drawing introduced chiaroscuro and gave examples of perspective construction of an image on a plane, laying the foundations for realistic drawing from life. Greek artist-educators established the correct method of teaching drawing, which was based on drawing from nature. For the first time among the Greeks, drawing as an academic subject receives the right direction. In this regard, the Sikyon school of drawing deserves special attention and its actual head - Pamphilus, thanks to which drawing began to be considered as a general educational subject and was introduced in all general education schools in Greece. The merit of Pamphilus is that he was the first to understand that the task of teaching drawing includes not only copying objects of reality, but also the knowledge of the laws of nature. He was the first to understand that drawing develops spatial thinking and figurative representation, which are necessary for people of all professions. After Pamphilus, all the progressive thinkers of Greece began to understand this; they realized that learning the arts contributes to the all-round development of a person. The era of ancient Greece was the most brilliant era in the history of the development of the fine arts of the ancient world. The value of Greek fine art is extremely great. Here was laid the method of scientific understanding of art. Greek artists-educators urged their students and followers to directly study nature, observe its beauty, and indicate what it is. In their opinion, beauty consisted in the correct proportional proportion of parts, the perfect example of which is the human figure. They said that the proportional regularity of the human body in its unity creates the harmony of beauty. The main principle of the sophists was: "Man is the measure of all things." This position formed the basis of all the art of Ancient Greece. . Methods of teaching fine arts in ancient Rome Methods of teaching drawing in ancient Rome The Romans were very fond of iso. art, especially the works of Greek artists. Portrait art is widely distributed, but the Romans did not introduce anything new into the methodology and teaching system, continuing to use the achievements of Greek artists. Moreover, they lost many valuable provisions of the drawing, failing to save them. The artists of Rome mostly copied the works of the artists of Greece. The setting of teaching was different than in Greek schools: In Rome, the teacher was more interested in the craft and technical side of the matter, rather to prepare an artist-craftsman (more craftsmen to decorate their homes). When teaching drawing, copying from samples, mechanical repetition of work methods prevailed, which in turn forced the Roman artist-teachers to move more and more away from the teaching methods used by the artist-teachers of Greece. In drawing techniques, the Romans first began to use sanguine (a beautiful reddish-brown shade) as a drawing material - it is malleable in work, better fixed on a smooth surface than coal. The role of ancient culture in the development of realistic art, in the formation and development of the academic system of teaching drawing is especially great. It still inspires us today to search for more effective methods of teaching fine arts, to scientifically develop methods for teaching drawing. Roman society required a large number of craftsmen to decorate premises, public buildings, the training period was short. the method of teaching drawing is unscientific. the drawing became conditional and schematic. The era of Roman rule, at first glance, creates all the conditions for the further development of methods for teaching realistic drawing. The Romans were very fond of fine arts. They especially appreciated the works of Greek artists. Wealthy people amassed collections of paintings, and emperors built public pinakotheks (galleries). Portrait art is widely used. Images of people of that era are depicted without any embellishment. With amazing vital truth, they convey the individual character traits of people of the most diverse ages, such as, for example, a picturesque portrait of Pakvius Proculus and his wife, a boy; sculptural portraits - Vitellinus, young Augustus, Julius Caesar, etc. Many noble nobles and patricians themselves were engaged in drawing and painting (for example, Fabius Pictor, Pedius, Julius Caesar, Nero, etc.). It seems that everything was created for the further development of fine arts and teaching it. However, in reality, the Romans did not bring anything new to the methodology and system of teaching drawing. They only used the achievements of Greek artists; moreover, they failed to preserve many valuable provisions of the method of teaching drawing. As evidenced by the surviving paintings of Pompeii and the reports of historians, the artists of Rome basically copied the creations of the remarkable artists of Greece. Some paintings are made with great skill, such as "Aldobrandino wedding". However, they could not achieve the high professional skill that the famous artists of Ancient Greece possessed. A few words about drawing technique. The Romans first began to use sanguine as a drawing material. In the catacombs, traces of the work of Roman artists have been preserved, where they used sanguine to outline the frescoes. Perhaps, to a greater extent than the Greeks, they adopted the technique of Egyptian artists, especially in painting (the use of tempera, work on canvas, papyrus). The methods of teaching and the nature of the training of artists had their own difference from the Greek schools. Greek artist-teachers tried to solve the high problems of art, they called on their students to master art with the help of science, to strive for the heights of art and condemned those artists who approached art in a artisanal way. In the era of the Roman Empire, the artist-teacher thought less about the high problems of artistic creativity, he was mainly interested in the craft and technical side of the matter. Roman society required a large number of craftsmen to decorate residential premises and public buildings, so the training period could not be delayed. Therefore, when teaching drawing, copying from samples, mechanical repetition of work methods prevailed, which in turn forced the Roman artists to move more and more away from those deeply thought-out teaching methods used by the outstanding artist-teachers of Greece. 4. Drawing in the Middle Ages. Art and religion In the era of the Middle Ages and Christianity, the achievements of realistic art were forgotten. The artists did not know any of the principles of constructing an image on a plane, which were used in Dr. Greece. Precious manuscripts perished - the theoretical works of great artists, as well as many famous works that could serve as models. Idolatry was subjected to the greatest persecution, all the statues and pictures were broken and destroyed. Together with the statues and paintings, scrolls and records, drawings and rules, the method of teaching drawing was unscientific. The basis of training is mechanical copying of samples, and not drawing from life. The painters of the first centuries of Christianity still used the artistic forms of ancient painting. In a short time, the traditions of realistic art were forgotten and lost, the drawing became conditional and schematic. Scientific knowledge of the world was condemned, and any attempt to substantiate observations of nature was suppressed. The study of nature and nature in the academic sense was not practiced. Wed age-old pictorial art rejected realistic tendencies, since realistic nature evoked an “earthly” feeling, everything was approved or rejected by the church. Wed century-old artists did not work from nature, but according to samples that were stitched into notebooks, they were contour sketches of compositions of various church plots, individual figures, drapery motifs, etc. They were guided by both wall paintings and easel paintings, etc. j. industrial relations at this time contributed to the development of handicraft labor and the creation of corporations. Drawing was taught by a master who did not follow a strict system or clear teaching methods. Most of the students studied on their own, looking closely at the work of the master. The great masters of Greece strove for a real depiction of nature, the artists of the Middle Ages, obeying church dogmas, moved away from the real world to abstract and mystical creativity. Instead of the charming nakedness of the human body, which inspired and taught Greek artists, heavy, strict and angular draperies appeared, distracting artists from studying anatomy. Neglecting earthly life and caring only about the afterlife, churchmen considered the desire for knowledge to be the source of sin. They condemned the scientific knowledge of the world, and stopped any attempt to substantiate the observations of nature. The ideologists of medieval fine arts rejected realistic tendencies not because they were against the real interpretation of images, but because a realistically rendered nature evoked an "earthly" feeling in the viewer. A believable depiction of the shape of the real world inspired joy in the soul of the viewer, and this went against religious philosophy. When the real interpretation of the form, sometimes reaching naturalistic illusory, corresponded to the religious plot, it was favorably accepted by the church. We know many works of the Middle Ages that are distinguished by realistic features. They resemble the images of people of that era. . Drawing in the Renaissance. Renaissance artists and their contribution to the method of teaching drawing (Cennino Cennini, Alberti, Leonardo da Vinci, A. Dürer, Michelangelo. The method of cutting. The method of the veil) The Renaissance opens a new era not only in the history of the development of art, but also in the field of methods for teaching drawing. At this time, the desire for realistic art, for a truthful transmission of reality, is being revived. The masters of the Renaissance are actively embarking on the path of a realistic worldview, striving to reveal the laws of nature and establish a connection between science and art. In their research, they rely on the achievements of optics, mathematics, and anatomy. Teachings about proportions, perspective and plastic anatomy are in the center of attention of art theorists and practitioners. During the Renaissance a high respect for drawing was restored. Drawing should have been studied by everyone who was engaged in art. The first scientific work - "Treatise on Painting" - belongs to Cennino Cennini. the basis of training should be drawing from life. he rightly believes that daily work is required from the student to master the art. at the same time, he pays too much attention to copying the drawings of the masters. The next work on drawing is "Three Books on Painting", created by the greatest Florentine architect Leon Battista Alberti. This is the most remarkable work of all that was written on the theory of drawing in the Renaissance. A treatise on drawing and the basic rules for constructing an image on a plane. Alberti considers drawing as a serious scientific discipline that has laws and rules that are as accurate and accessible for study as mathematics. Alberti's work is of particular value from a pedagogical point of view. In his treatise, he gave a number of methodological provisions and guidelines for teaching drawing. He writes that the effectiveness of teaching art lies, first of all, in scientific justification. Alberti pays great attention to the study of anatomy. Alberti suggests building the entire learning process on drawing from life. He was the first to speak openly about the deep meaning of art, he realized the need to enrich art with the experience of science, to bring science closer to the practical tasks of art. Alberti is great as a scientist and as a humanist artist. The next most recent work in the field of drawing theory is Leonardo da Vinci's The Book of Painting. This book contains a variety of information: about the structure of the Universe, about the origin and properties of clouds, about sculpture, about poetry, about aerial and linear perspective. There are also instructions on the rules of drawing. Leonardo da Vinci does not put forward new methods and principles, he basically repeats already known provisions. Leonardo da Vinci, like Alberti, believes that the basis of the method of teaching drawing should be drawing from life. Nature makes the student carefully observe, study the structural features of the subject of the image, think and reflect, which in turn increases the effectiveness of learning and arouses interest in the knowledge of life. Leonardo da Vinci attaches great importance to scientific education. Leonardo himself was engaged in serious scientific research. So, studying the anatomical structure of the human body, he performed numerous autopsies of corpses and went in this matter much further than his contemporaries. Leonardo da Vinci also gives fair methodological guidelines for drawing an object from nature. He points out that the drawing must begin with the whole, and not with the parts. Leonardo pays special attention to the drawing of the human figure. Of interest is the method of consolidating the material covered by drawing from memory Among the Renaissance artists who dealt with the problems of learning, the German artist Albrecht Dürer occupies a prominent place. His theoretical works are of great value, both in the field of teaching methods and in the field of art problems. Dürer's writings greatly contributed to the further development of the methodology of teaching drawing. Dürer believed that in art one cannot rely only on feelings and visual perception, but basically it is necessary to rely on exact knowledge; he was also concerned about general issues of pedagogy, issues of teaching and raising children. Among Renaissance artists, few thought about it. When teaching drawing and the laws of constructing a realistic image of objects on a plane, Durer put forward perspective in the first place. The artist himself spent a lot of time studying perspective. The second, most significant work of Dürer - "The Doctrine of the Proportions of Man" - is the fruit of the labors of almost his entire life. Durer summarized all known data on this issue and gave them a scientific development, attaching a huge number of drawings, diagrams and drawings. The artist tried to find the rules for constructing the human figure through geometric proof and mathematical calculations. Particularly valuable for art pedagogy is the method of form generalization developed by Dürer (later called trimming). The trimming method is as follows. To depict, according to all the rules of linear perspective, the shape of a simple geometric body, such as a cube, even for a novice draftsman is not particularly difficult. It is very difficult to give a correct perspective image of a complex figure, for example, a head, a hand, a human figure. But if you generalize the complex shape to the extreme to straight-line geometric shapes, then you can easily cope with the task. The pruning method helps the novice draftsman to correctly solve the tonal tasks of the drawing. The method of analysis and image construction proposed by Dürer had a striking effect in teaching and was used and developed further in the pedagogical practice of artist-teachers. Their work in the field of perspective helped artists to cope with the most difficult problem of building a three-dimensional shape of objects on a plane. After all, before them there were no artists who could build a perspective image of three-dimensional objects. Renaissance artists, in fact, were the creators of a new science. They proved the correctness and validity of their positions both theoretically and practically. Renaissance painters also paid much attention to the study of plastic anatomy. Almost all draftsmen were interested in the laws of the proportional ratio of parts of the human body. In each treatise, the proportions of the human face, as well as other parts of the body, were carefully analyzed. Renaissance masters skillfully used the data of their observations in the practice of fine arts. Their works amaze the viewer with a deep knowledge of anatomy, perspective, and the laws of optics. Having put the data of science as the basis of fine art, the artists of the Renaissance paid special attention to drawing. The drawing, they said, contains all the most important things that are required for successful creative work. The method of drawing from nature with the help of a curtain is based on the principle of strict observance of the laws of perspective. In order for the artist to be able to strictly observe a constant level of vision, and in a drawing - a constant vanishing point, Alberti suggested using a special device - a curtain. . The Academic System of Art Education in the 16th - 12th Centuries (Pedagogical Ideas of J. A. Comenius, D. Locke, J. J. Rousseau, Goethe) At the end of the 16th century, new directions appeared in the field of art education and aesthetic education, new pedagogical principles and attitudes. The method of teaching drawing began to be built differently. A century in the history of methods for teaching drawing should be considered as a period of the formation of drawing as an academic subject and the development of a new pedagogical teaching system - academic. The most characteristic feature of this period is the creation of special educational institutions - academies of arts and art schools, where the teaching of drawing was seriously established. The most famous was the Bologna Academy of Arts, founded by the Carracci brothers. Academy students thoroughly study anatomy - not from books, but by dissecting corpses. Carracci developed a teaching methodology in detail, considering drawing the basis of fine art. In their methodological guidelines, they pointed out that the artist must rely on the data of science, on the mind, because the mind enriches the feeling. academies set as their goal to give serious training in the field of fine arts. They educated young people on the examples of the high art of antiquity and the Renaissance. Tradition has become a characteristic feature of all subsequent academies. Studying the heritage and perceiving the artistic culture of their predecessors, the academies carried all this to the next generation of artists, strictly preserving the great and unshakable foundation on which this tradition was created. Along with state academies, private schools continued to exist, where students received fairly solid professional training. The workshop of the greatest Flemish artist Peter Paul Rubens (1577-1640) was the largest and most richly equipped with teaching aids. In the 17th century it was the best drawing school among private workshops. Rubens' students were such famous artists and excellent draftsmen. When teaching drawing, Rubens attached particular importance to scientific proof of the laws of perspective, chiaroscuro, and plastic anatomy. For the first time after Pamphilus, the idea of the benefits of drawing as a general educational subject was expressed by the great Czech teacher Jan Amos Comenius (1592-1670) in his Great Didactics. True, Comenius did not yet dare to include drawing in the school curriculum as a compulsory subject. However, the value of these thoughts lay in the fact that they were closely related to issues of pedagogy. Chapter 21 of the Great Didactics, titled "Method of the Arts", states that three requirements must be observed in order to teach the art: correct use; sensible direction; frequent exercise. Comenius, considering drawing as a general educational subject, does not make sharp differences in the methods and systems of teaching art in general education and special schools. He relies on the already established system of teaching drawing in the academies of arts, on teaching methods that have justified themselves. Almost simultaneously with Comenius, the general educational value of drawing began to be defended by the English teacher and philosopher John Locke (1632-1704). In his book Thoughts on Education, he writes: “If a boy has acquired a beautiful and quick handwriting, then he should not only support it with careful practice in writing, but also improve his art by drawing. When traveling, drawing will serve the benefit of the young man; often with a few features he will be able to depict buildings, cars, clothes and other things that cannot be explained by any verbose descriptions. But I don't want him to become a painter; it would take more time than he has left from other important activities. However, J. Locke does not give methodological instructions on teaching drawing, he is limited only to general discussions about the benefits of teaching drawing. The French encyclopedist philosopher Jean Jacques Rousseau (1712-1778) spoke in more detail about drawing as a general educational subject. In his book Emile, Rousseau writes that for the knowledge of the surrounding reality, the sense organs are of great importance, which can be developed in a child by teaching him to draw from nature. Rousseau quite rightly points out that drawing lessons should be carried out among nature, since in nature the student can clearly see the phenomena of perspective and understand its laws. In addition, observing nature, the student cultivates his own taste, learns to love nature, begins to understand its beauty. Rousseau believes that learning to draw should take place exclusively by nature. In this regard, Rousseau looks at the method of teaching drawing more seriously than his predecessors. The pedagogical ideas of Comenius, Locke, Rousseau significantly enriched the theory and practice of art. Their theoretical works served as an impetus for the further development of artistic pedagogy. During this period, the authority of the academy was strengthened not only as an educational institution, but also as a trendsetter in artistic tastes. Recognizing ancient art as the highest example and relying on the traditions of the High Renaissance, almost all European academies begin to create an ideal school of fine arts in the broadest sense of the word. Drawing in the system of art education is still considered as the basis of the foundations. But learning to draw from nature begins with the study of classical samples of antiquity. Only a serious study of ancient Greek sculptures will help a beginner to learn the laws of nature and art, only classical samples will reveal to the artist the ideas of beauty and the laws of beauty, the academies argued. The position on the benefits of drawing as a general educational subject was expressed by the great Czech teacher ^ Ya A. Komensky in his "Great Didactics". True, Comenius did not yet dare to include drawing in the school curriculum as a compulsory subject. But the value of his thoughts on drawing was that they were closely related to issues of pedagogy. Of particular value to us are Comenius' thoughts on the need to study teaching methods. Almost simultaneously with Comenius, the general educational value of drawing began to be defended by the English teacher and philosopher John Locke. However, not being a specialist, J. Locke could not give methodological instructions in teaching drawing. He limited himself to general discussions about the benefits of education. The French philosopher-encyclopedist ^ Jacques-Jean Rousseau spoke in more detail about drawing as a general educational subject. He believed that drawing should be taught exclusively from nature and that a child should not have any other teacher than nature itself. Johann Wolfgang Goethe expressed many valuable thoughts about the method of teaching drawing. To master the art of drawing you need knowledge, knowledge and knowledge, he said. The pedagogical ideas of Comenius, Locke, Rousseau, Goethe enriched the theory and practice of teaching drawing. Their theoretical works served as an impetus for the further development of pedagogical thought in general and in the field of methods of teaching drawing in particular. . The role of I.G. Pestalozzi in the development of drawing as a general educational subject. Pupils and followers of J. G. Pestalozzi (I. Schmidt, P. Schmidt, Dupuis brothers) In the 18th - the first half of the 19th century, drawing began to firmly gain its place in secondary schools. This was started by the Swiss teacher Johann Heinrich Pestalozzi (1746-1827), who was not accidentally called the father of school methodology by art teachers. Pestalozzi considers drawing at school as a general education subject. All knowledge, in his opinion, comes from number, form and word. The first step to knowledge is contemplation. In order to be able to think correctly, it is necessary to correctly consider the surrounding nature. Drawing is the most perfect way to acquire this skill. A special role, according to Pestalozzi, should belong to drawing in elementary school. In his diary, which deals with the upbringing of his son, drawing occupies the main place. Daily classes begin with drawing. Drawing, argues Pestalozzi, should precede writing, not only because it facilitates the process of mastering the inscription of letters, but also because it is easier to digest. Pestalozzi himself, according to contemporaries, did not know how to draw, therefore he does not give clear and definite rules for teaching drawing, limiting himself to general pedagogical remarks. But his didactic instructions and pedagogical ideas were so important and vital that they served as the basis for the further development of drawing techniques in secondary schools. Pestalozzi attaches great importance to teaching methods. The success of learning to draw depends on a properly built system, Pestalozzi says. Artists think little about teaching methods, they follow roundabout ways, so their art is available only to the elite (especially gifted). However, everyone can be taught the basics of drawing, and drawing, which is of great general educational importance, should take its place in school along with other academic subjects. Pestalozzi fully outlined his views on the method of drawing in the book How Gertrude Teaches Her Children. The merit of Pestalozzi also lies in the fact that he considered it necessary to be guided by the age characteristics of students when developing a training system. According to Pestalozzi, bringing the educational material into a coherent system, establishing a close connection between knowledge and skills in drawing will definitely develop in students the skills of their conscious application in independent work. his general remarks are of great value. The merit of Pestalozzi is that he was the first to combine the science of school teaching with art, raised the question of the need for methodological development of each position of the drawing. He believed that for the development of the eye there should be one method, for understanding forms - another, for technology - a third. This work was carried out by his students and followers. After Pestalozzi, drawing as a general education subject began to be introduced in all elementary schools. Pestalozzi's pedagogical ideas are further developed. The first such work is the book "Elements of Drawing According to the Ideas of Pestalozzi", written by his student Joseph Schmidt. When teaching drawing, I. Schmidt suggests conducting special exercises: to develop the hand and prepare it for drawing; exercises in creating and finding beautiful forms; exercises to develop the imagination; exercises in geometric drawing of objects; in perspective. To facilitate the work of students, I. Schmidt suggests placing a sheet of cardboard behind nature, on which a grid of squares is depicted. Drawing a model from life, the student could always check the slope and nature of the contour (silhouette) of the object in relation to vertical and horizontal lines, and the cells helped to find proportions correctly. After the initial drawing course, Schmidt advises moving on to artistic drawing, where the student begins to draw a person, first from a plaster model, and then from a living model. The course ends with life drawing of trees and landscapes. Another student of Pestalozzi Ramsauer published a work called "Teaching Drawing", which first outlined the idea of drawing on a blackboard. The new method was as follows: all kinds of lines were depicted on a large blackboard in the form of preliminary exercises, exercises were offered to develop the eye - drawing lines to certain points, dividing lines into parts, drawing lines at a certain angle (slope). The next stage was the drawing of geometric figures and the characteristic forms of nature and art. The teacher should depict all this on the blackboard, and the students should follow the emergence and development of each form. The course ended with drawing from nature, first household items, then plaster heads, and finally a living head. The works of the Berlin art teacher Peter Schmid had a great influence on the development of school methodology. He was the first to introduce into general education schools and developed in detail the method of drawing from life, using various geometric models for this. Schmid initiated the development of the so-called geometric method. Schmid's merit was that he developed a methodology for teaching drawing, based on general pedagogical provisions. According to Schmid, drawing is not only a mechanical exercise of the hand, it is also a gymnastics of the mind, and observation, a general sense of form, and fantasies are also exercised. The sequence of teaching drawing, according to Schmid, should be as follows: first, the image of the simplest form - a parallelepiped, then the image of the curvilinear forms of objects - and so gradually the student is led to drawing from plaster heads and busts. Each task conditions the next one, and the next presupposes the previous one and builds on it. Schmid considered copying pictures not only not bringing any benefit to the student, but even harmful. He said that copying helps only the acquisition of mechanical skills and does not in the least contribute to the mental development of children. in the first half of the 19th century, the method of the Dupuis brothers became widespread in secondary schools. Dupuy's drawing teaching methodology was built as follows: first, students study and depict the simplest models (wire) without perspective phenomena - frontally, then - wire models with perspective contractions. This is followed by drawing flat figures, after which - three-dimensional. The methodical sequence in drawing each group of models was the same: first - the frontal image of the model, then - perspective. The method of teaching drawing by the Dupuis brothers had one more feature - at first, the students drew on black boards with chalk, and when they acquired some skill in drawing, they switched to working on paper. To develop a sense of form, Dupuis introduced classes in clay modeling. The method of teaching drawing by the Dupuis brothers has not lost its significance at the present time. Separate models developed by him are used by artist-educators. So, teachers of the art and graphics faculty of the Moscow State Pedagogical Institute. V. I. Lenin, when teaching drawing according to the method of D. N. Kardovsky, Dupuis models are used. . Drawing in Russia of the 18th century. (Preisler, G. A. Gippius) Until the 18th century, the main method of teaching drawing was the copying method. As a general educational subject, drawing at that time had not yet received wide development; it began to be introduced into educational institutions only at the beginning of the 18th century. Strengthening the power of Russia, the reforms of Peter 1 caused a general rise in culture in the country. There was a great need for people who could make maps, make drawings and illustrations for books. In 1711, at the St. Petersburg printing house, Peter I organized a secular school of drawing, where students not only copied the originals, but also drew from life. Teachers-artists are invited from abroad, with whom contracts are concluded. Drawing is beginning to be widely introduced into general educational institutions. For the correct organization of the methodology for teaching drawing in these educational institutions, I. D. Preisler's book "Basic Rules, or a Brief Guide to Drawing Art" was published. It was the first serious method manual on drawing in Russia. Of particular interest to us is Preisler's book from a methodological point of view. The manual outlines a certain system for teaching drawing. The book gave instructions not only to novice artists, but also to those who taught drawing. Training according to the Preisler system begins with an explanation of the purpose of straight and curved lines in the drawing, then geometric shapes and bodies, and, finally, the rules for their use in practice. The author, with a methodical sequence, shows the student how, moving from simple to complex, master the art of drawing. Whatever object Preisler suggests for drawing, he first of all tries to help the student cope with the difficulties of analyzing the shape of an object and building it on a plane. It clearly shows how to systematically build an image.). Like most artist-teachers of that time, Preisler puts geometry as the basis for teaching drawing. Geometry helps the draftsman to see and understand the shape of an object, and when depicted on a plane, it facilitates the construction process. However, Preisler warns, the use of geometric figures must be combined with a knowledge of the rules and laws of perspective and plastic anatomy. Preisler attaches great importance to the ability to master linear drawing. Preisler's manual was highly appreciated by his contemporaries, it was reprinted several times both abroad and in Russia. There was no more thorough and clear methodological development of educational drawing at that time, so Preisler's work in Russia was used for a long time not only in general educational institutions, but also in special art schools. Such an assessment of Preisler's method cannot be considered correct from a historical point of view. It is no coincidence that his work was such a great success for a whole century, although during this time many different manuals and manuals on drawing were published both in Russia and abroad. Of course, today you can find flaws in Preisler's book, but for the sake of historical truth, it must be pointed out that for its time it was the best guide. The knowledge that the student received on the basis of studying Preisler's course helped him to draw from life in the future, as well as draw from memory and from imagination, which is so important for the artist. So, by the end of the 18th century, drawing as a general educational subject began to become widespread. At this time, Russia becomes a powerful power. In connection with the development of the economic and social life of the country, the need for people who are literate in fine arts, who can draw and draw has sharply increased. A number of theoretical works appear, where the need to master graphic skills is proved, the importance of drawing as a general educational subject is emphasized. In 1844, G. A. Gippius published the work “Essays on the theory of drawing as a general educational subject”, dedicated to drawing as a general educational subject. This was the first major work on this topic, it covered both general theoretical issues of pedagogy and fine arts, and issues of teaching methods of drawing. Much was done during this period in the field of publishing various manuals, manuals and tutorials on drawing. The book is divided into two parts - theoretical and practical. The theoretical part outlines the main provisions of pedagogy and fine arts. In the practical part, the teaching methodology is revealed. Gippius strives to scientifically and theoretically substantiate each position of the method of teaching drawing. In a new way, he considers the process of teaching itself. Teaching methods, says Gippius, should not follow a certain pattern; different teaching methods can achieve good results. In this regard, Gippius anticipates the modern understanding of teaching methodology as the art of teaching. To learn how to draw correctly, you need to learn to reason and think, says Gippius, and this is necessary for all people, and this must be developed from childhood. Gippius gives a lot of valuable methodological advice and recommendations in the second part of his book. Teaching methodology, according to Gippius, should be based not only on the data of practical work, but also on the data of science, and above all psychology. Gippius makes very high demands on the teacher. The teacher should not only know and be able to do a lot, but also speak to the students like an actor. The work of each student should be in the field of view of the teacher. Gippius closely connects the provision of class with equipment and materials with questions of methodology. The work of G. A. Gippius was a significant contribution to the theory and practice of teaching drawing as a general educational subject, it greatly enriched the teaching methodology. We do not find such a serious and in-depth study of the issues of teaching methodology in that period in any, even the most prominent representative of pedagogical thought. All of them were limited to a presentation of the general theoretical provisions of pedagogy, on which the methodology should be built; artists-teachers focused on the rules of drawing. Meanwhile, the bulk of teachers needed to reveal the very methodology of teaching, and in this regard, Gippius did a job of great importance. Many researchers of the history of drawing teaching methods omitted these important points in their writings. 9. Art education in the 19th century. Drawing schools. "Drawing course" and visual aids by A. P. Sapozhnikov A characteristic feature of the artistic life of Russia in the 19th century is an active search for forms and methods of art education and upbringing of members of society. In this regard, the opening of art schools in various cities, the publication of art associations and organizations, the promotion of the arts through exhibition and publishing activities. In 1804 school charter introduces drawing into all district schools and gymnasiums. 1706-97 there was a drawing school created by Peter<#"justify">The method clearly and simply revealed the most complex provisions related to the construction of a three-dimensional image on a plane and made a revolution in educational work. Since the best way to help the student to correctly build an image of the shape of an object is the method of simplifying it at the beginning of drawing - to determine the geometer. the basis of the shape of the object, and then move on to refinement. Sapozhnikov's method had much in common with the Dupuis method, but was published earlier (Sapozhnikov - in 1834, and Dupuis - in 1842). Almost all modern methods include A. Sapozhnikov's system as the base one. 10. Pedagogical views of P.P. Chistyakova Features of the art school of drawing P. P. Chistyakov. P. P. Chistyakov believed that the Academy of Arts of the time of his teaching (1872-1892) needed reform and new methods of working with students, it was necessary to improve the methods of teaching drawing, painting, and composition. Since 1871, Chistyakov took an active part in the production of drawing in secondary schools. Chistyakov's teaching system covered various aspects of the artistic process: the relationship between nature and art, the artist and reality, the psychology of creativity and perception, etc. Chistyakov's method brought up not just an artist-master, but an artist-creator. Chistyakov attached decisive importance in his system to drawing, urged to penetrate into the very essence of visible forms, to recreate their convincing constructive model on the conditional space of the sheet. The advantage of Chistyakov's teaching system was integrity, unity at the methodological level of all its elements, logical following from one stage to another: from drawing, to chiaroscuro, then to color, to composition (composition). He attached great importance to color, seeing in color the most important means of figurative expression, revealing the content of the work. The composition of the picture is the result of the artist’s training, when he was already able to comprehend the phenomena of life around him, to summarize his impressions and knowledge in convincing images “According to the plot and technique” was Chistyakov’s favorite expression. Chistyakov's teaching methods for drawing are comparable to those of the famous Munich art schools. Over the long years of teaching, Chistyakov developed a special "drawing system". He taught to see nature as it exists and as it seems, to combine (but not mix) the linear and pictorial principles, to know and feel the subject, regardless of what needs to be depicted, be it a crumpled sheet of paper, a plaster cast or a complex historical plot. In other words, the main provisions of the "system" were the formula of a "living relationship to nature", and drawing was a way of knowing it. Chistyakov's methods, quite comparable to the methods of the famous Munich art schools, his ability to guess the special language of each talent, careful attitude to any talent, gave amazing results. The variety of creative personalities of the master's students speaks for itself - they are V. M. Vasnetsov, M. A. Vrubel, V. D. Polenov, I. E. Repin, A. P. Ryabushkin, V. A. Serov, V. I. Surikov and others. Analyzing the pedagogical activity of P. P. Chistyakov, one can identify the main components of the system of his work, thanks to which a high level of quality in teaching drawing was achieved. It consisted of the interaction of the following components: the goals and objectives of teaching as the starting point for the functioning of the pedagogical system; scientifically substantiated content of educational material; the use of various types and forms of conducting classes, thanks to which the activities of students were organized in the assimilation of artistic literacy in drawing; various forms of control, with the help of which possible deviations from the tasks set were prevented when performing the drawing; the ongoing self-improvement of P. P. Chistyakov himself, which was aimed primarily at improving the positive impact on students. Also, an integral part of the system of work of Pavel Petrovich Chistyakov was built relationships with students, which had a humanistic orientation of activity, aimed at communication with wards, dialogue and respect for the individual. P. P. Chistyakov (1832-1919) is known not only as an artist, but also as an outstanding teacher, whose many years of work at the Academy of Arts largely determined the fate of the realistic school of painting in Russia in the late 19th and early 20th centuries. Chistyakov's works were already recognized in Soviet times and were summarized in a number of art criticism works. Despite the existence of a number of works devoted to the activities of Chistyakov, his pedagogical system is so revolutionary in nature and does not find analogies in the theory and practice of other national art schools. Chistyakov found a bold and consistent solution to the pressing problems of contemporary art based not on rejection, but on the full use of existing traditions, which allowed him to create a school. fundamentally new, which brought up the largest masters of Russian painting of the end of the past - the beginning of this century. Chistyakov's system was not a simple, albeit talented, experiment of a remarkable teacher. With all its aspects, it was built in the perspective of the art that it expressed and served. And this internal dynamite contained in it in the further development of national painting determined that (its individual provisions have retained their significance in our time.! The Chistyakov system is scientific and artistic in the largest and deepest sense of these concepts. This system was based on a complete revision of pre-existing teaching methods and at the same time served to systematize and rethink them on the basis of new ideological premises. The main role in Chistyakov's teaching system was played by the picture plane, which was an intermediary between the natural and the drawing and helped to compare the image with nature. That is why Chistyakov called his system of drawing as a whole "the system of checking drawing." Considering drawing as a serious academic subject; Chistyakov pointed out that the methodology of his teaching should be based on the laws of science and art. The teacher has no right to mislead the student with his subjective reasoning, he is obliged to give reliable knowledge. Chistyakov's ideas concerning the relationship between the teacher and pupils are of great value to us. “A real, developed, good teacher with a stick of a student is not a duet, in case of an error, failure, etc., he tries to carefully explain the essence of doing it deftly. Lead the student on the true path.” When teaching students to draw, one should strive to intensify their cognitive activity. The teacher must give direction, pay attention to the main thing, and the student must solve these problems himself. In order to correctly solve these problems, the teacher needs to teach the pupil not only to pay attention to the subject, but also to see its characteristic sides. In educational drawing, the issues of observation and knowledge of nature play a paramount role. Like teaching drawing, Chistyakov divides the science of painting into several stages. The first stage is the mastery of the figurative nature of color, the development of the young artist's ability to be accurate in determining the color shade and in finding its correct spatial position. The second stage should teach the student to understand the movement of color in form as the main means of conveying nature, the third - to teach how to solve certain plot-plastic problems with the help of color Chistyakov was a true innovator who turned pedagogy into high creativity. Taking into account the modern requirements of art, he not only revised individual points in education, but also completely revolutionized the latter, starting with the question of the relationship of art to reality and ending with professional skills to skill. His teaching system brought up the artist in the true sense of the word. Mastery came as the maturity of the painter, and not as the handicraft basis of his work. The system was based on a deeply realistic, objective reflection of the world through the feelings of the artist and his understanding of life. Chistyakov was one of the first to prove that the artistic image is not a systematization by the painter of what he sees, but an expression of his own experience. . Drawing in general education and special educational institutions of Russia in the 18th - 19th centuries. Methodology for teaching drawing at the Imperial Academy of Arts The idea of the importance of art education in primary, secondary and higher educational institutions of various non-artistic specializations and the systematic teaching of students in fine arts, along with other general education subjects - reading, writing, counting - in Russian pedagogy was formulated in the 18th century. Professional art education in Russia in the 18th century. could be obtained in private workshops (I. Argunova, P. Rokotova), at the School of Drawing, organized by Peter I in 1711 at the St. Petersburg Printing House. Since 1758, the Academy of the Three Most Noble Arts has become the scientific and methodological center of art education. the methodology for teaching "drawing" was modeled on the Academy of Arts: the assimilation of technical skills in the process of copying samples. As originals for copying by students in schools, the Fundamental Rules, or a Brief Guide to Drawing Art by I. D. Preisler, A. P. Sapozhnikov’s “Drawing Course” were used Thus, by the end of the XVIII century. drawing as a general educational subject has become widespread. In connection with the rapid development of industry and urban planning, an increase in the number of industrial enterprises, the need for people who are literate in fine arts, able to draw and draw has increased, which affected the inclusion of the subject "Drawing" in the curricula. The Academy of Arts is a higher specialized educational institution, its role in the life of Russia was leading. Initially, academies of arts were private studios and creative communities of art masters, their goal was to preserve and develop the highest traditions of art, guide the formation of aesthetic views, criteria and norms of artistic creativity and create on this basis an art school, professional education. In Russia, the first Academy of Arts was formed in 1757 in St. Petersburg as the "Academy of the Three Most Noble Arts" - painting, sculpture and architecture. In 1764, the Imperial Academy of Arts was established with an Educational School attached to it. Throughout its history, the St. Petersburg Academy has been the main Russian center of art education. The largest Russian architects, sculptors, painters, engravers underwent a strict, exacting training at the Academy. From the very beginning, the Academy of Arts was not only an educational and educational institution, but also a center of art education, as it regularly organized exhibitions. Under her, museums and a scientific library were founded, which are still part of the structure of the academy. An important area of activity of the Academy of Arts in the 20th century. was the training of art critics and teachers of art history for museums and educational institutions of Russia. In 1944, the Institute of Painting, Sculpture and Architecture, created on the basis of the Russian Academy of Arts, was named after the great Russian painter I. E. Repin. At the institute, relations were maintained, developed and formed on the basis of the continuity of the tradition of the St. Petersburg school. Pupils of the academy brought up new talented students, and also carried educational traditions to the cities of Russia. The role of the Academy of Arts in the development of Russian art education in the life of Russia was leading. . Studies of the fine arts of children in the late 19th - early 20th centuries (Biogenetic concept of the fine arts of children and the theory of free education. K. Ricci, Lamprecht, G. Kershensteiner) Art education is considered as part of artistic culture. Children's drawing is part of the thin. culture, and the child is the protagonist of the cultural process. Consideration of a child's drawing in a historical aspect, as a phenomenon of art. culture. suggests: 1st analysis in terms of content and methods of thin. education; 2nd place of the child and his creativity in the thin. culture; 3-psychological features of age-related development; 4 the influence of pedagogical individuality - the interaction of the student and his mentor in art. Georg Kershensteiner's book "The Development of the Child's Artistic Creativity", published in Russia in 1914, became the first fundamental study of the drawings of school children from 6 to 13. Particular attention is paid to artistic expression, manifested in free and decorative drawing at different ages of children. The aim of the study was to study the development of drawing ability in addition to systematic external influences. German scientists have established: differentiation of the sexes in the sense of artistic talent; different attitudes of the children of the city and the countryside; connection of intellectual development with the ability of a graphic image. Russia in the late 19th and early 20th centuries was characterized by an increased interest in the methods of teaching drawing both in special and general educational institutions. Started studying child psychology. Corrado Ricci 1911 He drew attention to the fact that children chose a person as one of the central objects of the image. . Ricci compared children's creativity with the art of prehistoric and primitive eras, which served as the basis for the application of the biogenetic theory of explaining the development of children's fine arts. Comparison of children's creativity with the history of art led to the identification of developmental stages common to all children, developed in the studies of Kershensteiner 1914, which were later interpreted by Lamprecht 1909 as the discovery of forms of children's drawing: 1st stage - schemes - shapeless doodles and primitive. Stage 2 sense of form and line is a mixture of formal and schematic, Stage 3 is a believable image - the stage of silhouettes and contours. 4 stage plastic image. Kershensteiner evaluated children's drawings on social grounds - urban or rural. . argued that the development of the picture must go through all 4 stages. Regardless of age, he must overcome each previous step. The negation of the learning beginning led to the absence of image construction. He was against the geometrical method. The theory of free education. Exploring the methods of teaching drawing at the turn of the century, one must take into account that at that time drawing included - drawing from life, decorative, thematic and conversations. This period would be very difficult and controversial. The clarity and severity of the picture is noticeably reduced. A number of research papers appear, the psyche of the child is being studied. Kershensteiner. During this period, everything is mixed. Free education, disagreement between supporters of the geometric and natural method and formalists. representatives of the geometrical defend the academic direction, representatives of the natural method adhere to the theory of free education. Drawing classes at school began to be considered too narrowly. Some theorists say that there is nothing to study in the school of fine arts - they say this is the task of an art school. Introducing children to the visual arts, it is necessary to provide them with more opportunities for independent creativity. in this regard, in the visual activity, we do not see the difference in age at all. All works are equally naive and helpless in art, they are all united by the general term children's drawing. In many schools, the strict teaching system is broken, drawing as a general education subject is losing its knowledge. Picasso wrote: that we are assured that children should be given freedom, but in fact they are forced to make children's drawings. They teach it. Formalist bourgeois art had its influence on the methods of teaching in secondary schools. The whole system and methodology of teaching of this period was aimed at developing the individuality of each student and the inviolability of his artistic personality. School is not needed - in school, the artist loses his natural qualities. . many in a strict realistic drawing saw the fetters that limited the creative possibilities of the artist. Adherents of free education were against the academic study of nature, against the school in general. Everyone, from the Impressionists to the Abstractionists, goes under the slogan - down with school, freedom of creativity. Formalist currents had a detrimental effect on the art school and on the methods of teaching drawing. Separating form from content, denying the cognitive significance of art, led art to nonsense. But there were schools and individual artists who continued to uphold the principles of realistic art. From the second half of the 19th century, school methodology began to be developed more deeply and seriously. True, during this period there were many disputes between Methodists about the advantage of one method over another. The aesthetics of art has always influenced the method of teaching drawing at school. Sometimes this influence was also negative, as, for example, the influence of formalist art. Neglect of the basics of realistic drawing, avoidance of the real world, rejection of the school - these are the main principles of formalist art that have caused serious damage to the development of methods for teaching drawing in a general education school. Drawing as a general educational subject is losing its significance. Interest in children's drawing is limited only to the study of children's creativity. Art critics begin to sing about it, artists imitate children. There is talk about the preservation of the childish, naive immediacy of the perception of the world, about the fact that education in general has a harmful effect on the development of the child. By the 30s 20th century V. leading theorists on art. parenting become: in Germany-G. Kershensteiner, in America - J. Dewey, in our country - A. V. Bakushinsky. Despite the different approach to the problem being solved and its different interpretation, they are all inspired by the general idea, the idea of "free education", the assertion of the child's personality with his right to express his feelings and thoughts, the removal of the teacher from the leadership. Mastering graphic literacy, especially at the initial stage of education, according to them, is not necessary for children. Drawing from life as one of the means of understanding the world around us, drawing as the basis of art is losing its significance every year. Some theorists of children's creativity are beginning to state that in a general education school, children should not be taught graphic, graphic literacy, this is a bad task. schools, but to promote the overall aesthetic development of the child. In the 50s. 20th century In many schools of foreign countries, the strict teaching system is broken, drawing as a general education subject is losing its significance. Drawing as such completely disappeared, and therefore the methodology for teaching drawing in general education schools was gone. The main theme of all international symposiums is aesthetic education, the problem of the all-round development of a person. . Soviet period of art education. Art education in the first decade of Soviet power. The state of teaching drawing and fine arts in the Soviet school of the 20s - 30s (Formalistic and realistic trends in artistic life. Russian Academy of Sciences. Formation of the system of higher graphic education. Pedagogical system of D. N. Kardovsky) First Experiences Soviet society in the late 1920s and early 1930s felt shortcomings in the system of art education. Weakening of ties with the traditions of the academic school of fine arts. In the early 1920s, in many schools, children were not taught correct, realistic drawing. The abstract-schematic direction of education not only negated the significance of the methodology, but also distorted the goals and objectives of teaching drawing in a general education school. Drawing not only did not give children anything for mental development, but essentially interfered with their aesthetic education. In the 1920s, drawing methods were being developed in schools in a variety of areas, but two of them were widely used: the method of developing "free creativity" and the "complex" method of teaching. All conditions have been created in our country for the development of fine arts and art education. The abolition of estates, the democratization of the school, the separation of the school from the church led to the restructuring of all school education. The workers of public education were given the task of restructuring the content, forms and methods of teaching. A prominent representative of "free education" and the biogenetic theory underlying it was A. V. Bakushinsky. In the late 1920s and early 1930s, formalist methods began to be subjected to fair criticism. The revision of the content of programs and curricula led to a restructuring of the methods of teaching drawing at school. The 1931 program was based on drawing from nature. Along with it, the program assigned a place to drawing on themes, according to the idea, to decorative drawing. Great importance was attached to conversations about art. The art school stood in the way of realistic art. The question of creating a new academy of arts was raised. A firm line in building a new school, a new system of teaching required that serious attention be paid to the training of teaching staff. In 1937, the Leningrad Institute of Painting, Sculpture and Architecture and the Moscow Institute of Fine Arts were opened. In these educational institutions, academic drawing took a leading place. The majority of artist-teachers comes to the conclusion that drawing from nature should be the basis of any teaching method, which ensures high professional training of artists. Kardovsky D. N. - made a great contribution to the methodology, encouraged students to build a three-dimensional form on a plane and analyze it. At the beginning of the drawing, you need to strive to break the entire figure into a plane, chop off the shape, until a large shape emerges, you do not need to draw details. Particularly important is the constructive connection between the parts of the forms of objects. Kardovsky was opposed to mindless sketching of chiaroscuro. Kardovsky courageously defended the positions of realistic art and protected the youth from the influence of formalism. Thanks to his firm convictions, a clear and methodically developed system of teaching drawing, Kardovsky had a large number of students and ardent followers. . Formation of the system of higher artistic and graphic education. The state of teaching drawing and fine arts in the Soviet school from the 40s to the 60s of the XX century (Research work in the field of visual activity of children - N. N. Volkov, L. S. Vygotsky, E. I. Ignatiev, V. I. Kirienko, V. S. Kuzin) After the Great Patriotic War, art education was reformed in our country. On August 5, 1947, a resolution of the Council of Ministers of the USSR "On the transformation of the All-Russian Academy of Arts into the Academy of Arts of the USSR" was adopted. The government entrusted the Academy of Arts with steadily developing Soviet fine arts in all its forms on the basis of "the consistent implementation of the principles of socialist realism and the further development of the best progressive art traditions of the peoples of the USSR, and, in particular, the Russian realistic school." This testifies to the maturity of Soviet art pedagogy, which had all the data to further improve the methods of teaching fine arts. During this period, the drawing began to be recognized as the basis of the fine arts. His training should begin as early as possible. As a rule, the beginning of it should precede the study of painting and sculpture. The system of teaching drawing must necessarily include "regular drawing from a posing nude in an environment specially created for this, not pursuing any other goals than acquiring mastery in drawing", that is, specifically "academic" drawing. In order to streamline methodological work in schools in the 1950s, the idea arose of creating special textbooks on drawing. Previously, drawing textbooks for secondary schools were not published either in Russia or abroad. Since 1959, a network of art and graphic faculties has been created at pedagogical institutes. N. Yu. Vergiles, N. N. Volkov, V. S. Kuzin, V. P. Zinchenko, E. I. Ignatiev and others devoted their works to the study of the problems of perception in the process of visual activity. In these works, perception is defined as the creative ability to isolate an object from its environment, comprehend the most significant details, characteristic features of the object, as well as the detection of structural relationships leading to the creation of a clear image. Russia in the late 19th and early 20th centuries was characterized by an increased interest in the methods of teaching drawing both in special and general educational institutions. Preisler - "Basic Rules, or a Brief Guide to Drawing Art" Was published in two languages, German and Russian. It outlines a certain system of teaching drawing. The book gave guidance to artists and teachers. Begins by explaining the purpose of drawing straight and curved lines, then the geom. figures and bodies, the rules for their use in practice. Geometry is the basis for teaching drawing. However, the use of geometric figures must be combined with the application of the rules and laws of plastic anatomy perspective. In his book he provides many visual aids. Attaches great importance to the linear pattern. In 1834, A.P. Sapozhnikov published the “Drawing Course” - the first textbook for educational institutions compiled by a Russian artist. The drawing course began with an introduction to various lines, angles, and then geometric shapes. The value of Sapozhnikov's method lay in the fact that it was based on drawing from life and analyzing its form. The new method proposed by Sapozhnikov found wide application, until the publication of his book, copying of the original reigned. I used the method of simplifying the form at the initial stage of drawing. The teacher should explain the student's mistakes verbally. G. A. Gippius publishes the book “Essays on the theory of drawing as a general academic subject.” All the advanced ideas of pedagogy were concentrated in it. The book is divided into two parts - theoretical and practical. In the book, he theoretically substantiates each position of the teaching methodology. The methodology should not be template, should be based on practical and scientific data. Chistyakov had a great influence on the development of teaching methods and his ideas about the relationship between the teacher and students, which consisted in knowing the student, his character and preparation, finding an approach to the student, and teaching him to look at nature correctly. Vladimir Sergeevich Kuzin - Corresponding Member of the Russian Academy of Education, Dr. Ped. sciences, professor. In his program, the leading place is given to drawing from life, that is, to teach to see objects and phenomena as they exist. He is the head of the group of authors of the state program on fine arts. Boris Mikhailovich Nemensky - artist, teacher, laureate, state prize, corresponding member of the Academy of Pedagogical Sciences. His methodology is based on the inner world of the child, on his feelings, emotions, perceptions. the world around through the soul of the child. At the moment, some schools are engaged in its program called Fine Arts and Artistic Work. Methods of teaching fine arts in educational institutions in currently developing very intensively. Many interesting developments in such authors such as E. I. Kubyshkina, V. S. Kuzin, T. S. Komarova, B. M. Nemensky, E. E. Rozhkova, N. N. Rostovtsev, N. M. Sokolnikova, E. V. Shorokhov, A. S. Khvorostov, T. Ya. folk and decorative arts. Textbooks published for the first time in years in visual arts for primary and secondary schools. . Prospects for art education and aesthetic education of children Natalya Mikhailovna Sokolnikova is a modern teacher-methodologist who has combined in her works all the best in the methods of teaching fine arts that have appeared in recent years. Equally pays attention to drawing from life and DPI, and the emotional development of students. The art education of schoolchildren is the process of mastering by children a body of knowledge, skills, and the formation of worldview attitudes in the field of art and artistic creativity. The artistic education of schoolchildren is the process of developing in children the ability to feel, understand, evaluate, love art and enjoy it; art education and upbringing is inseparable from encouraging children to artistic and creative activity, to the creation of aesthetic, including artistic, values. Aesthetic education in a secondary school is a purposeful process of forming a creatively active personality, capable of perceiving and evaluating the beautiful, perfect, harmonious and other aesthetic phenomena in life, nature, art, from the standpoint of an understanding of the ideal that is accessible to her, to live and create “according to the laws of beauty”. The system of artistic and aesthetic education in a general education school is a lively, purposeful, organized process of artistic and aesthetic education, development, and upbringing of children, taking into account the age of students, based on a combination of modern methodological principles. The system of aesthetic education of primary school students is built taking into account the age-related psychological and pedagogical characteristics of children. Whether we are talking about the requirements for a moral and aesthetic ideal, taste, aesthetic judgments that should be characteristic of a younger student, teenager, youth, or about the nature, genres, criteria for evaluating creative (including artistic and creative) activity, each time the optimal requirement and the solution of the problem should be correlated with the age capabilities of the child. Aesthetic education harmonizes and develops all the spiritual abilities of a person, necessary in various areas of creativity. It is closely connected with moral education, since beauty acts as a kind of regulator of human relationships. Thanks to beauty, a person often intuitively reaches for the good. Aesthetic education, familiarizing people with the treasury of world culture and art - all this is just a necessary condition for achieving the main goal of aesthetic education - the formation of a holistic personality, a creatively developed individuality, acting according to the laws of beauty. Aesthetic education is carried out at all stages of the age development of the individual. The earlier a person enters the sphere of purposeful aesthetic influence, the more reason to hope for its effectiveness. . The experience gained through communication and activity forms in preschool children an elementary aesthetic attitude towards reality and art. The system of aesthetic education is called upon to teach to see the beauty around oneself, in the surrounding reality. In order for this system to influence the child most effectively and achieve its goal, B. M. Nemensky singled out its following feature: “The system of aesthetic education should be, first of all, unified, uniting all subjects, all extracurricular activities, the entire social life of the student, where each subject, each type of occupation has its own clear task in the formation of the aesthetic culture and personality of the student. But every system has a core, a foundation on which it relies. We can consider art as such a basis in the system of aesthetic education: music, architecture, sculpture, painting, dance, cinema, theater and other types of artistic creativity. The reason for this was given to us by Plato and Hegel. Based on their views, it became an axiom that art is the main content of aesthetics as a science, and that beauty is the main aesthetic phenomenon. Art contains great potential for personal development. Beauty gives pleasure and pleasure, stimulates labor activity, makes meeting people pleasant. The ugly repels. Tragic teaches compassion. The comic helps fight shortcomings. One of the true human needs is the need for beauty as a natural human desire for harmony, integrity, balance and order. The fact that this is precisely the vital need of a person is evidenced by the results of research by anthropologists, who found that at a certain stage in the development of the human brain, he simply needed aesthetic impressions and experiences that contributed to the formation of a holistic perception in a person, both of the world and of himself. Knowing the upbringing, educational, developmental effect of aesthetic impressions, sages from ancient times advised to surround the growth of a child with beauty and goodness, the growth of a young man - with beauty and physical development, the growth of youth - with beauty and teaching. Beauty should be present at all stages of the formation of a person, contributing to its harmonious development and improvement. Indeed, beauty, along with truth and goodness, invariably acts as part of the original triad of values, representing the fundamental foundations of being. The same initial and true is the human need for creativity, self-expression, affirmation of oneself in the world by introducing into it a new one created by him. It is the creative position that provides a person with the stability of his existence, because it makes it possible to adequately and timely respond to all new situations in the constantly changing world. Creativity is a free activity to which a person cannot be forced: he can create only because of an internal need for creativity, an internal impulse, which acts as a more effective factor, whose any external pressure or coercion. Here it is found that many of the true human needs are either of an aesthetic nature or include a necessary aesthetic component. Indeed, in terms of returning a person to his true nature, to true being, to the realization of his real needs, not the last place belongs to aesthetic culture and aesthetic education leading to it (although not providing it with necessity) and aesthetic education. An aesthetic attitude to the world has always existed as an all-encompassing, universal and purely human behavior, and an aesthetic assessment is the most holistic, as if completing the perception of an object in the fullness of its givenness and connection with the environment. . The role of aesthetic education in the formation of a creative position is that it not only contributes to the development of feelings, the formation of human sensibility and its enrichment, but also enlightens, substantiates - rationally and emotionally - the need for a creative attitude to the world. It is aesthetic education that shows the role of aesthetic feelings in shaping the picture of the world and develops these feelings. . Methodology as a science. Methods and techniques for teaching fine arts in a secondary school The methodology is both a combination of accumulated experience, new approaches, and the search for means of spiritual and emotional development of students, and the teacher himself. And then teaching methods are most likely a system of unified activity of the teacher and students in mastering a certain part of the content of the program. It is realized by techniques, specific actions of the teacher and student, various forms of their communication. Under the method of teaching, we mean the way the teacher works with students, with the help of which a better assimilation of educational material is achieved and academic performance is increased. The choice of teaching methods depends on the learning goals, as well as on the age of the students. Teaching method (from other - Greek way) is the process of interaction between teachers and students, as a result of which the transfer and assimilation of knowledge, skills and abilities provided by the content of training. Reception of training (teaching reception) - short-term interaction between the teacher and students, aimed at the transfer and assimilation of specific knowledge, skills, skills. According to the established tradition in domestic pedagogy, teaching methods are divided into three groups: - Methods for organizing and implementing educational and cognitive activities: 1. Verbal, visual, practical (According to the source of the presentation of educational material). 2. Reproductive explanatory and illustrative, search, research, problem, etc. (according to the nature of educational and cognitive activity). 3. Inductive and deductive (according to the logic of presentation and perception of educational material); - Methods for monitoring the effectiveness of educational and cognitive activity: Oral, written checks and self-tests of the effectiveness of mastering knowledge, skills and abilities; - Methods for stimulating educational and cognitive activity: Certain incentives in formation of motivation, sense of responsibility, obligations, interests in mastering knowledge, skills and abilities. In the practice of teaching, there are other approaches to the definition of teaching methods, which are based on the degree of awareness of the perception of educational material: passive, active, interactive, heuristic and others. These definitions require further clarification, since the learning process cannot be passive and is not always a discovery (eureka) for students. The passive method is a form of interaction between students and the teacher, in which the teacher is the main actor and manager of the lesson, and students act as passive listeners, subject to the teacher's directives. Communication between the teacher and students in passive lessons is carried out through surveys, independent, tests, tests, etc. From the point of view of modern pedagogical technologies and the effectiveness of students learning the educational material, the passive method is considered the most ineffective, but, despite this, it also has some pros. This is a relatively easy preparation for the lesson on the part of the teacher and the opportunity to present a relatively large amount of educational material in the limited time frame of the lesson. Given these advantages, many teachers prefer the passive method to other methods. It must be said that in some cases this approach works successfully in the hands of an experienced teacher, especially if students have clear goals aimed at a thorough study of the subject. Lecture is the most common type of passive lesson. This type of lesson is widespread in universities, where adults study, fully formed people with clear goals to deeply study the subject. The active method is a form of interaction between students and the teacher, in which the teacher and students interact with each other during the lesson and the students here are not passive listeners, but active participants in the lesson. If in a passive lesson the teacher was the main actor and manager of the lesson, then here the teacher and students are on an equal footing. If passive methods implied an authoritarian style of interaction, then active methods more suggest a democratic style. Many between active and interactive methods put an equal sign, however, despite the generality, they have differences. Interactive methods can be considered as the most modern form of active methods Interactive method (Interactive (“Inter” is mutual, “act” is to act) - means to interact, be in a conversation, dialogue with someone. In other words, unlike active methods , interactive ones are focused on a wider interaction of students not only with the teacher, but also with each other and on the dominance of the activity of students in the learning process.The place of the teacher in interactive lessons is reduced to the direction of students' activities to achieve the goals of the lesson.The teacher also develops a lesson plan (usually, these are interactive exercises and assignments during which the student studies the material). Therefore, the main components of interactive lessons are interactive exercises and assignments that are performed by students. An important difference between interactive exercises and assignments from ordinary ones is that when performing them, students not only and not As much reinforce already learned material as learn new. . Goals and objectives of teaching fine arts in a secondary school The development of a creative personality, its artistic abilities is directly related to the purpose and objectives of teaching the subject of art. Its main PURPOSE is to familiarize with spiritual culture as a way of transferring universal human values from generation to generation, with the perception and reproduction of which, in its activity, a person’s creative and moral self-development takes place, the integrity of his inner world is preserved. So, joining the spiritual culture, a person simultaneously joins his natural essence, developing his basic - universal - abilities: To holistic, imaginative thinking; To empathy with the outside world; To creative activity. The realization of this goal is carried out by the aesthetic education of a person by means of art and artistic pedagogy. They are based on art education and artistic activity. Only in their totality can we imagine the realization of the goals of aesthetic education. These are two different ways of developing human consciousness, not replacing, but complementing each other. The criteria for assessing the creative development of a person in the field of aesthetic education are revealed in accordance with the tasks of forming a harmoniously developed person. Three interrelated directions in it: A) the preservation of the moral integrity of the individual; B) the development of its creative potential; C) ensuring the harmonious correlation of social and unique features in it. All this is naturally realized in the artistic activity of man. The child in his cognitive and creative activity assimilates, first of all, its meaning, associated with an emotional and evaluative attitude to life. Art is a means of accumulation, concentration of that life experience of mankind, which is connected with the tasks of developing the moral and creative potential of people. Therefore, one of the main goals of art is, based on the universal forces of man, to develop his moral ideal, creative attitudes, aesthetic emotions, and feelings. The art program at the school provides for 4 main types of work - drawing from life, thematic drawing, decorative drawing, conversations about art, which are closely related and complement each other in solving the tasks set by the program. The tasks of art classes include: To develop visual perception of students. Develop the ability to observe, establish similarities and differences, classify objects according to shape and texture. To cultivate aesthetic and artistic abilities, to teach to draw from nature, on themes, to perform illustrations and decorative drawings, to develop graphic and pictorial skills. Develop mental and abstract thinking. The leading type of drawing is fig. from nature a cat. leads to the general development of a person - develops imagination, mental, spatial and abstract thinking, eye, memory. School course of art. art aims to: Prepare well-rounded, educated members of society, Aesthetically educate children, develop their artistic taste. Help children learn about the world around them. observation, to accustom to think logically, to realize what has been seen. To teach how to use drawing in labor and social activities To give students the basic knowledge of realistic drawing. To instill skills and abilities in fine arts, to acquaint with the basic technical methods of work. To develop the creative and aesthetic abilities of students, to develop spatial thinking, figurative representation and imagination. To acquaint schoolchildren with outstanding works of Russian and world fine art. To instill interest and love for art. activities. The subject of teaching methods of fine arts is closely related to special and psychological and pedagogical disciplines. The methodology as a subject of study considers the features of the teacher's work with students. The methodology is understood as a set of rational methods of training and education. This is a special department of pedagogy, which studies the rules and laws of building the educational process. The methodology can be general, it considers teaching methods inherent in all subjects and private - methods and techniques used in teaching any one subject. The methodology of teaching fine arts as a science theoretically generalizes practical experience, offers such teaching methods that have already justified themselves and give the best results. The purpose of the course is to form the foundations and professional and pedagogical consciousness of a teacher of fine arts. The objective of the course is knowledge of the history, theory, methods of scientific research in the field of teaching fine arts, the acquisition of intellectual and practical skills to solve the problems of teaching fine arts, creating the foundations for the subsequent formation of a creative approach to the activities of a teacher of fine arts, the formation of a sustainable interest in the profession of a teacher of fine arts. The method of teaching is understood as the way the teacher works with students, in which the best assimilation of educational material is achieved and academic performance increases. The teaching method consists of separate teaching methods: - according to the source of knowledge acquisition (visual, practical, verbal, gaming) - according to the method of obtaining knowledge (reproductive, information-receptive, research, heuristic) - according to the nature of the activity (method of organization and implementation of educational and cognitive activities, the method of control and self-control, the method of stimulating and motivating learning) - by type of occupation 19. The content of visual arts classes at school and other educational institutions (Analysis of fine arts programs approved and recommended by the Ministry of Education and Science (T. Ya. Shpikalova, B. M. Nemensky, M. N. Sokolnikova, Yu. A. Poluyanov, B. P. Yusov) Classes of fine arts from 1-9 grades. The task of the lessons is to teach to draw from nature, on themes, to perform illustrations and decorative drawings, to develop graphic and pictorial skills. The main type of drawing in fine arts is drawing from nature - it develops mental and abstract thinking, is a method of visual education, teaches you to think, purposefully conduct observations, arouses interest in the analysis of nature, thereby preparing the student for further educational work. Thematic drawing - the image of the phenomena of the surrounding world and the illustration of literary works, play a big role in the development of creative imagination. Most of the drawings on the topic are accompanied by sketches and sketches from nature. Develops imaginative thinking, imagination, independence in work, perseverance. DPI is closely related to drawing from nature. At the lessons of the DPI, children get acquainted with the basics of artistic design, study the ornamental creativity of peoples. Decorative drawing develops aesthetic and artistic taste, develops creative abilities. A specific feature of DPI is the decorative processing of forms depicted from nature. Decorative design is carried out on the basis of certain rules and laws, compliance, symmetry, color combinations. Conversation about art At these lessons, children get acquainted with the life and work of outstanding masters, develop aesthetic perception, artistic taste, receive basic knowledge of foreign and Russian art ) BM Nemensky "Fine art and artistic work" (grades 1-9) Purpose: the formation of artistic culture among students, as an integral part of spiritual culture, created by many generations. Contents and Weds: an introduction to the worst culture, including the study of the main types of art. arts: (painting, graphics, sculpture), DPI (folk art, folk crafts, modern decorative art). game tasks are introduced on the topic, connection with music, history, work. In order to experience creative communication, collective tasks are introduced into the program. Practice implies a high level of theoretical training of the teacher. Nemensky B. M. “Fine art and artistic work grades 1-9. » The tasks set by him are aimed at the aesthetic development of students, increasing interest in fine arts, developing imagination and observation, realizing the creative abilities of students, aimed at studying traditional Russian culture. It is a holistic integrated course that includes all the main types: painting, graphics, sculpture, folk decorative art, architecture, design, entertainment and screen arts. Includes three types of thin. activities: constructive (architecture, design), visual (painting, graphics, sculpture), decorative applied. The semantic core of the program is the role of art in the life of society. There is a connection with music, literature, history, labor. For the purpose of experience. Communication is provided for collective classes. Grade 1 “You depict, decorate, build” a playful, figurative form of communion. Grade 2 - "You and Art" Grade 3 "Art around us" familiarization with the culture of your people. Grade 4 - "Every nation is an artist." The design of the program: The first stage is the elementary school, the pedestal of all knowledge, the second stage is the connection of life with types and genres of art. The third stage is world art. ) V. S. Kuzin "Fine art" (grades 1-9) Purpose: development of art in children. abilities, poor taste, creative imagination, spatial thinking, aesthetic feelings. Content and media: drawing from nature, from memory and imagination of objects and phenomena of the world around, creating graphic compositions on topics, talking about art. art. The leading place is drawing from nature. Kuzin and Kubyshkina - developed a textbook on fine arts, revised in accordance with modern general educational standards and the fine arts program for a four-year elementary school. The first part of the textbook is called "Learning to draw" - it is devoted to the practical side of teaching schoolchildren, the basics of fine arts, drawing from life, thematic drawing, painting, composition, modeling, decorative work, appliqué. The second part of the "Magic World" - from it, schoolchildren will learn about the types and genres of fine art, about outstanding Russian artists. The textbooks are accompanied by workbooks for grades 1-4, as well as a guide for the teacher, which gives brief recommendations on how to conduct a lesson. Implementation is available to specialists of various levels prof. preparation. ) T. Ya. Shpikalova: "Fine art and bad work" (grades 1-6) Goal: personal development based on a holistic aesthetic culture. Content and media: the program is integrated on the basis of art. art and the worst work. The content is built on the basis of value concepts: person, family, home, people, history, culture, art. It is a comprehensive approach to the development of artistic information based on the knowledge of students in the field of humanities and natural sciences. It is aimed at mastering the basics of the artistic image of folk art and fine arts, as well as artistic and design activities. To implement this program, it is desirable to have a specialization in decorative applied direction. Shpikalova T. Ya. - the main goal of the program is to promote the upbringing of a highly artistic - educated student personality, the formation of the foundations of a holistic aesthetic culture through the development of historical memory, the creative abilities of the child's inclinations. The team of authors of the program combines fine arts and artistic work, the art of words and songs, based on folk art, in an integrated course. The structure of the program is not usual, the content is revealed according to the types of folk art. The first block is devoted to folk arts and crafts, the second - to oral folk art. Folk DPI includes the following sections of the training course: the basics of the artistic image; ornament in the art of the peoples of the world, structure and types; folk ornament of Russia, creative study in the process of image; artistic work on the basis of acquaintance with folk and DPI. Oral folk art includes the following sections: educational material for listening; educational material for independent reading; folklore holidays. All sections of the program include an approximate list of artistic and didactic games, exercises and creative works. The teacher is provided with great opportunities for pedagogical and artistic creativity in the preparation and conduct of such forms of lesson work as lessons of a generalizing type, lessons - holidays, as forms of teamwork, lessons of form creation and experimentation. The game is considered as one of the leading methodological techniques in organizing the creative work of younger students in the classroom. SOKOLNIKOVA The content of the Fine Arts program corresponds to the following goals: - introducing schoolchildren to the world of fine arts, developing their creativity and spiritual culture; - mastering primary knowledge about the world of plastic arts: fine arts, decorative and applied arts, architecture, design; about the forms of their existence in the daily environment of the child; - education of emotional responsiveness and culture of perception of works of professional and folk art; moral and aesthetic feelings: love for the native nature, its people, the Motherland, respect for its traditions, heroic past, multinational culture. The main didactic principles of teaching fine arts at school (To reveal the essence of the principles of activity and consciousness, the principle of accessibility and strength, the principles of nurturing education, the principle of scientific character, the principle of systematicity and consistency in teaching fine arts) Methodology - a set of methods of training and education. Teaching techniques-moments, from the cat. the teaching method is formed. From a set of techniques and teaching methods united by a common direction, a training system is formed. Properly organized, methodically competent use of didactic principles and teaching methods in art lessons. art contributes to the increase. effectiveness of teaching and upbringing. process: Increases activity, interest, Development of love for art, Develops reproduction. , attention, imagination, thinking, memory, speech, etc. Learned. knowledge, outgrowing. in skills and abilities. Forms the ability to apply knowledge in practice. Important didactic principles in connection with the methodology of the teacher. basics of iso. arts at school the principle of scientific character: the connection between science and the subject principle of visibility: supported by visual perception. The principle of consciousness and activity of students The principle of connection between theory and practice The principle of the strength of the assimilation of knowledge The principle of systematic and consistent The principle of nurturing education Forms a moral, legal, aesthetic, physical personality. culture and life, communication. Educates the intellect-e development and, the individual. Cognitive abilities, taking into account the interests of the trainees. The principle of the system and follow. learning: the continuity and connection of new material with the past, the expansion and deepening of knowledge. New account. the material recalls what was previously perceived, clarifies and supplements it, requires a strict rule not to move on to new educational material until the previous one has been mastered and consolidated The essence of the principle of consciousness and activity is the skillful use of a variety of techniques that contribute to arousing the need and interest in mastering knowledge, giving the educational process a problematic character. For the conscious and active mastery of knowledge, it is necessary: to accustom schoolchildren to posing questions, both to the teacher, and for independent answers and resolutions; to develop in students an independent approach to the material being studied, to think deeply about those theoretical conclusions and concepts, worldview and moral and aesthetic ideas that are in its content. It is impossible to solve this problem if the teacher fails to excite and maintain the cognitive activity and consciousness of students in the learning process. The essence of the principle of systematicity and consistency is to ensure the consistent assimilation by students of a certain system of knowledge in different fields of science, the systematic passage of schooling. Ensuring the systematic and consistent learning requires students to deeply comprehend the logic and system in the content of the acquired knowledge, as well as systematic work on repetition and generalization of the studied material. One of the common reasons for student failure is their lack of a system in their academic work, their inability to be persistent and diligent in learning. The principle of strength reflects the peculiarity of learning, according to which the mastery of knowledge, skills, worldview and moral and aesthetic ideas is achieved only when, on the one hand, they are thoroughly comprehended, and on the other hand, they are well learned and stored in memory for a long time. . The strength of learning is achieved, first of all, when students perform a full cycle of educational and cognitive actions in the learning process: the initial perception and comprehension of the material being studied, its subsequent deeper comprehension, did some work on memorizing it, applying the acquired knowledge in practice, as well as in their repetition and systematization. For a solid assimilation of knowledge, systematic testing and evaluation of students' knowledge is of great importance. The essence of the scientific principle is that the content of education at school should be scientific and have an ideological orientation. To implement it, the teacher needs to: deeply and conclusively reveal each scientific position of the material being studied, avoiding mistakes, inaccuracies and mechanical memorization by students of theoretical conclusions and generalizations; to show the importance of the studied material for understanding contemporary socio-political events and their correspondence to the interests and aspirations of the people. The essence of the principle of accessibility lies in the need to take into account the age and individual characteristics of students in the educational process and the inadmissibility of its excessive complexity and overload, in which mastering the material being studied may be overwhelming. Making learning accessible means: correctly, taking into account the cognitive age capabilities of students, to determine its content, the amount of knowledge, practical skills and abilities that students of each class need to master in each academic subject. Correctly determine the degree of theoretical complexity and depth of study of program material. Correctly determine the amount of study time allocated for the study of each academic subject, taking into account its importance and complexity, and ensuring its deep and lasting assimilation. Curricula and textbooks need to be improved. The teacher must use bright factual material in the learning process, present it compactly and intelligibly, connect it with life and skillfully lead students to theoretical conclusions and generalizations. Take into account the individual characteristics of mental activity and memory of students, as well as the level of their preparation and development. The principle of connection between theory and practice provides that the learning process encourages students to use the acquired knowledge in solving problems, analyze and transform the surrounding reality, developing their own views. For this, an analysis of examples and situations from real life is used. One of the directions for the implementation of this principle is the active involvement of students in socially useful activities at school and beyond. . The principle of visualization in teaching fine arts. Visual aids for art lessons. Types of visual aids. Requirements for visual aids The cognitive process requires the inclusion of various organs of perception in the acquisition of knowledge. According to Ushinsky, visual learning increases the attention of students, contributes to a deeper assimilation of knowledge. The visibility of learning is based on the peculiarities of children's thinking, which develops from the concrete to the abstract. visualization increases students' interest in knowledge and makes the learning process easier. Many complex theoretical provisions with the skillful use of visualization become accessible and understandable to students. Visual aids include: real objects and phenomena in their natural form, machine models, dummies, illustrative aids (paintings, drawings, photographs), graphic aids (diagrams, graphs, charts, tables), various technical means (educational films, programmed education, computers). Visualization functions: helps to recreate the form, essence of the phenomenon, its structure, connections, interactions to confirm theoretical positions; helps to bring into a state of activity all analyzers and the mental processes of sensation, perception, and representation associated with them, as a result of which a rich empirical basis arises for the generalizing and analytical mental activity of children and the teacher; forms students' visual and auditory culture; gives the teacher feedback: by asking questions, students can judge the assimilation of the material, the movement of students' thoughts towards understanding the essence of the phenomenon. Types of educational visualization Natural material models (real objects, dummies, geometric bodies, models of objects, photographs, etc.) Conditional graphic images (drawings, sketches, diagrams, graphs, maps, plans, diagrams, etc.) Sign models, mathematical, chemical formulas and equations and other interpreted models Dynamic visual models (movies and television films, transparencies, cartoons, etc.) 22. Lesson as the main form of organizing the educational process in fine arts at school. Lesson types. The structure of the lesson of fine arts. Teaching and educational tasks of the lesson. Modern requirements for the preparation and conduct of fine arts lessons Cla ́ ssno-uro ́ system ́ ma study ́ niya - the prevailing in modern education and the ubiquitous organization of the learning process, in which, in order to conduct training sessions, students of the same age are grouped into small teams (classes) that retain their composition for a set period of time (usually an academic year), and all students work on mastering the same material. The main form of education is the lesson. A lesson is a lesson conducted by a teacher with a constant composition of students of the same level of training, united in a class subgroup or team. Lessons alternate, according to a fixed schedule, and include frontal, brigade and individual work of schoolchildren using different teaching methods. The duration of a lesson in the workshops is two hours (45 minutes each). education, based on the curriculum and the plan of organization of education "one class - one year", arose at the beginning of the 16th century in Europe.For example, the urban school of the reformer Johann Agricola (Eisleben curriculum) (1527), developed by the humanist and educator Philipp Melanchthon, the organization system German schools and universities (Saxon Charter) (1528), Johann Sturm's Strasbourg gymnasium (1537), Württemberg curriculum of the Swabian reformer John Brenz (1559), etc. Czech teacher Jan Amos Comenius, summarizing the experience of progressive schools, colleges and universities in Europe , developed a class-lesson-subject system contained in his theory of general universal education and upbringing.The class-lesson system currently belongs to traditional education. Having fulfilled its historical mission, this system begins to lose effectiveness in modern socio-cultural and economic conditions. The main disadvantages of the class-lesson-subject system should be recognized: the inability to take into account the many social factors affecting the child, the impossibility of the child's creative self-development, the inability to absorb information and technological innovations, the inability to keep up with the pace of changes in society, and others. The most drastic modernization of the classroom system (Brown, Trump, Parkhurst and others) was based on a different selection of content. The most radical rejection of the subject system, carried out by the reformers (Kilpatrick, Linke, Decrol, etc. ), was reduced to a different differentiation of content. Thus, they did not solve the problem in essence and, at best, improved the class-lesson-subject system in certain socio-political and economic conditions. Types and structure of lessons. The structure of the lesson is a set of elements of the lesson that ensures its integrity and the preservation of the main characteristics of the lesson in various options. Structural elements of the lesson. I. Organization of the beginning of the lesson (2 minutes). To interest children, draw their attention to the lesson, inform the topic and purpose of the lesson. II. Checking homework (3 minutes). the level of learned material of the previous topic and preparation for the perception of new information. III. Main part. Learning new material (20 minutes). Scientific, exciting, accessible presentation of new material with the involvement of students. IV. Primary consolidation of knowledge (5 minutes). You can use special tasks after explaining the new material. Conduct a conversation to develop skills and apply knowledge. V. Summing up the lesson (2 minutes). Find out what the children learned in the lesson, what they learned new and argue the assessment of students' knowledge. VI. Information about homework (3 minutes). Reporting homework and explaining how to complete it. Types. The most common and used in practice classification was introduced by B. P. Esipov and identified the following types of lessons: 1. Learning new material. 2. A lesson in consolidating knowledge and developing skills and abilities. 3. Lesson of generalization and systematization of knowledge. 4. Lesson of control and correction of knowledge, skills and abilities of students. 5. Combined or mixed lesson. Type 1: Learning new material. Type of lesson: - lecture, - lesson with elements of conversation, - lecture with elements of presentation, lesson, conference, excursion, research work. The purpose of the lesson: the study of new knowledge and their primary consolidation. Type 2: Lesson to consolidate knowledge and develop skills and abilities. Lesson type: - workshop, - excursion - laboratory work - business game, - discussion lesson. The purpose of the lesson: Secondary consolidation of acquired knowledge, development of skills and abilities for their application. Type 3: Lesson of generalization and systematization of knowledge. Lesson type: - seminars, conference, generalized lesson, interview lesson, discussion lesson, dispute. The purpose of the lesson: Generalization of students' knowledge in the system. Checking and evaluating students' knowledge. This type of lesson is used when repeating large sections of the studied material. Type 4: Lesson of control and correction of knowledge, skills and abilities of students. Type of lesson: exam - test, Purpose of the lesson: To determine the level of knowledge, skills and abilities of students and to identify the quality of students' knowledge, reflection of their own activities. Type 5: Combined or mixed lesson. Type of lesson: - practice - conference - seminar - control lecture - lecture, Purpose of the lesson: Development of skills for independent application of knowledge in a complex and transferring them to new conditions. Lesson structure. I. Organizing the beginning of the lesson (2). To interest, draw attention to the lesson, communicate the topic and purpose of the lesson. II. Check up to h (3). A certain level of learned material from the previous topic and preparing students for the perception of new information (depending on the form of education, it may not be present). III. Main part. Learning new material (20). Scientific, exciting, accessible presentation of new material with the involvement of students. IV. Primary consolidation of knowledge (5). You can use special tasks after explaining the new material. Conduct a conversation to develop skills and apply knowledge. V. Summing up the lesson (2 minutes). Find out what the children learned in the lesson, what they learned new and argue the assessment of students' knowledge. VI. Information about homework (3 minutes). Reporting homework and explaining how to complete it. . Types of visual activity and their significance in the mental, moral, aesthetic, physical development of schoolchildren. (Drawing, modeling, application, design) Main activities: Image on a plane and in volume (from nature, from memory and from representation); decorative and constructive work; application; volume-spatial modeling; design and constructive activity; artistic photography and video filming; perception of the phenomena of reality and works of art; discussion of the work of comrades, the results of collective creativity and individual work in the classroom; study of artistic heritage; selection of illustrative material for the topics studied; listening to musical and literary works (folk, classical, modern). Mental education is focused on the development of a person's intellectual abilities, interest in knowing the world around him and himself. It assumes: development of willpower, memory and thinking as the main conditions for cognitive and educational processes; formation of a culture of educational and intellectual work; stimulating interest in working with books and new information technologies; as well as the development of personal qualities - independence, breadth of outlook, the ability to be creative. The tasks of mental education are solved by means of training and education, special psychological trainings and exercises, conversations about scientists, statesmen from different countries, quizzes and competitions, involvement in the process of creative search, research and experiment. Ethics is the theoretical basis of moral education. The main tasks of ethical education are: accumulation of moral experience and knowledge about the rules of social behavior (in the family, on the street, at school and other public places); reasonable use of free time and the development of moral qualities of the individual, such as an attentive and caring attitude towards people; honesty, tolerance, modesty and delicacy; organization, discipline and responsibility, a sense of duty and honor, respect for human dignity, diligence and work culture, respect for the national heritage. In the process of moral education, such methods as persuasion and personal example, advice, wishes and approving feedback, a positive assessment of actions and deeds, public recognition of a person's achievements and merits are widely used. It is also advisable to conduct ethical conversations and debates on examples of works of art and practical situations. At the same time, the spectrum of moral education implies both public censure and the possibility of disciplinary and deferred punishments. The purpose of aesthetic education is the development of an aesthetic attitude to reality. Aesthetic attitude implies the ability to emotional perception of beauty. It can manifest itself not only in relation to nature or a work of art. For example, I. Kant believed that contemplating a work of art created by the hand of a human genius, we join the "beautiful". However, only a raging ocean or a volcanic eruption we perceive as "sublime", which man cannot create. (Kant I. Criticism of the ability of judgment. M. 1994.) Thanks to the ability to perceive the beautiful, a person is obliged to bring the aesthetic into his personal life and the lives of others, into everyday life, professional activities and the social landscape. At the same time, aesthetic education should protect us from going into "pure aestheticism." In the process of aesthetic education, artistic and literary works are used: music, art, cinema, theater, folklore. This process involves participation in artistic, musical, literary creativity, organizing lectures, conversations, meetings and concert evenings with artists and musicians, visiting museums and art exhibitions, studying the architecture of the city. The aesthetic organization of labor, the attractive design of classrooms, auditoriums and educational institutions, artistic taste, manifested in the style of clothing of pupils, students and teachers, is of educational importance. This also applies to the social landscape of everyday life. Cleanliness of entrances, landscaping of streets, original design of shops and offices can serve as examples. The main tasks of physical education are: proper physical development, training of motor skills and the vestibular apparatus, various procedures for hardening the body, as well as the education of willpower and character, aimed at increasing a person's working capacity. The organization of physical education is carried out through physical exercises at home, at school, university, in sports sections. It assumes the presence of control over the regime of studies, work and rest (gymnastics and outdoor games, hiking trips and sports competitions) and medical and medical prevention of diseases of the younger generation. For the upbringing of a physically healthy person, it is extremely important to observe the elements of the daily routine: long sleep, high-calorie nutrition, a thoughtful combination of various activities. . Patterns of the manifestation of the creative abilities of schoolchildren in the lessons of fine arts. Fundamentals of research work in the field of visual activity of children. The creativity of students is understood as an independent solution of new tasks assigned to them. In drawing classes, all the prerequisites for the development of creativity are laid. Its manifestation can be associated not only with the solution of a complex image problem, as in a thematic composition, but also with the simplest monosyllabic task, solved in a sketch from nature, from memory and representation. To bring the child to the independence of solving a new problem, to discoveries is my job. Systematic work in the visual arts develops such personal qualities as spatial thinking, a keen sense of color, vigilance of the eye, forms the qualities of a person’s intellect, which are important, ultimately, not only for creating a drawing, sketch or model of an object, but also for any specialty which the student chooses later. These qualities include, first of all, figurative representation and logical thinking, they are the condition for creativity in any human activity. These qualities are already manifested in children of primary school age in their visual arts, which become a need for a developing personality. To a greater extent, these classes contribute to the manifestation of the individuality of the student, which creates especially favorable conditions for the development of creative abilities. When supervising visual activity, I need to remember that this is not an ordinary training session, in which they just learn something, learn something, but an artistic and creative activity that requires children to have a positive emotional attitude, the desire to create an image, a picture, applying for this mental and physical effort. Without this, success is impossible. I attach great importance in the education and upbringing of children to communication with nature. It is nature in all its beauty that inspires people to create: depict, decorate, build. Nature endowed children with the ability to vividly, emotionally empathize with the new, to perceive the world holistically. Unlike adults, children do not have the tools to express what they feel. This complex ideological and emotional content of the object at first lives only in the soul of the child, it is “invisible”, does not have a finished appearance. It must be imagined, that is, it must be given an appropriate imagery and form in which the idea will become visible, tangible, accessible to other people. To do this, I need to enrich the arsenal of ways for children to express themselves, I need to give the child the opportunity to learn about the world and manipulate it. Sometimes one comes across the opinion that a child works creatively when the teacher gives him complete freedom in drawing on topics: choosing a topic, moment, image form. The wider this choice, the more favorable conditions are created for the manifestation of his initiative. For example, when working on an illustration, a fairy tale is indicated from which he can choose any moment. Or even more broadly: he can choose any fairy tale. However, in these cases there is no specific task that should stimulate the child to actively search for visual means in solving the answer to the visual task assigned to him. In other words, the task given to him is so broad and ambiguous that any image can mean that the task is completed. Experience shows that in these cases children choose the path of least resistance. They depict what they saw in the drawings of their comrades, in book illustrations, or what the teacher tells them with a drawing on the blackboard. But such a performance of the drawing does not require great activity, willpower, memory strain and other components of a genuine search. This means that not all forms of teaching develop creative abilities in children. The unity of educational and creative stimulation must be carried out through tasks that introduce students to elementary concepts and ideas about reality and features of the image on the plane, by developing various skills to master the basics of a realistic image. These tasks include a variety of elementary exercises. They can be caused by different educational tasks in working from nature, from memory and from imagination, in decorative work. Along with short-term, simple exercises-etudes, I also include more complex complex tasks, where several tasks are solved simultaneously. On the other hand, the narrowing and concretization of thematic tasks is necessary, that is, I set specific visual tasks for the children, which they must solve on their own. Under these conditions, both lines (literacy training and creativity development) are being successfully implemented. The initiative of the child, his creative search must take place in all tasks. An important condition for the development of the creative imagination of children is the use of various materials and techniques, as well as a change in the types of visual activity. The most effective construction of the content of education is variable, because it allows the use of a differentiated approach to students, enables students to realize their skills in accordance with their individual abilities. Mastering as many different techniques as possible allows you to enrich and develop the inner world of the child, to show creative imagination - the ability to create a sensual image that reveals the inner content. It is necessary to awaken in the child a personal interest in art. In this I am helped by tasks that require the expression of my own sense of attitude, mood, and intention. Creative tasks are open in nature, do not have the correct answer. There are as many answers as there are children. My role is not only to understand and make a variety of decisions, but also to show the children the legitimacy of these differences. The use of computer technology makes it possible to develop interest in the fine arts in a new quality. To achieve the best results in learning and developing creative abilities, computer technologies are indispensable, because they have more capabilities, allow you to get the maximum result at a minimum cost. The use of a computer in art lessons allows you to actively develop the creative and cognitive abilities of each student; creates an emotional mood, which, in turn, has a positive effect on the development of artistic creativity. All interesting findings on the development of children's imagination are systematized for the organization of subsequent collective and personal exhibitions of children's works. . The teacher as an organizer and leader of the educational process in fine arts Art teacher. develops aesthetic taste, artistic knowledge and skills, cultivates the desire for knowledge to perfection in order to make everything around better and more beautiful. The teacher sets educational tasks for the student, organizes his observations in the process of constructing an image according to a certain system, teaches the analysis of nature in the process of constructing an image, indicates the path for the fastest assimilation of educational material, teaches to analyze, directs attention to the most important features of the structure, carefully monitors the work of the student’s thought , constantly guiding it, supporting it. without losing sight of his work. From the first grade, he lays down the foundations of knowledge and skills of a realistic image for students, takes them away from naive and primitive drawing. After the explanation, the teacher walks around the class and observes the work of the children. Having noticed an error, draws the attention of a student or several students to it and explains the cause of the error. When presenting educational material, it is necessary that all students understand the topic, keep the attention of students, skillfully presenting the topic of the lesson, complicating tasks over time. When teaching drawing from nature, the teacher pays attention to the issues of observation, perception and analysis of nature, illustrates the explanations with drawings on the blackboard or teaching aids. Pedagogical drawing activates work, increases interest: in art. You can use the method: preliminary preparation of the blackboard for the lesson, outlining the dimensions and proportions of the future image with dots, and, already during the lesson, quickly reproduce the drawing using these guidelines. Clear planning of work on lessons ensures the distribution of educational material in tech. total account. year, the intensity of the lessons is determined by the amount of educational material. Such a system makes it possible to effectively use the study time, clearly plan the work on the program for the whole year. During the lesson, the teacher gives the necessary concepts, reveals the sequence of presentations of the educational material, methods of using visual aids, in the summary of the lesson it is necessary to state the methodology of working with the class in as much detail as possible. . Planning and organization of teaching and educational work in the fine arts for the academic year and quarter. Illustrated calendar-thematic plan of fine arts lessons The main functions of a teacher of fine arts at school: educational, educational and organizational. The success of any business depends on its organization. The organization of the educational process means the planning of the entire material of the subject from a lesson to a year and all years of study. In order to achieve systematic, consistent and acceptable knowledge, skills and abilities, you need to plan work with children over the years. For this purpose, they make a thematic plan for the year (another name is the calendar-thematic plan). Forms of thematic plan: the time sheet is a table with sections: class, quarter, lesson number, lesson topic, practical task, task completion materials, note; the illustrated form is a mosaic of drawings located in a logical system (see figure 1), thanks to illustrations that reveal the topic of the lesson, image materials, the level of difficulty of the task, makes the thematic plan clear; the combined form is a system of cards (see Figure 2), which contain not only general information about the planned lesson, which is required for thematic planning, but part of the lesson planning information (lesson equipment, lesson plan, teaching and education methods and techniques) . Moral orientation of the content of classes. Compliance of the planned material with the program. Availability of the planned material for the age of children. Consistent increase in the complexity of learning tasks, the acceptability of the material of the lessons. The presence of inter-subject and inter-lesson connections (block-thematic principle of planning). Compliance with the natural and social calendar. When drawing up a thematic plan, consider the following: ) number of lessons per year - 35; ) the number of lessons in the quarters: in the I and II quarters - 8 lessons each, in the III quarter - 12 lessons, in the IV quarter - 7 lessons. ) time limits of academic quarters: I quarter: September 1 - November 5; II quarter: November 10 - December 30; III quarter: January 12 - March 22; IV quarter: April 1 - May 30. The creativity of the teacher finds expression, first of all, in the logic of constructing blocks of lessons from the proposed topics of lessons by programs. For example: The block of fine arts on the topic "People's holiday" may include lessons with the following topics: "Landscape of the native land" (thematic drawing). "Features of the decor of the national dwelling and costumes of the peoples living in the territory of the region" (a conversation with sketches of elements of the decor of the home and costume). "Decorative still life", composed of household items (drawing from nature). "Sketches of the human figure in motion from nature". "People's festive festivities" ("Fair") (individual, group or collective work on a thematic panel) Modern requirements for the management of an educational institution require competent approaches to the organization of the educational process from the administrative and pedagogical corps. The curriculum is a normative document that determines: 1) the content of basic knowledge and skills in each academic subject; 2) the logic and sequence of studying topics; 3) the total amount of time to study certain topics. Curricula are divided into several main types: 1) standard programs; 2) work programs; 3) copyright programs. At the level of an educational institution, unified approaches to the development and design of work programs for teachers have been developed. Working program of training courses and disciplines. The work program is a normative and managerial document of an educational institution that characterizes the system for organizing the educational activities of a teacher. The main documents that determine the requirements for the level of training of students and the minimum content of education are: the state educational standard (federal and national-regional components); the basic curriculum of schools in the Russian Federation, including the distribution of the content of education by educational areas, academic disciplines; standard (exemplary) educational programs for each academic discipline of the basic curriculum. The peculiarity of the work program lies in the fact that it is created for a specific (specific) educational institution, and the individuality lies in the fact that it is developed by a teacher for his activity. Thus, the work program of the teacher should show how, taking into account the specific conditions, educational needs and characteristics of the development of students, the teacher creates an individual pedagogical model of education based on state standards. The work program of a subject is an individual teacher's tool that provides the most optimal and effective content, forms, methods and techniques for organizing the educational process for a particular class in order to obtain a result that meets the requirements of the standard. Thematic plan For the teacher, thematic planning is the main document in the activity. It is compiled for a certain period of time, but most often for a year. The main purpose of this document is to plan the lesson activity of the teacher. Planning is most often presented in the form of a table, which has several mandatory items: lesson number, lesson topic, purpose and objectives of the lesson, lesson content, additional material, homework. The thematic plan should also indicate: - Control, laboratory, practical work (number), a list of excursions - Requirements for the level of preparation of students for each topic (knowledge, skills), etc. General requirements for planning: compliance with the content of programs; compliance with the volume of hours included in the program, curriculum; alternation of types of occupations; compliance with the events of the life of society and students; compliance with the principles of didactics. The outline plan should reflect the following points: § the place of the lesson in the system of classes; topic of the lesson; the class in which it is held; the goals of education, development and upbringing; the type of lesson; teaching aids (including software); the structure of the lesson, indicating the sequence of its stages and the approximate distribution of time; the content of the educational material; the system of exercises and tasks for organization of students' activities; teaching methods at each stage of the lesson; forms of organization of students' educational activities; homework. Lesson topic: Class: Objectives: educational - Lesson type: Teaching tools: educational - to master the concept ..., develop skills ..., develop application skills ..., generalize and systematize knowledge about ... educational - education of morality, activity, diligence, ... developing - the development of an algorithmic style of thinking, combinatorial ... Lesson types: a lesson in the study and primary consolidation of new knowledge a lesson in the formation of skills a lesson on the application of knowledge, skills and abilities a lesson on the generalization and systematization of knowledge lesson of control and correction of knowledge, skills combined lesson . Pedagogical drawing at the lessons of fine arts at school. Types of pedagogical drawing. Requirements for the implementation of pedagogical drawings The main thing in pedagogical drawing is the conciseness of the image, its simplicity and clarity. The drawings on the chalkboard should convey the main point of the teacher, omitting everything incidental and secondary. In drawing classes, the visualization of learning is paramount, being one of the main means of information about the material being studied. Based on the visual impression received during examination, accompanied by an explanation from the teacher, students get a complete picture of the material being studied, it is easier for them to understand, comprehend, and remember the main thing in the topic of the lesson. Visual teaching methods The drawing on the blackboard helps to understand what he saw, affects the mental development of the child, the correctness of his judgments. A sketch of a teacher in the margins of a student's drawing is needed if an error in the drawing is seen in one or two students and there is no point in diverting the attention of the whole class. Correcting mistakes in a student's drawing by the teacher's hand is of great educational importance. Watching the teacher work in his album, the student remembers all the details of this process, and then tries to do as the teacher said. Demonstration of drawings by outstanding artists will play a big role in learning, because the student, looking at a drawing made by the hand of a great master, sees what expressiveness can be achieved by drawing with an ordinary pencil. . The principle of visibility requires such a presentation of the material (educational) in which the concepts and ideas of students become clearer and more specific. The main attention in teaching drawing from nature is drawn to the correct image of nature, to the correct transmission of perspective phenomena, features of chiaroscuro, and object designs. To facilitate these basic tasks, it is desirable to install special models (made of wire and cardboard) next to nature, so that the painter can clearly see and clearly understand this or that phenomenon, understand the design of the shape of the object, its characteristic features. The main visual aids used in drawing lessons from life: schematic drawings and tables; casts of classical sculptures, wire models; special models and devices for demonstrating perspective and chiaroscuro; drawings and tables of the methodical sequence of work on the image; reproductions of paintings and drawings by masters; films that reveal the technique of working with a pencil and a brush; special devices - "Color wheel" and "Tone circle" for the development of children's sense of color and tone. . Visibility as a means of activating the visual activity of schoolchildren The principle of visibility lies in the visual perception of an object in any type of drawing class: drawing from life, drawing on topics, DPI, conversations about art. Drawing from nature is a method of visual learning. We consider visualization in teaching drawing from nature as the leading means of teaching. The best means of visual learning is the teacher's drawing on the blackboard, on a piece of paper, or in the margins of the student's work. It helps to understand what he saw, affects the correctness of the work. The main thing is the conciseness of the image, simplicity and clarity. Visualization is more effective than verbal explanation. Ya. A. Comenius proclaimed the principle of visualization the "golden rule of didactics". Methodical tables clearly reveal the sequence and features of the execution of the drawing, the possibilities of the technique of execution, by what means to achieve emotional expressiveness. Of great educational and educational importance is the demonstration of illustrations of paintings by prominent artists from methodological manuals, on the examples of which you can clearly show how to analyze nature, When drawing from nature, the main attention is paid to its correct transmission. To facilitate the task, it is desirable to install special models next to nature in order to understand the design of the shape of the object and its characteristic features. Visualization: diagrams, drawings, tables, plaster models, models made of wire, plexiglass and cardboard help the student to correctly see the form, structure, color and texture. The sequence above the picture should be considered as the disclosure of specific learning tasks. . Problem learning. Methods of problem learning. Lesson types Depending on the purpose, on the task of the school, teaching can be problematic and not problematic. . The main functions of problem-based learning. Based on the task of the general education school and on the basis of the conclusions from the comparison of the traditional type of education with the problem-based one, it is possible to formulate the main functions of problem-based learning. They can be divided into general and special. The following general functions of problem-based learning can be indicated: the assimilation by students of a system of knowledge and methods of mental and practical activity, the development of the intellect of students, that is, their cognitive independence and creative abilities, the formation of dialectical thinking of schoolchildren, the formation of a comprehensively developed personality. In addition, problem-based learning also has the following functions: the development of skills for the creative assimilation of knowledge (the use of a system of logical techniques or individual methods of creative activity), the development of skills for the creative application of knowledge (the application of acquired knowledge in a new situation) and the ability to solve educational problems, the formation and accumulation of experience creative activity (mastering the methods of scientific research, solving practical problems and artistic reflection of reality), the formation of learning motives, social, moral and cognitive needs. The method of monologue presentation. The teacher reports the facts in a certain sequence, gives them the necessary explanation, demonstrates experiments in order to confirm them. The use of visual aids and technical teaching aids is accompanied by an explanatory text. The teacher reveals only those connections between phenomena and concepts that are required to understand this material, introducing them in the order of information. The alternation of facts is built in a logical sequence, however, in the course of presenting the attention of students to the analysis of cause-and-effect relationships, it is not specified. The facts "for" and "against" are not given, the correct final conclusions are immediately reported. If problem situations are created, then only in order to attract the attention of students, to interest them. In order to create a problem situation, the teacher most often only changes the order of the reported facts, demonstrations, experiments, showing visual aids and, as additional content elements, uses interesting facts from the history of the development of the concept under study or facts that tell about the practical application of acquired knowledge in science and technology. The role of the student when using this method is rather passive, the level of cognitive independence necessary for working with this method is low. Reasoning method of teaching. If the teacher aims to show an example of the study of the formulation and solution of a holistic problem, then he uses the reasoning method. At the same time, the material is divided into parts, the teacher for each stage provides a system of rhetorical questions of a problematic nature in order to attract students to a mental analysis of problem situations, exposes objective contradictions of the content, but he himself resolves sentences of a narrative and interrogative type, informational questions (i.e. such questions, answering which it is necessary to reproduce already known knowledge, give information about known knowledge) are not posed, the narration is conducted in the form of a lecture. The method of restructuring the material for work by this method differs primarily in that a system of rhetorical questions is introduced into the content as an additional structural element. The order of the reported facts is chosen in such a way that the objective contradictions of the content are presented especially emphasized, convex, arouse the cognitive interest of students and the desire to resolve them. . Having chosen the reasoning method of teaching, the teacher, in the process of organizing the assimilation process, uses the explanatory method of teaching, the essence of which is that it "includes the teacher's communication of the facts of this science, their description and explanation, that is, it reveals the essence of new concepts with the help of words, visualization and practical action." Dialogic method of presentation. If the teacher sets himself the task of involving students in direct participation in the implementation of a method for solving a problem in order to activate them, increase their cognitive interest, draw attention to what is already known in the new material, he, using the same content construction, supplements its structure with information questions, answers to given by students. The use of the dialogical method of teaching provides a higher level of cognitive activity of students in the process of learning, since they are already directly involved in solving the problem under the cruel control of the teacher. Heuristic method of presentation. The heuristic method is used where the teacher aims to teach students the individual elements of problem solving, to organize a partial search for new knowledge and ways of action. Using the heuristic method, the teacher applies the same construction of educational material as in the dialogical method, but somewhat supplements its structure by setting cognitive tasks and assignments for students at each individual stage of solving an educational problem. Thus, the form of implementation of this method is a combination of heuristic conversation with the solution of problematic tasks and assignments. The essence of the heuristic method is that the discovery of a new law, rule, etc. is not made by the teacher with the participation of students, but by the students themselves under the guidance and with the help of the teacher. research method. The concept of the research method was most fully disclosed by I. Ya. Lerner, who referred to the research method the method that organizes the process of assimilation by “solving problems and problematic tasks. Its essence is that the teacher constructs a methodological system of problems and problematic tasks, adapts it to a specific situation of the educational process, presents it to students, thereby managing their learning activities, and students, solving problems, provide a shift in the structure and level of mental activity, gradually mastering the procedure of creativity, and at the same time they creatively assimilate the methods of cognition. When conducting a lesson using the research method, the same construction of the material is again used and the elements of the structure of the heuristic method and the order of questions, instructions, tasks are taken. If in the process of implementing the heuristic method these questions, instructions and tasks are of a proactive nature, that is, they are posed before solving the sub-problem that makes up the content of this stage, or in the process of solving it and performs a guiding function in the solution process, then in the case of using the research method, questions are posed in at the end of the stage, after the majority of students have solved the sub-problem. Method of programmed tasks. The method of programmed tasks is the setting by the teacher of a system of programmed tasks. The level of effectiveness of the exercise is determined by the presence of problem situations and the possibility of independent formulation and solution of problems. The application of programmed tasks is as follows: each task consists of individual frame elements; one frame contains part of the studied material, formulated in the form of questions and answers, or in the form of a presentation of new tasks, or in the form of exercises. As a result of the work carried out, we can conclude that at this stage of human development, problem-based learning is simply necessary, since problem-based learning forms a harmoniously developed creative personality capable of thinking logically, finding solutions in various problem situations, able to systematize and accumulate knowledge, capable of high introspection , self-development and self-correction. fine arts artistic education 30. Methods of teaching fine arts at different levels of school education (Continuity of preschool educational institutions and elementary school, elementary school and middle level, middle and senior level of secondary school) Purposeful and coordinated guidance of the child's visual activity, taking into account both the previous artistic development and the subsequent one, is a necessary condition for successful aesthetic education. Observance of continuity in teaching children the fine arts determines a clear definition of the amount of knowledge, skills and abilities that younger students should master in separate lessons, on separate topics, sections throughout the school year based on the amount of knowledge, skills and abilities that they received art classes in kindergarten or in the family. Particular attention should be paid to the definition of specific links between the main organizational forms of teaching children the fine arts in preschool and primary school age. Schools and kindergartens have common goals and objectives in teaching children the basics of visual literacy. Continuity of the content of visual arts classes in senior groups of kindergarten and elementary school: The kindergarten regularly holds classes in drawing, modeling, appliqué and design. The school has art classes. Sculpting, applique and designing in the primary grades are carried out at the lessons of labor training. The fine arts program for grades I-III notes the need to harmonize the tasks and content of these lessons. 2. The types of drawing in the senior groups of the kindergarten and in the primary grades of the school are the same. There are only some differences in their names. In the programs of the kindergarten and primary school, the skills and abilities necessary for the visual activity of the child are coordinated. 4. An analysis of the specific tasks of the programs of the senior groups of the kindergarten allows us to conclude that a child entering school from a kindergarten is fully prepared for the successful passage of educational material, for further drawing up creative compositions, illustrations, patterns. He is prepared for the perception and further study of form, space, patterns of color science and composition. Thus, the tasks provided for by the programs, exemplary tasks and the content of knowledge, skills and abilities in fine arts in kindergarten and in primary grades, the general development of a six-seven-year-old child make it possible to ensure continuity in the fine arts of preschoolers and younger schoolchildren. However, this requires the following conditions to be met: Thus, strict observance of the educational tasks provided for by the education program in kindergarten and the fine arts program in primary grades will ensure continuity in the visual activity of preschoolers and younger schoolchildren, which is a necessary condition for the mental development of children, the formation of their emotional and aesthetic attitude to reality. The principle of continuity implies that educational activities, especially at the initial stage, are carried out under the direct supervision of the administration. Solving the problem of succession, work is carried out in three directions: . joint methodological work of primary school teachers and subject teachers in the middle level; . work with students; . work with parents. Continuity between elementary school and 5th grade suggests the following areas:
Fine arts as one of the subjects of the general education school occupies an important place in the education of students. A careful analysis and generalization of the best pedagogical experience indicates that the fine arts are an important means of developing the student's personality. Fine arts, which are especially close to younger schoolchildren with their visibility, occupies one of the leading places in the process of developing children's creative abilities, creative thinking, familiarizing them with the beauty of their native nature, the surrounding reality, and the spiritual values of art. In addition, visual art classes help children master a range of skills in the field of visual, constructive and decorative activities.
aim writing this term paper is to consider the features of the methodology of teaching fine arts in elementary school, namely in grades I-IV.
The work put the following tasks:
The study of the methodology of teaching fine arts in elementary school, to consider its features,
To identify the pedagogical conditions for the successful teaching of fine arts to children of primary school age, as well as the preparation of a thematic annual plan and a lesson plan for elementary school students
Chapter 1. Features of the methodology of teaching fine arts in elementary school
1.1. Pedagogical conditions for teaching fine arts in elementary school
In the development of children's artistic creativity, including fine art, it is necessary to observe the principle of freedom, which is generally an indispensable condition for any creativity. This means that the creative pursuits of children can be neither obligatory nor compulsory, and can arise only from children's interests. Therefore, drawing cannot be a mass and universal phenomenon, but for gifted children, and even for children who are not going to later become professional artists, drawing has a huge cultivating value; when paint and drawing begin to speak to a child, he masters a new language that expands his horizons, deepens his feelings and conveys to him in the language of images that which cannot be brought to his consciousness in any other way.
One of the problems in drawing is that for elementary school children, one activity of creative imagination is no longer enough, he is not satisfied with a drawing made somehow, in order to embody his creative imagination, he needs to acquire special professional, artistic skills and abilities.
The success of training depends on the correct definition of its goals and content, as well as on the ways to achieve the goals, that is, teaching methods. There has been controversy among scholars about this since the very beginning of the school. We adhere to the classification of teaching methods developed by I.Ya. Lerner, M.N. Skatkin, Yu.K. Babansky and M.I. Pakhmutov. According to the studies of these authors, the following general didactic methods can be distinguished: explanatory-illustrative, reproductive and research.
1.2. Methods of teaching fine arts in I- IVclasses
Education, as a rule, begins with an explanatory-illustrative method, which consists in presenting information to children in various ways - visual, auditory, speech, etc. Possible forms of this method are communication of information (story, lectures), demonstration of a variety of visual material, including with the help of technical means. The teacher organizes perception, children try to comprehend new content, build accessible connections between concepts, remember information for further operation with it.
The explanatory and illustrative method is aimed at the assimilation of knowledge, and for the formation of skills and abilities, it is necessary to use the reproductive method, that is, repeatedly reproduce (reproduce) actions. Its forms are diverse: exercises, solving stereotyped problems, conversation, repetition of the description of a visual image of an object, repeated reading and memorization of texts, re-telling of an event according to a predetermined scheme, etc. Both independent work of preschoolers and joint activities with a teacher are expected. The reproductive method allows the use of the same means as the explanatory and illustrative method: the word, visual aids, practical work.
Explanatory-illustrative and reproductive methods do not provide the necessary level of development of children's creative abilities and abilities. The method of teaching, aimed at the independent solution of creative problems by preschoolers, is called research. In the course of solving each problem, it involves the manifestation of one or more aspects of creative activity. At the same time, it is necessary to ensure the availability of creative tasks, their differentiation depending on the preparedness of a particular child.
The research method has certain forms: text problem tasks, experiments, etc. Tasks can be inductive or deductive, depending on the nature of the activity. The essence of this method is the creative acquisition of knowledge and the search for ways of activity. Once again, I would like to emphasize that this method is entirely based on independent work.
Particular attention should be paid to the importance of problem-based learning for the development of children. It is organized with the help of methods: research, heuristic, problem presentation. We have already considered the research.
Another method that helps creative development is the heuristic method: children solve a problematic problem with the help of a teacher, his question contains a partial solution to the problem or its stages. He can tell you how to take the first step. This method is best implemented through heuristic conversation, which, unfortunately, is rarely used in teaching. When using this method, the word, text, practice, visual aids, etc. are also important.
At present, the method of problem presentation has become widespread, the educator poses problems, revealing all the inconsistency of the solution, its logic and the available system of evidence. Children follow the logic of the presentation, control it, participating in the decision process. In the course of the problem statement, both the image and the practical demonstration of the action are used.
Methods of research, heuristic and problem presentation - methods of problem-based learning. Their implementation in the educational process stimulates preschoolers to creative acquisition and application of knowledge and skills, helps to master the methods of scientific knowledge. Modern education must necessarily include the considered general didactic methods. Their use in the classroom of fine arts is carried out taking into account its specifics, tasks, content. The effectiveness of the methods depends on the pedagogical conditions of their application.
As the experience of practical work shows, for the successful organization of fine arts lessons, it is necessary to create a special system of pedagogical conditions. In line with different conceptual approaches, they are defined differently. We have developed a system of conditions that directly affect the development of the artistic creativity of preschoolers, and we propose to consider it. We believe that this group of conditions consists of:
An important condition for the development of artistic creativity of preschoolers in the visual arts is the use by teachers of technical teaching aids, especially video and audio equipment, and special visual aids. The role of visualization in teaching was theoretically substantiated as early as the 17th century. Ya.A. Comenius, later the ideas of its use as the most important didactic tool were developed in the works of many outstanding teachers - I.G. Pestalozzi, K.D. Ushinsky and others. The importance of visualization in teaching was emphasized by the great Leonardo da Vinci, artists A.P. Sapozhnikov, P.P. Chistyakov and others.
Successful implementation of the principle of visibility in teaching is possible with the active mental activity of children, especially when there is a "movement" of thought from the concrete to the abstract or, conversely, from the abstract to the concrete.
At all stages of the lesson, if possible, creative, improvised and problematic tasks should be introduced. One of the main requirements in this case is to provide children with the greatest possible pedagogically expedient independence, which does not exclude the provision of pedagogical assistance to them, as necessary. So, for example, in the primary grades, especially in the first, the teacher, offering this or that plot, in many cases can draw the attention of preschoolers to the main thing that must be depicted first and foremost, can show on the sheet the approximate location of the objects of the composition. This help is natural and necessary and does not lead to the passivity of kids in fine art. From restrictions in the choice of theme and plot, the child is gradually brought to their independent choice.
Chapter 2
Here is the world - and in this world I am.
Here is the world - and in this world we are.
Each of us has our own path.
But according to the same laws we create.
May the path be long and the creator's bread difficult.
And sometimes I want to give slack.
But keep your hands off your face.
And again you give a heart. And again.
Love and knowledge are like good friends.
We are welcome to come to class.
And the light illuminates the children.
All of us until the bell rings.
We create. We are not doing in vain.
We give a piece of knowledge to those
Who acts as a "consumer" so far,
To grow as a "creator" then.
The program "Fine Arts and Artistic Work" is a holistic integrated course that includes all the main types: painting, graphics, sculpture, folk decorative arts, architecture, design, spectacular and screen arts. They are studied in the context of interaction with other types of arts and their specific connections with the life of society and the individual.
The systematizing method is the allocation of three main types of artistic activity for visual spatial arts: constructive, pictorial, decorative.
These three artistic activities are the basis for the division of visual-spatial arts into types: fine - painting, graphics, sculpture; constructive - architecture, design; various arts and crafts. But at the same time, each of these forms of activity is inherent in the creation of any work of art and therefore is a necessary basis for integrating the entire diversity of art forms into a single system, not according to the principle of listing types, but according to the principle of the type of artistic activity. Identification of the principle of artistic activity focuses on the transfer of attention not only to works of art, but also to human activity, to identifying its links with art in the process of daily life.
The connections of art with human life, the role of art in its daily existence, the role of art in the life of society, the importance of art in the development of each child is the main semantic core of the program. Therefore, when highlighting the types of artistic activity, it is very important to show the difference in their social functions.
The program is designed to give students a clear understanding of the system of interaction between art and life. A wide involvement of children's life experience, examples from the surrounding reality is envisaged. Work based on observation and aesthetic experience of the surrounding reality is an important condition for children to master the program material. The desire to express one's attitude to reality should serve as a source of development of figurative thinking.
One of the main goals of teaching art is the task of developing a child's interest in the inner world of a person, the ability to "deep into oneself", awareness of one's inner experiences. This is the key to developing empathy.
The artistic activity of schoolchildren in the classroom finds various forms of expression: the image on the plane and in volume (nature, from memory, from representation); decorative and constructive work; perception of the phenomena of reality and works of art; discussion of the work of comrades, the results of collective creativity and individual work in the classroom; study of artistic heritage; selection of illustrative material for the topics studied; listening to musical and literary works (folk, classical, modern).
The lessons introduce game dramaturgy on the topic being studied, links with music, literature, history, and labor are traced. In order to experience creative communication, collective tasks are introduced into the program. It is very important that the collective artistic creativity of students find application in the design of school interiors.
The systematic development of the artistic heritage helps to realize art as a spiritual chronicle of mankind, as a person's knowledge of the relationship to nature, society, the search for truth. Throughout the course of study, students get acquainted with outstanding works of architecture, sculpture, painting, graphics, arts and crafts, study classical and folk art from different countries and eras. Knowledge of the artistic culture of one's people is of great importance.
The thematic integrity and consistency of the development of the program helps to ensure strong emotional contacts with art at each stage of education, avoiding mechanical repetitions, rising year after year, from lesson to lesson, along the steps of the child's knowledge of personal human connections with the whole world of artistic and emotional culture.
Artistic knowledge, skills and abilities are the main means of introduction to artistic culture. Form, proportions, space, tonality, color, line, volume, texture of material, rhythm, composition are grouped around the general patterns of artistic figurative languages of fine, decorative, and constructive arts. Students master these means of artistic expression throughout the course of their studies.
Three ways of artistic development of reality - pictorial, decorative and constructive - in elementary school act for children as well-understood, interesting and accessible types of artistic activity: images, decorations, buildings. The constant practical participation of schoolchildren in these three activities allows them to systematically introduce them to the world of art. It must be borne in mind that, being presented in elementary school in a playful way as "Brothers-Masters" of images, decorations, buildings, these three types of artistic activity should accompany students throughout the years of study. They first help to structurally divide, and therefore understand the activity of arts in the surrounding life, and then help in a more complex understanding of art.
With all the assumed freedom of pedagogical creativity, it is necessary to constantly keep in mind the clear structural integrity of this program, the main goals and objectives of each year and quarter, which ensure the continuity of the progressive development of students.
2.1. Fundamentals of artistic representations (elementary school curriculum)
1st class (30-60 hours)
You depict, decorate and build
Three types of artistic activity, which determine the whole variety of visual spatial arts, form the basis of the first, introductory class.
To help the children (and the teacher) comes a playful, figurative form of initiation: "Three brothers-masters - the Master of the Image, the Master of Decoration and the Master of Construction." The discovery for children should be that many of their everyday everyday games are artistic activities - the same as adult artists do (not yet art). To see the work of one or another master brother in the surrounding life is an interesting game. This is where the knowledge of the links between art and life begins. Here the teacher lays the foundation in the knowledge of the vast, complex world of plastic arts. The task of this year also includes the realization that the "Masters" work with certain materials, and also includes the initial development of these materials.
But the "Masters" do not appear before the children all at once. At first they are under the "cap of invisibility". In the first quarter, he takes off his “hat” and begins to openly play with the children “Master of the Image”. In the second quarter, he will help remove the "invisibility cap" from the "Master of Decoration", in the third - from the "Master of Construction". And in the fourth, they show the children that they cannot live without each other and always work together. It is also necessary to keep in mind the special meaning of generalizing lessons: in them, through the work of each "Master", children's art work is connected with adult art, with the surrounding reality.
Topic 1. You portray.
Acquaintance with the "Image Master" (8-16 hours)
"Image Master" teaches to see and depict.
And all subsequent years of study will help children in this - help them see, consider the world. To see, one must not only look, but also draw oneself. This must be learned. Here, only the foundations of understanding the enormous role of the activity of the image in people's lives are laid, in the coming years the teacher will develop this understanding. The discovery of the quarter also includes the fact that in art there is not only an Artist, but also a Spectator. Being a good viewer also needs to be learned, and Image Master teaches us that.
The task of the "Master" is also to teach children the primary experience of owning materials available to elementary school. This experience will be deepened and expanded in all further work.
"Image Master" helps to see, teaches to consider
Development of observation and analytical capabilities of the eye. Fragments of nature. Animals - how they are similar and how they differ from each other.
materials: paper, felt-tip pens or colored pencils, or crayons.
visual range: slides depicting drawings of animals or live animals.
Literary series: poems about animals, about noses and tails.
musical series: C.Saint-Saens, suite "Carnival of the Animals".
You can depict a spot
Take a closer look at different spots - moss on a stone, scree on a wall, patterns on marble in the subway and try to see any images in them. Turn the spot into an image of an animal. The spot, pasted or painted, is prepared by the teacher.
materials: pencil, crayons, black ink, black felt-tip pen.
visual range: illustrations for books about animals by E. Charushin, V. Lebedev, T. Mavrina, M. Miturich and other artists working as a stain.
Can be depicted in volume
Let's turn a lump of plasticine into a bird. Modeling. Look and think about what voluminous objects are similar to something, for example, potatoes and other vegetables, driftwood in a forest or park.
materials: plasticine, stacks, plank.
visual range: slides of natural volumes of expressive forms or real stones, the shape of which resembles something.
Can be shown as a line
The line can tell. "Tell us about yourself" - a drawing or series of consecutive drawings.
materials: paper, black felt-tip pen or pencil.
visual range: linear illustrations of children's books, drawings on the themes of poems by S. Marshak, A. Barto, D. Kharms with a cheerful, mischievous development of the plot.
Literary series: funny poems about life at home.
musical series: children's songs about life in the family.
You can depict what is invisible (mood)
Show joy and show sadness. We draw music - the task is to express in the image images of musical pieces that are contrasting in mood.
materials: white paper, colored markers, colored pencils or crayons.
musical series: happy and sad melodies.
Our paints
Color test. Joy of communication with paints. Mastering the skills of organizing a workplace and using paints. Color name. That in life resembles every color. A playful image of a colorful multicolor rug.
materials: paints, gouache, large and thin brushes, white paper.
Artists and audience (generalization of the topic)
Being a spectator is interesting and not easy. This must be learned. Introduction to the concept of "work of art". Painting. Sculpture. Color and paint in the paintings of artists. Development of perception skills. Conversation.
visual range: V. Van Gogh "Sunflowers", N. Roerich "Overseas guests", V. Vasnetsov "Three heroes", S. Konchalovsky "Lilac", M. Vrubel "The Swan Princess".
Theme 2. You decorate.
Acquaintance with the "Master of Decoration" (7-14 hours)
The "Master of Image", whom the children met in the first quarter, is the "Master of Knowledge", a careful look into life. The "Master of Decoration" does something completely different in life - this is the "Master of Communication". It organizes the communication of people, helping them to openly identify their roles. Today we go on a hike, tomorrow we go to work, then to a ball - and with our clothes we talk about these roles of ours, about who we are today, what we will do. More clearly, of course, this work of the "Master of Decoration" is manifested at balls, carnivals, in theatrical performances.
Yes, and in nature, we distinguish some birds or butterflies from others by their decorations.
The natural world is full of decorations
The development of observation. Aesthetic experience. Butterfly wings decoration. The butterfly is decorated according to the blank cut out by the teacher or can be drawn (large, on the whole sheet) by the children in the lesson. The variety and beauty of patterns in nature.
materials: gouache, large and thin brushes, colored or white paper.
visual range: slides "Butterflies", collections of butterflies, books with their image.
The image of an elegant bird in the technique of volume application, collage. Development of a decorative sense of combining materials, their colors and textures.
materials: multi-colored and diversified paper, scissors, glue.
visual range: slides and books depicting various birds.
musical series: children's or folk songs with a pronounced playful, decorative moment (bell ringing, imitation of bird singing).
Beauty must be seen
Discreet and "unexpected" beauty in nature. Examination of various surfaces: tree bark, wave foam, drops on branches, etc. Development of a decorative sense of texture. Experience of visual poetic impressions.
Image of the back of a lizard or tree bark. The beauty of texture and pattern. Acquaintance with the technique of one-color monotype.
materials: for the teacher - a knurling roller, gouache diluted with water or printing ink; for children - a board made of plastic, linoleum or tiles, pieces of paper, a pencil.
visual range: slides of various surfaces: bark, moss, ripples on the water, as well as slides showing lizards, snakes, frogs. If possible - genuine bark, saw cuts of wood, stones.
How, when, why does a person adorn himself
All human jewelry tells something about its owner. What jewelry can tell. We consider the characters of fairy tales - what kind of decorations they have. How do they help us recognize the characters. Images of selected fairy tale characters and their decorations.
materials: colored paper, gouache, brush.
visual range: slides or illustrations with characters from famous fairy tales.
Literary series: fragments of fairy tales with a description of the appearance of the hero.
musical series: songs of fairy-tale heroes.
"Master of Decoration" helps to make a holiday
Room decoration. Making festive New Year's garlands and stars. Decoration of the classroom and your home for the New Year holidays. Collective panel "Christmas tree".
materials: colored paper, scissors, glue, foil, serpentine.
visual range: children's work completed in a quarter.
Literary series: poems about the holiday of the New Year.
musical series: Christmas and New Year holiday songs, P. Tchaikovsky fragments of the ballet "The Nutcracker".
Topic 3. You build.
Acquaintance with the "Master of Construction" (10-20 hours)
"Master of Image" - "Master of Knowledge", "Master of Decoration" - "Master of Communication", "Master of Construction" - this is the "Master of Creation" of the objective environment of life.
In this quarter, his brothers take off his "cap of invisibility" and hand over the reins of government to him. People can learn about the world and communicate only if they have a humanly organized environment. Every nation has been building since primitive times. Children also build in their games from sand, cubes, chairs - any material at hand. Before the beginning of the term, the teacher (with the help of the children) must collect as much "building material" as possible: milk cartons, yoghurts, shoes, etc.
home for yourself
An image of a home made for myself. The development of the imagination. Think of a home. Different houses for different fairy-tale characters. How can you guess who lives in the house. Different houses for different things.
materials: colored paper, gouache, brushes; or felt-tip pens, or colored pencils.
visual range: illustrations of children's books depicting dwellings.
musical series: children's songs about builders-dreamers.
What can you think of at home
Modeling fabulous houses in the form of vegetables and fruits. Construction of boxes and paper comfortable houses for elephant, giraffe and crocodile. The elephant is large and almost square, the giraffe has a long neck, and the crocodile is very long. Children learn to understand the expressiveness of proportions and the construction of form.
materials: plasticine, stacks, rag, plank.
visual range: illustrations for the fairy tales of A. Milne "Winnie the Pooh", N. Nosova "Dunno in the Flower City", J. Rodari "Cipollino", A. Volkov "The Wizard of the Emerald City".
Literary series: descriptions of fabulous towns.
musical series: music for the cartoon and the ballet "Cipollino".
"Master of Building" helps to create a city
"Fairytale City". An image of an image of a city for a particular fairy tale. Construction of a game city. Game of architects.
materials: gouache, colored or white paper, wide and thin brushes, boxes of various shapes, thick paper, scissors, glue.
visual range: illustrations of children's books.
Literary series: descriptions of a fabulous city from a literary work.
Everything we see has a structure
Make images of different animals - a zoo-design from boxes. Make boxes of funny dogs of different breeds. The material can be replaced with an application: various images of dogs are made by gluing pre-prepared single-color paper scraps of various geometric shapes onto a sheet.
materials: various boxes, colored and white thick paper, glue, scissors.
visual range: photographs of animals or reproductions of paintings depicting animals.
All items can be built
Construction from paper, packaging, coasters, flowers and toys.
materials: colored or white paper, scissors, glue.
visual range: slides from various subjects relevant to the task.
Literary series: poems about cheerful hardworking masters.
House outside and inside
The house "looks" at the street, but they live inside the house. "Inside" and "outside" are very interconnected. The image of the house in the form of letters of the alphabet as if they have transparent walls. How could little alphabetic people live in houses-letters, how rooms, stairs, windows are located there.
materials: paper (white or colored), pencils or crayons.
visual range: illustrations of children's books.
City where we live
Assignment: "I draw my favorite city." Image "by impression" after the tour.
materials: paper, gouache, brushes or crayons (at the choice of the teacher).
Literary series: Poems about your city.
musical series: songs about your city.
Generalization of the topic of the quarter
Exercise: exhibition of works made in a quarter. Children learn to look at and discuss each other's work. Playing artists and spectators. You can make a generalizing panel "Our city" or "Moscow".
Topic 4. "Masters of the Image, decorations, buildings" always work together (5-10 hours)
We recognize the joint work of the "Masters" in our works of the past quarters and in works of art.
The generalization here is the 1st lesson. Its purpose is to show children that our three "Masters" are in fact inseparable. They constantly help each other. But each "Master" has its own work, its own purpose. And in a specific work, one of the "Masters" is always the main one. Here, for example, are our drawings-images: where is the work of the "Master of Construction" here? And now these works adorn the classroom. And in the works where the “Master of Decoration” was the main thing, how did the “Master of the Image”, the “Master of Construction” help him? The main thing is to remember with the guys what exactly the role of each "Master" is and what he helped to learn. The best work of children for the whole year should be exhibited in the classroom. A kind of reporting exhibition. It is desirable that each child has some exhibited work. Children learn to talk about their works and about the drawings of their comrades. At the end of the lesson, slides of works of adult art are shown, and the children should highlight the "participation" of each "Master" in these works: a vase with a figurative drawing; a vase whose shape depicts something; a picture with an architectural building; fountain with sculpture; palace interior with bright decor, sculpture and paintings; interior of a modern building with monumental painting.
"Masters" will help us see the world of a fairy tale and draw it
Collective panel and individual images of the fairy tale.
materials: paper, gouache, brushes, scissors, glue, colored paper, foil.
visual range: music from cartoons, film or ballet based on this fairy tale.
Literary series: a fairy tale chosen by the teacher.
A lesson in love. The ability to see
Observation of wildlife from the point of view of the "Three Masters". Composition "Hello, summer!" by impressions of nature.
2nd class (34-68 hours)
you and art
The theme "You and Art" is the most important for this concept, it contains the fundamental sub-themes necessary for the initial familiarization with art as a culture. Here are the primary elements of the language (figurative structure) of the plastic arts and the basis for understanding their connections with the surrounding life of the child. Understanding the language and connections with life are built in a clear methodological sequence. Violation of it is undesirable.
The task of all these topics is to introduce children to the world of art, emotionally connected with the world of their personal observations, experiences, and thoughts.
Topic 1. What and how artists work (8-16 hours)
Here the main task is to get acquainted with the expressive possibilities of artistic materials. Discovery of their originality, beauty and character of the material.
Three basic colors that build the multicolor of the world
Primary and secondary colors. The ability to mix paints right at work is a living connection of colors. Depict flowers, filling in large images the entire sheet (without a preliminary drawing) from memory and impression.
materials: gouache (three colors), large brushes, large sheets of white paper.
visual range: fresh flowers, slides of flowers, flowering meadow; visual aids showing the three primary colors and their mixing (composite colors); practical demonstration of mixing gouache paints.
Five colors - all the richness of color and tone
Dark and light. Shades of color. The ability to mix colored paints with white and black. The image of natural elements on large sheets of paper with large brushes without a preliminary drawing: thunderstorm, storm, volcanic eruption, rain, fog, sunny day.
materials: gouache (five colors), large brush, large sheets of any paper.
visual range: slides of nature in pronounced states: thunderstorm, storm, etc. in the works of artists (N. Roerich, I. Levitan, A. Kuindzhi, etc.); practical demonstration of color mixing.
Pastel and crayons, watercolor - expressive possibilities
Soft velvety pastels, fluidity of transparent watercolors - we learn to understand the beauty and expressiveness of these materials.
The image of the autumn forest (from memory and impression) in pastel or watercolor.
materials: pastel or crayons, watercolor, white paper, harsh (wrapping).
visual range: observation of nature, slides of the autumn forest and works of artists on this topic.
Literary series: A. Pushkin poems, S. Yesenin poems.
musical series: P. Tchaikovsky "Autumn" (from the cycle "The Seasons").
Expressive application possibilities
An idea of the rhythm of spots A rug on the theme of autumn earth with fallen leaves. Group work (1-3 panels), according to memory and impression.
materials: colored paper, pieces of fabric, thread, scissors, glue, paper or canvas.
visual range: living leaves, slides of autumn forest, ground, asphalt with fallen leaves.
Literary series: F. Tyutchev "Leaves".
musical series: F. Chopin nocturnes, P. Tchaikovsky "September" (from the cycle "The Seasons").
Expressive possibilities of graphic materials
The beauty and expressiveness of the line. Thin and thick, moving and viscous lines. Image of a winter forest on white sheets of paper (from impression and from memory).
materials: ink (black gouache, ink), pen, wand, fine brush or charcoal.
visual range: nature observations or winter forest tree slides.
Literary series: M. Prishvin "Stories about nature".
musical series: P. Tchaikovsky "December" (from the cycle "The Seasons").
Expressiveness of materials for work in volume
The image of the animals of the native land by impression and from memory.
materials: plasticine, stacks, plank.
visual range: observation of expressive volumes in nature: roots, stones, slides of animals and sculptures, slides and small plastic from different materials in the original; reproductions of works by sculptor V. Vatagin.
Literary series: V.Bianki "Stories about animals".
The expressive power of paper
Mastering the work with bending, cutting, gluing paper. Translation of a flat sheet into a variety of three-dimensional forms. Gluing simple three-dimensional forms (cone, cylinder, "ladder", "accordion"). Construction of a playground for sculpted animals (individually, in groups, collectively). Imagination work; if there is an additional lesson, you can give an origami task.
materials: paper, scissors, glue.
visual range: slides of works of architecture, layouts of past years made by students, showing techniques for working with paper.
For an artist, any material can become expressive. (generalization of the topic of the quarter)
Understanding the beauty of art materials and their differences: gouache, watercolor, crayons, pastels, graphic materials, plasticine and paper, "unexpected" materials.
Image of a festive city at night using "unexpected" materials: serpentine, confetti, seeds, threads, grass, etc. against the background of dark paper.
Topic 2. Reality and fantasy (7-14 hours)
Image and reality
The ability to peer, to see, to be observant. Image Master teaches us to see the world around us. Images of animals or animals seen in the zoo, in the village.
materials: gouache (one or two colors), colored paper, brush.
visual range: works of art, photographs depicting animals.
Image and fantasy
The ability to fantasize. Fantasy in people's lives. The image of fabulous, non-existent animals and birds, combining elements of different animals and even plants. Fairy-tale characters: dragons, centaurs, etc.
materials: gouache, brushes, a large sheet of paper, preferably colored, tinted.
visual range: slides of real and fantastic animals in Russian wood and stone carvings, in European and Oriental art.
musical series: fantastic images from musical works.
Decoration and reality
The development of observation. The ability to see beauty in nature. "Master of Decoration" learns from nature. Image of cobwebs with dew and branches of trees, snowflakes and other prototypes of decorations using lines (individually, from memory).
materials: charcoal, chalk, fine brush, ink or gouache (one color), paper.
visual range: slides of fragments of nature, seen through the eyes of the artist.
Decoration and fantasy
Without imagination, it is impossible to create a single piece of jewelry. Decoration of a given form (collar, valance, kokoshnik, bookmark).
materials: any graphic material (one or two colors).
visual range: slides of lace, bijouterie, beadwork, embroidery, etc.
musical series: rhythmic combinations with a predominance of a repeating rhythm.
Construction and reality
"Master of Construction" learns from nature. The beauty and meaning of natural structures - honeycombs of bees, poppy heads and forms of the underwater world - jellyfish, algae. Individual-collective work. Paper construction "Underwater world".
materials: paper, scissors, glue.
visual range: slides of a wide variety of buildings (houses, things), natural structures and forms.
Construction and fantasy
"Master of Construction" shows the possibilities of a person's imagination in creating objects.
Creation of models of fantastic buildings, structures: a fantastic city. Individual, group work on the imagination.
materials: paper, scissors, glue.
visual range: slides of buildings that can awaken children's imagination, works and projects of architects (L. Corbusier, A. Gaudi), student work of past years.
"Brothers-Masters of Images, Decorations and Buildings" always work together (generalization of the topic)
Interaction of three types of artistic activity. Design (modeling) in the decoration of Christmas toys depicting people, animals, plants. Collective panel.
materials: paper, scissors, glue, gouache, thin brushes.
visual range: children's work for the quarter, slides and original works.
Topic 3. What art says (11-22 hours)
This is the central and most important theme of the year. The previous two lead to her. The main task is to master the fact that nothing in art is ever depicted, decorated, built just like that, just for the sake of skill. "Brothers - Masters", that is, art, expresses human feelings and thoughts, understanding, that is, attitude to what people depict, to who or what they decorate, by construction they express attitude to who and for what they build. Prior to this, the issue of expression had to be felt by children in their works only on an emotional level. Now for the children all this should move to the level of awareness, become the next and most important discovery. All subsequent quarters and years of study under the program, this topic should be constantly accentuated, fixed through the process of perception and the process of creation, in each quarter, each task. Each task should have an emotional focus, develop the ability to perceive shades of feelings and express them in practical work.
Expression of the nature of the depicted animals
The image of animals is cheerful, swift, threatening. The ability to feel and express the character of the animal in the image.
materials: gouache (two or three colors or one color).
Literary series: R. Kipling fairy tale "Mowgli".
visual range: V.Vatagin's illustrations for "Mowgli" and other books.
musical series: C. Saint-Saens "Carnival of the Animals".
Expression of a person's character in the image; male image
At the request of the teacher, for all further tasks, you can use the plot of a fairy tale. For example, "The Tale of Tsar Saltan" by A. Pushkin provides rich opportunities for connecting figurative solutions for all subsequent topics.
Image of a good and evil warrior.
materials: gouache (limited palette), wallpaper, wrapping paper (rough), colored paper.
visual range: slides of works by V. Vasnetsov, M. Vrubel, I. Bilibin and others.
Literary series: "The Tale of Tsar Saltan" by A. Pushkin, excerpts from epics.
musical series: music by N. Rimsky-Korsakov for the opera "The Tale of Tsar Saltan".
Expression of a person's character in the image; female image
Depiction of fairy-tale images opposite in character (the Swan Princess and Baba Babarikha, Cinderella and the Stepmother, etc.). The class is divided into two parts: one depicts the good, the other - the evil.
materials: gouache or pastel (crayons) on a colored paper background.
visual range: slides of works by V. Vasnetsov, M. Vrubel, I. Bilibin.
Literary series: "The Tale of Tsar Saltan" by A. Pushkin.
The image of a person and his character, expressed in volume
Creation in volume of images with a pronounced character: the Swan Princess, Baba Babarikha, Baba Yaga, Bogatyr, Koschei the Immortal, etc.
materials: plasticine, stacks, boards.
visual range: slides of sculptural images of works by S. Konenkov, A. Golubkina, ceramics by M. Vrubel, medieval European sculpture.
Image of nature in different states
Image of contrasting states of nature (the sea is gentle, affectionate, stormy, disturbing, joyful, etc.); individually.
materials
visual range: slides depicting the contrasting moods of nature, or slides of paintings by artists depicting different states of the sea.
Literary series: fairy tales by A. Pushkin "About Tsar Saltan", "About the fisherman and the fish".
musical series: opera "Sadko", "Scheherazade" by N. Rimsky-Korsakov or "The Sea" by M. Churlionis.
Expression of a person's character through decoration
Decorating himself, any person thereby tells about himself: who he is, what he or she is: a brave warrior - a protector or he threatens. The decorations of the Princess Swan and Baba Babarikha will be different. Decoration of heroic armor cut out of paper, kokoshniks of a given shape, collars (individually).
materials: gouache, brushes (large and thin), blanks from large sheets of paper.
visual range: slides of ancient Russian weapons, lace, women's costumes.
Expression of intent through decoration
Decoration of two fabulous fleets opposite in intentions (good, festive and evil, pirate). The work is collective-individual. Application.
materials: gouache, large and thin brushes, glue, pins, glued sheets or wallpaper.
visual range: slides of works by artists (N. Roerich), illustrations of children's books (I. Bilibin), works of folk art.
Together "Masters of Images, Decorations, Buildings" create houses for fairy-tale characters (generalization of the topic)
Three "Brothers-Masters" together with children (groups) perform several panels, where, with the help of appliqué and painting, they create the world of several fairy-tale characters - good and evil (for example: the tower of the Swan Princess, the house for Baba Yaga, the Bogatyr's hut, etc. ).
A house is created on the panel (with stickers), the background is a landscape as a figurative environment of this house and a figure is an image of the owner of the house, expressing these images by the nature of the building, clothing, shape of the figure, the nature of the trees against which the house stands.
Generalization can be completed with an exhibition of works based on the results of the quarter, its discussion with parents. Groups of "tour guides" should be prepared for the discussion. The teacher can use additional hours for this. An exhibition prepared by a teacher and presented to parents (viewers) should become an event for students and their loved ones and help to consolidate the critical importance of this topic in the minds of children.
Topic 4. As art says (8-16 hours)
Starting from this quarter, you need to pay attention to the expressiveness of the means constantly. Do you want to express it? But how, what?
Color as a means of expression: warm and cold colors. The fight between warm and cold
The image of a fading fire is a "struggle" of heat and cold. Filling the entire sheet, freely mix paints with each other. The fire is depicted as if from above, dying out (work from memory and impression). "Feather of the Firebird". Paints are mixed right on the sheet. Black and white paints are not used.
materials: gouache without black and white paints, large brushes, large sheets of paper.
visual range: slides of a fading fire; methodical manual on color science.
musical series: N. Rimsky-Korsakov fragments from the opera "The Snow Maiden".
Color as a means of expression: quiet (deaf)and vibrant colors. Mixing with black, gray, white paints(dark, delicate shades of color)
The ability to observe the struggle of color in life. Image of the spring earth (individually from memory and impression). If there are additional lessons, they can be given on the plots of creating a "warm kingdom" (Sunny City), a "cold kingdom" (Snow Queen), achieving color richness within one color scheme.
materials: gouache, large brushes, large sheets of paper.
visual range: slides of the spring earth, stormy sky, fog, teaching aids on color science.
musical series: E. Grieg. "Morning" (fragment from the suite "Peer Gynt").
Literary series: M. Prishvin stories, S. Yesenin poems about spring.
Line as a means of expression: the rhythm of lines
Image of spring streams.
materials: pastel or colored crayons.
musical series: A. Arsensky "Forest Stream", "Prelude"; E. Grieg "Spring".
Literary series: M. Prishvin "Forest Stream".
Line as a means of expression: the nature of lines
An image of a branch with a certain character and mood (individually or by two people, according to impression and memory): gentle and powerful branches, while it is necessary to emphasize the ability to create different textures with charcoal, sanguine.
materials: gouache, brush, stick, charcoal, sanguine and large sheets of paper.
visual range: large, large spring branches (birch, oak, pine), slides depicting branches.
Literary series: Japanese verses (tanks).
The rhythm of spots as a means of expression
Basic knowledge of composition. From a change in the position on the sheet, even identical spots, the content of the composition also changes. The rhythmic arrangement of flying birds (individual or collective work).
materials
visual range: visual aids.
musical series: fragments with a pronounced rhythmic organization.
Proportions express character
Designing or sculpting birds with different character proportions - a large tail - a small head - a large beak.
materials: white paper, colored paper, scissors, glue or plasticine, stacks, cardboard.
visual range: real and fabulous birds (slides of book illustrations, toy).
Rhythm of lines and spots, color, proportions - means of expression (generalization of the topic)
Creation of a collective panel on the theme "Spring. Noise of birds".
materials: large sheets for panels, gouache, paper, scissors, glue.
visual range: children's works made on the theme "Spring", slides of branches, spring motives.
General lesson of the year
The class is made up of children's work completed during the year. The opening of the exhibition should be a joyful holiday, an event in school life. The lessons are held in the form of a conversation, consistently reminding the children of all the topics of the training quarters. Three "Brother-Masters" help the teacher in the game-conversation. Parents and other teachers are invited to the lessons (if possible).
visual range: children's work expressing the tasks of each quarter, slides, reproductions of works by artists and folk art, helping to reveal the topics.
3rd class (34-68 hours)
Art around us
One of the main ideas of the program: "From the native threshold - to the world of the culture of the Earth", that is, from familiarization with the culture of one's people, even from the culture of one's "small motherland" - without this there is no way to a universal culture.
Education in this class is based on introducing children to the world of art through the knowledge of the surrounding objective world, its artistic meaning. Children are brought to the understanding that objects have not only a utilitarian purpose, but are also carriers of spiritual culture, and this has always been the case - from ancient times to the present day. It is necessary to help the child to see the beauty of the things around him, objects, objects, works of art, paying special attention to the role of artists - "Masters of Images, Decorations, Buildings" - in creating the environment for human life.
At the end of the year, children should feel that their life, the life of every person, is daily connected with the activities of the arts. The final lessons of each quarter should contain the question: "What would happen if the "Brothers-Masters" did not participate in the creation of the world around you - at home, on the street, etc.?" Understanding the huge role of the arts in real everyday life should be a discovery for children and their parents.
Topic 1. Art in your home (8-16 hours)
Here, the "Masters" take the child to his apartment and find out what each of them "did" in the immediate environment of the child, and in the end it turns out that without their participation not a single object of the house was created, there would not be a house itself.
your toys
Toys - what they should be - the artist came up with. Children's toys, folk toys, homemade toys. Modeling toys from plasticine or clay.
materials: plasticine or clay, straw, wood blanks, paper, gouache, water-based paint for soil; small brushes, swabs.
visual range: folk toy (slides): haze, gorodets, filimonovo, carved toy from Bogorodsk, toys from improvised material: packaging, fabric, fur.
Literary series: proverbs, sayings, folklore, Russian folk tales.
musical series: Russian folk music, P. Tchaikovsky "Children's Album".
Dishes at home
Everyday and holiday utensils. Design, shape of objects and painting and decoration of dishes. The work of "Masters of Construction, Decoration and Imagery" in the manufacture of utensils. Image on paper. Modeling of dishes from plasticine with painting on a white primer.
At the same time, the purpose of the dishes is necessarily emphasized: for whom it is, for what occasion.
materials: tinted paper, gouache, plasticine, clay, water-based paint.
visual range: samples of utensils from natural fund, slides of folk utensils, utensils from different materials (metal, wood, plastic).
Mom's handkerchief
A sketch of a scarf: for a girl, for a grandmother, that is, different in content, pattern rhythm, color, as a means of expression.
materials: gouache, brushes, white and colored paper.
visual range: slides of natural motifs for scarves, scarves and fabrics, samples of children's work on this topic.
musical series: Russian folk music (as a background).
Wallpaper and curtains in your house
Sketches of wallpaper or curtains for a room with a clear purpose: bedroom, living room, nursery. It can also be done in the technique of heeling.
materials: gouache, brushes, cliches, paper or fabric.
visual range: excerpts from some fairy tale, which provides a verbal description of the rooms of a fairy-tale palace.
musical series: musical excerpts characterizing different states: stormy (F. Chopin "Polonaise" in A flat major, op. 53), calm, lyrically tender (F. Chopin "Mazurka" in A minor, op. 17).
your books
The artist and the book. Illustrations. book form. Font. Initial letter. Illustrating the chosen fairy tale or designing a toy book.
materials: gouache, brushes, white or colored paper, crayons.
visual range: covers and illustrations for well-known fairy tales (illustrations by different authors for the same fairy tale), slides, toy books, children's books.
Literary series: The text of the selected story.
greeting card
Sketch for a postcard or decorative bookmark (based on plant motifs). Execution in the technique of scratching, engraving with stickers or graphic monotype is possible.
materials: small paper, ink, pen, wand.
visual range: slides from woodcuts, linoleum, etchings, lithographs, samples of children's work in various techniques.
What did the artist do in our house (generalization of the topic). The artist took part in the creation of all the items in the house. He was assisted by our "Masters of Image, Decoration and Construction". Understanding the role of each. The shape of the object and its decoration. At a generalizing lesson, you can organize a game of artists and spectators or a game of guides at an exhibition of works completed during the quarter. Three "Masters" are talking. They tell and show what objects surround people at home in everyday life. Are there objects at home that the artists did not work on? Understanding that everything related to our life would not exist without the work of artists, without the fine, decorative and applied arts, architecture, design, this should be the result and at the same time a discovery.
Topic 2. Art on the streets of your city (7-14 hours)
It all starts at the doorstep of your own home. This quarter is devoted to this "threshold". And there is no Motherland without him. Not just Moscow or Tula - but exactly the native street that runs "near the face" of your house, well-trodden by feet.
Monuments of architecture - heritage of centuries
The study and image of an architectural monument, their native places.
materials: tinted paper, wax crayons or gouache, white paper.
Literary series: Content related to the selected architectural monument.
Parks, squares, boulevards
Architecture, construction of parks. The image of the park. Leisure parks, museum parks, children's parks. Image of a park, square, a collage is possible.
materials: colored, white paper, gouache or wax crayons, scissors, glue.
visual range: view slides, reproductions of paintings.
Openwork fences
Cast-iron fences in St. Petersburg and in Moscow, in his native city, wooden architraves openwork. The project of an openwork lattice or gate, cutting out of folded colored paper and gluing them into a composition on the theme "Parks, squares, boulevards".
materials: colored paper, scissors, glue.
visual range: slides of ancient fences in Moscow and St. Petersburg. Modern decorative lattices and fences in our cities.
Lanterns in the streets and parks
What are lanterns? The shape of the lanterns is also created by the artist: a festive, solemn lantern, a lyrical lantern. Lanterns on city streets. Lanterns are the decoration of the city. The image or design of the shape of a paper lantern.
materials
Shop windows
If you have extra time, you can make group volumetric layouts.
materials: white and colored paper, scissors, glue.
visual range: slides with decorated showcases. Children's work of previous years.
Transport in the city
The artist also participates in creating the shape of the machines. Machines of different times. The ability to see the image in the form of machines. Invent, draw or build images of fantastic machines (land, water, air) out of paper.
materials: white and colored paper, scissors, glue, graphic materials.
visual range: photos of transport. Slides of old vehicles. Reproductions from magazines.
What did the artist do on the streets of my city (in my village)
Again, the question should arise: what would happen if our "Brothers-Masters" did not touch anything on the streets of our city? In this lesson, one or more collective panels are created from individual works. This may be a panorama of the street of the district from several drawings glued into a strip in the form of a diorama. Here you can place fences and lights, vehicles. The diorama is complemented by figures of people, flat cuttings of trees and bushes. You can play "tour guides" and "journalists". Tour guides talk about their city, about the role of artists who create the artistic image of the city.
Topic 3. The artist and the spectacle (10-20 hours)
The "Brothers-Masters" have been involved in the performing arts since ancient times. But even today their role is irreplaceable. At the discretion of the teacher, it is possible to combine most of the lessons of the topic with the idea of creating a puppet show, for which a curtain, scenery, costumes, puppets, and a poster are sequentially performed. At the end of the generalizing lesson, you can arrange a theatrical performance.
Theatrical masks
Masks of different times and peoples. Masks in ancient images, in the theater, at the festival. Designing expressive sharp-character masks.
materials: colored paper, scissors, glue.
visual range: photographs of masks of different nations and theatrical masks.
Theater artist
Fiction and truth of the theater. Theater holiday. The scenery and costumes of the characters. Theater on the table. Creation of the layout of the scenery of the performance.
materials: cardboard box, multi-colored paper, paints, brushes, glue, scissors.
visual range: slides from sketches of theater artists.
Literary series: selected tale.
Puppet Theatre
Theatrical puppets. Petrushka Theatre. Glove puppets, stick puppets, puppets. The work of the artist on the doll. Characters. The image of the doll, its design and decoration. Making a puppet in class.
materials: plasticine, paper, scissors, glue, fabric, thread, small buttons.
visual range: slides depicting theater puppets, reproductions from books about puppet theater, filmstrip.
theater curtain
The role of the curtain in the theatre. The curtain and the image of the play. Curtain sketch for the performance (teamwork, 2-4 people).
materials: gouache, brushes, large paper (can be from wallpaper).
visual range: slides of theatrical curtains, reproductions from books about puppet theater.
Poster, poster
The meaning of the poster. The image of the performance, its expression in the poster. Font. Image.
Poster design for the performance.
materials: large format colored paper, gouache, brushes, glue.
visual range: theater and circus posters.
Artist and circus
The role of the artist in the circus. The image of a joyful and mysterious spectacle. Image of a circus performance and its characters.
materials: colored paper, crayons, gouache, brushes.
How artists help make a holiday. The artist and the spectacle (summary lesson)
Holiday in the city. "Masters of Image, Decoration and Buildings" help create the Holiday. Sketch of the decoration of the city for the holiday. Organization of an exhibition of all works on the topic in the class. It’s great if you manage to make a performance and invite guests and parents.
Topic 4. The artist and the museum (8-16 hours)
Having become acquainted with the role of the artist in our daily life, with various applied forms of art, we conclude the year with the theme of the art that is kept in museums. Every city can be proud of its museums. Museums of Moscow, St. Petersburg and other cities of Russia are the keepers of the greatest works of world and Russian art. And every child should touch these masterpieces and learn to be proud of the fact that it is his hometown that keeps such great works. They are kept in museums. In Moscow there is a museum - a shrine for Russian culture - the Tretyakov Gallery. She needs to be told first. Today the Hermitage and the Russian Museum play a huge role - centers of international artistic relations, there are many small, also interesting museums and exhibition halls.
However, the topic "Museums" is wider. Museums are not only art, but all aspects of human culture. There are also "home museums" in the form of family albums that tell about the history of the family, interesting stages of life. Maybe a home museum of toys, stamps, archaeological finds, just personal memorabilia. All this is part of our culture. "Brothers-Masters" help in the competent organization of such museums.
Museums in the life of the city
Various museums. The role of the artist in the organization of the exhibition. The largest art museums: the Tretyakov Gallery, the Museum of Fine Arts. A.S. Pushkin, the Hermitage, the Russian Museum, museums of the native city.
The art that is kept in these museums
What is a "picture". Still life painting. still life genre. Still life as a story about a person. Image of a still life on representation, expression of mood.
materials: gouache, paper, brushes.
visual range: slides of still lifes with a pronounced mood (J. B. Chardin, K. Petrov-Vodkin, P. Konchalovsky, M. Saryan, P. Kuznetsov, V. Stozharov, V. Van Gogh, etc.).
Homework: to look at the museum or at the exhibition still lifes of different authors.
landscape painting
We are watching famous landscapes: I. Levitan, A. Savrasov, N. Roerich, A. Kuindzhi, V. Van Gogh, K. Koro. The image of the landscape according to the presentation with a pronounced mood: a joyful and festive landscape; gloomy and dreary landscape; gentle and melodious landscape.
Children in this lesson will remember what mood can be expressed with cold and warm colors, deaf and sonorous, and what can happen when they are mixed.
materials: white paper, gouache, brushes.
visual range: slides with examples of a picturesque landscape with a pronounced mood (V. Van Gogh, N. Roerich, I. Levitan, A. Rylov, A. Kuindzhi, V. Byalynitsky-Birulya).
musical series: The music in this lesson can be used to create a specific mood.
Portrait painting
Introduction to the genre of portraiture. A portrait from memory or from an idea (portrait of a girlfriend, friend).
materials: paper, gouache, brushes (or pastel).
visual range: slides of picturesque portraits of F. Rokotov, V. Serov, V. Van Gogh, I. Repin.
The museums keep sculptures by famous masters
Learning to look at sculpture. Sculpture in the museum and on the street. Monuments. park sculpture. Sculpting a human or animal figure (in motion) for park sculpture.
materials: plasticine, stacks, cardboard stand.
visual range: slides from the sets "Tretyakov Gallery", "Russian Museum", "Hermitage" (works by A.L. Bari, P. Trubetskoy, E. Lansere).
Historical paintings and paintings of everyday genre
Acquaintance with works of historical and everyday genre. An image based on the presentation of a historical event (on the theme of Russian epic history or the history of the Middle Ages, or an image of one's daily life: breakfast in the family, we play, etc.).
materials: a large sheet of colored paper, crayons.
Museums preserve the history of artistic culture, the creations of great artists (generalization of the topic)
"Tour" of the exhibition of the best works of the year, a celebration of the arts with its own scenario. To summarize: what is the role of the artist in the life of every person.
4th grade (34-68 hours)
Every nation is an artist (image, decoration, building
in the work of the peoples of the whole earth)
The purpose of the artistic education and training of a child in the 4th grade is to form an idea of the diversity of artistic cultures of the peoples of the Earth and the unity of peoples' ideas about the spiritual beauty of man.
The diversity of cultures is not accidental - it always expresses the deep relationship of each people with the life of nature, in the environment of which its history develops. These relationships are not immovable - they live and develop in time, are associated with the influence of one culture on another. This is the basis of the originality of national cultures and their relationship. The diversity of these cultures is the wealth of human culture.
The integrity of each culture is also an essential element of the content that children need to experience. The child today is surrounded by a multifaceted disorder of cultural phenomena that come to him through the media. A healthy artistic sense is looking for order in this chaos of images, so each culture must be conveyed as a "holistic artistic personality."
Artistic representations should be given as visible tales of cultures. Children by age are not yet ready for historical thinking. But they are characterized by a desire, sensitivity to a figurative understanding of the world, correlated with the consciousness expressed in folk arts. Here "should" dominate the truth of the artistic image.
By joining through co-creation and perception to the origins of the culture of their people or other peoples of the Earth, children begin to feel themselves participants in the development of mankind, open the way for further expansion of susceptibility to the riches of human culture.
The diversity of ideas of different peoples about beauty is revealed in the process of comparing native nature, labor, architecture, human beauty with the culture of other peoples.
The educational tasks of the year provide for the further development of skills in working with gouache, pastel, plasticine, paper. The tasks of labor education are organically linked with artistic ones. In the process of mastering the skills of working with a variety of materials, children come to understand the beauty of creativity.
In the 4th grade, the importance of collective work in the educational process increases. A significant role in the program of the 4th grade is played by musical and literary works, which make it possible to create a holistic view of the culture of the people.
Topic 1. The origins of the arts of your people (8-16 hours)
Practical work in the classroom should combine individual and collective forms.
Landscape of native land
Characteristic features, originality of the native landscape. Image of the landscape of his native side. Bringing out its special beauty.
materials: gouache, brushes, crayons.
visual range: slides of nature, reproductions of paintings by Russian artists.
musical series: Russian folk songs.
The image of a traditional Russian house (huts)
Acquaintance with the design of the hut, the meaning of its parts.
Exercise: paper modeling (or modeling) of the hut. Individual-collective work.
Material: paper, cardboard, plasticine, scissors, stacks.
visual range: slides of wooden ensembles of ethnographic museums.
Homework: find images of the Russian village, its buildings.
Decorations of wooden buildings and their meaning
Unity in the work of the Three Masters. Magical representations as poetic images of the world. Hut - the image of a person's face; windows - the eyes of the house - were decorated with platbands; facade - "brow" - frontal board, prichelinami. Decoration of "wooden" buildings created in the last lesson (individually-collectively). Additionally - the image of the hut (gouache, brushes).
materials: white, tinted or wrapping paper, scissors, glue or plasticine for bulky buildings.
visual range: slides from the series "Ethnographic Museums", "Russian Folk Art", "Wooden Architecture of Rus'".
musical series: V.Belov "Lud".
Village - wooden world
Acquaintance with Russian wooden architecture: huts, gates, barns, wells... Wooden church architecture. Image of a village. Collective panel or individual work.
materials: gouache, paper, glue, scissors.
image of human beauty
Each nation has its own image of female and male beauty. Traditional clothing expresses this. The image of a man is inseparable from his work. It combines ideas about the unity of mighty strength and kindness - a good fellow. In the image of a woman, the understanding of her beauty always expresses the ability of people to dream, the desire to overcome everyday life. Beauty is also a talisman. Female images are deeply connected with the image of the bird - happiness (swan).
The image of female and male folk images individually or for a panel (pasted in a panel by the group of the main artist). Pay attention that the figures in children's works should be in motion, not resemble an exhibition of clothes. With additional lessons - making dolls according to the type of folk rag or stucco figures for an already created "village".
materials: paper, gouache, glue, scissors.
visual range: slides of materials from ethnographic museums, books about folk art, reproductions of works by artists: I. Bilibin, I. Argunov, A. Venetsianov, M. Vrubel, etc.
Literary series: fragments from epics, Russian fairy tales, excerpts from Nekrasov's poems.
musical series: folk songs.
Homework: find the image of male and female images of labor and holiday.
Folk holidays
The role of holidays in people's lives. Calendar holidays: autumn harvest festival, fair. A holiday is an image of an ideal, happy life.
Creation of works on the theme of a national holiday with a generalization of the material of the theme.
materials: glued wallpaper panel for panels or sheets of paper, gouache, brushes.
visual range: B. Kustodiev, K. Yuon, F. Malyavin, works of folk decorative art.
Literary series: I. Tokmakova "Fair".
musical series: R. Shchedrin "Naughty ditties", N. Rimsky-Korsakov "Snow Maiden".
Topic 2. Ancient cities of your land (7-14 hours)
Every city is special. It has its own unique face, its own character, each city has its own special destiny. Its buildings in their appearance captured the historical path of the people, the events of their lives. The word "city" comes from "to fence", "to fence off" with a fortress wall - to fortify. On the high hills, reflected in the rivers and lakes, cities grew with white walls, domed temples, and the chiming of bells. There are no other cities like this. Reveal their beauty, the wisdom of their architectural organization.
Old Russian city - fortress
Task: study of the structures and proportions of fortress towers. Construction of fortress walls and towers from paper or plasticine. An illustrative version is possible.
materials: according to the selected job option.
ancient cathedrals
Cathedrals embodied the beauty, power and strength of the state. They were the architectural and semantic center of the city. These were the shrines of the city.
Acquaintance with the architecture of the ancient Russian stone church. Construction, symbolism. Paper building. Collective work.
materials: paper, scissors, glue, plasticine, stacks.
visual range: V. Vasnetsov, I. Bilibin, N. Roerich, slides "Walking around the Kremlin", "Cathedrals of the Moscow Kremlin".
Ancient city and its inhabitants
Modeling of the entire residential content of the city. Completion of the "construction" of the ancient city. Possible option: image of an ancient Russian city.
Old Russian warriors - defenders
Image of ancient Russian warriors of the princely squad. Clothing and weapons.
materials: gouache, paper, brushes.
visual range: I. Bilibin, V. Vasnetsov, illustrations for children's books.
Ancient cities of the Russian land
Moscow, Novgorod, Pskov, Vladimir, Suzdal and others.
Acquaintance with the originality of different ancient cities. They are similar and unlike each other. Image of different characters of Russian cities. Practical work or conversation.
materials: for graphic technique - crayons, for monotype or painting - gouache, brushes.
Pattern of towers
Terem architecture images. Painted interiors. Tiles. Image of the interior of the ward - preparation of the background for the next task.
materials: paper (tinted or colored), gouache, brushes.
visual range: slides "Ancient chambers of the Moscow Kremlin", V. Vasnetsov "Chambers of Tsar Berendey", I. Bilibin, A. Ryabushkin, reproductions of paintings.
Festive feast in the chambers
Collective applicative panel or individual images of the feast.
materials: glued wallpaper for panels and sheets of paper, gouache, brushes, glue, scissors.
visual range: slides of the Kremlin and chambers, V.Vasnetsov illustrations for Russian fairy tales.
Literary series: A. Pushkin "Ruslan and Lyudmila".
musical series: F. Glinka, N. Rimsky-Korsakov.
Topic 3. Every nation is an artist (11-22 hours)
"Brothers-Masters" lead children from meeting with the roots of their native culture to understanding the diversity of artistic cultures of the world. The teacher can choose the optimal cultures in order to have time to live them interestingly with the children. We offer three in the context of their links to the culture of the modern world. This is the culture of Ancient Greece, medieval (Gothic) Europe and Japan as an example of the culture of the East, but the teacher can take Egypt, China, India, the cultures of Central Asia, etc. for study. It is important for children to realize that the world of artistic life on Earth is extremely diverse - and this is very interesting, joyful. Through art, we join the worldview, the soul of different peoples, empathize with them, become spiritually richer. That is what needs to be done in these lessons.
The artistic cultures of the world are not the history of the arts of these peoples. This is the spatial and objective world of culture, in which the soul of the people is expressed.
There is a convenient methodological and playful way, so as not to deal with history, but to see a holistic image of culture: the journey of a fairy-tale hero through these countries (Sadko, Sinbad the Sailor, Odysseus, the Argonauts, etc.).
Each culture is viewed in four ways: the nature and character of buildings, the people in this environment, and the holidays of peoples as an expression of ideas about the happiness and beauty of life.
The image of the artistic culture of ancient Greece
Lesson 1 - the ancient Greek understanding of human beauty - male and female - on the example of the sculptural works of Myron, Polykleitos, Phidias (man is the "measure of all things"). The sizes, proportions, designs of the temples were in harmony with the person. Admiration for a harmonious, athletically developed person is a feature of the worldview of the people of Ancient Greece. Image of figures of Olympic athletes (a figure in motion) and procession participants (figures in clothes).
Lesson 2 - the harmony of man with the surrounding nature and architecture. The idea of Doric ("masculine") and Ionic ("feminine") order systems as a character of proportions in the construction of a Greek temple. Image of images of Greek temples (semi-volumetric or flat applications) for panels or volume modeling from paper.
Lesson 3 - ancient Greek holidays (panel). It can be the Olympic Games or the Great Panathenaic Festival (a solemn procession in honor of the beauty of a person, his physical perfection and strength, which the Greeks worshiped).
materials: gouache, brushes, scissors, glue, paper.
visual range: slides of the modern image of Greece, slides of the works of ancient Greek sculptors.
Literary series In: Myths of Ancient Greece.
The image of the artistic culture of Japan
Depiction of nature through details typical of Japanese artists: a tree branch with a bird, a flower with a butterfly, grass with grasshoppers, dragonflies, a cherry blossom branch against the background of fog, distant mountains...
An image of Japanese women in national dress (kimono) with the transfer of characteristic facial features, hairstyles, wave-like movements, figures.
Collective panel "Cherry Blossom Festival" or "Chrysanthemum Festival". Individual figures are made individually and then glued into a common panel. The group of the "lead artist" is working on the background.
materials: large sheets of paper for collective work, gouache, pastel, pencils, scissors, glue.
visual range: engravings by Utamaro, Hokusai - female images, landscapes; slides of modern cities.
Literary series: Japanese poetry.
The Image of the Artistic Culture of Medieval Western Europe
Craft workshops were the main strength of these cities. Each workshop had its own clothes, its own insignia, and its members were proud of their craftsmanship, their community.
Work on the panel "Holiday of craftsmen's workshops on the city square" with the preparatory stages of studying architecture, clothing of a person and his environment (objective world).
materials: large sheets of paper, gouache, pastel, brushes, scissors, glue.
visual range: slides of Western European cities, medieval sculpture and clothing.
Diversity of artistic cultures in the world (generalization of the topic)
Exhibition, conversation - fixing in the minds of children the theme of the quarter "Every nation is an artist" as the leading theme of all three quarters of this year. The result is not the memorization of names, but the joy of sharing the discoveries of other cultural worlds already lived by children. Our three "Brothers-Masters" in this lesson should help the teacher and children not to study, memorize monuments, but to understand the difference in their work in different cultures - to help them understand why buildings, clothes, decorations are so different.
Theme 4. Art unites peoples (8-16 hours)
The last quarter of this class completes the elementary school program. The first stage of training ends. The teacher needs to complete the main lines of awareness of art by the child.
The themes of the year introduced children to the richness and diversity of peoples' ideas about the beauty of the phenomena of life. Everything is here: the understanding of nature, and the connection of buildings with it, and clothes and holidays - everything is different. We should have realized that it is wonderful that humanity is so rich in different artistic cultures and that they are not randomly different. In the fourth quarter, the tasks fundamentally change - they seem to be opposite - from ideas about great diversity to ideas about unity for all peoples to understand the beauty and ugliness of the fundamental phenomena of life. Children must see that no matter what the difference, people remain people, and there is something that is perceived by all the peoples of the Earth as equally beautiful. We are a single tribe of the Earth, despite all the dissimilarity, we are brothers. Common to all peoples are ideas not about external manifestations, but about the deepest, not subject to external conditions of nature and history.
All nations sing of motherhood
Every person in the world has a special relationship with his mother. In the art of all peoples there is a theme of chanting motherhood, the mother who gives life. There are great works of art on this subject, understandable and common to all people. According to the presentation, children portray mother and child, trying to express their unity, their affection, their attitude towards each other.
materials
visual range: "Vladimir Mother of God", Raphael "Sistine Madonna", M. Savitsky "Partisan Madonna", B. Nemensky "Silence", etc.
musical series: lullaby.
All nations sing the wisdom of old age
There is beauty external and internal. The beauty of spiritual life. Beauty in which life experience is expressed. The beauty of the connection between generations.
Task for the image of a beloved elderly person. The desire to express his inner world.
materials: gouache (pastel), paper, brushes.
visual range: portraits of Rembrandt, self-portraits of V. Tropinin, Leonardo da Vinci, El Greco.
Empathy is a great art theme
Since ancient times, art has sought to evoke the empathy of the viewer. Art affects our feelings. Depiction of suffering in art. Through art, the artist expresses his sympathy for the suffering, teaches to empathize with someone else's grief, someone else's suffering.
Exercise: a drawing with a dramatic plot invented by the author (a sick animal, a dead tree).
materials: gouache (black or white), paper, brushes.
visual range: S. Botticelli "Abandoned", Picasso "Beggars", Rembrandt "The Return of the Prodigal Son".
Literary series: N. Nekrasov "Crying children".
Heroes, fighters and defenders
In the struggle for freedom and justice, all peoples see the manifestation of spiritual beauty. All nations sing of their heroes. In every nation, many works of art - painting, sculpture, music, literature - are devoted to this topic. The heroic theme in the art of different peoples. Sketch of a monument to the hero at the choice of the author (child).
materials: plasticine, stacks, plank.
visual range: monuments to the heroes of different nations, monuments of the Renaissance, sculptural works of the 19th and 20th centuries.
Youth and hope
The theme of childhood, youth in art. An image of the joy of childhood, dreams of happiness, exploits, travels, discoveries.
Art of the peoples of the world (generalization of the topic)
Final exhibition of works. Open lesson for parents, teachers. Discussion.
materials: paper for paperwork, glue, scissors, etc.
visual range: the best works for the year or for the entire elementary school, collective panels, art history material collected by children on topics.
Literary and musical series: at the discretion of the teacher as an illustration to the messages of the guides.
As a result of studying the program, students:
- master the basics of primary ideas about the three types of artistic activity: the image on the plane and in volume; construction or artistic design on a plane, in volume and space; decoration or decorative art activity using various art materials;
- acquire primary skills in artistic work in the following arts: painting, graphics, sculpture, design, the beginnings of architecture, arts and crafts and folk art forms;
- develop their observational and cognitive abilities, emotional responsiveness to aesthetic phenomena in nature and human activity;
- develop fantasy, imagination, manifested in specific forms of creative artistic activity;
- master the expressive possibilities of artistic materials: paints, gouache, watercolor, pastel and crayons, charcoal, pencil, plasticine, design paper;
- acquire primary skills of artistic perception of various types of art; an initial understanding of the features of the figurative language of different types of art and their social role - significance in human life and society;
- learn to analyze works of art; acquire knowledge of specific works of outstanding artists in various art forms; learn to actively use artistic terms and concepts;
- master the initial experience of independent creative activity, as well as acquire the skills of collective creativity, the ability to interact in the process of joint artistic activity;
- acquire primary skills in depicting the objective world, depicting plants and animals, initial skills in depicting space on a plane and spatial constructions, primary ideas about depicting a person on a plane and in volume;
- acquire communication skills through the expression of artistic meanings, expression of the emotional state, their attitude to creative artistic activity, as well as in the perception of works of art and creativity of their comrades;
- acquire knowledge about the role of the artist in various spheres of human life, about the role of the artist in organizing the forms of communication between people, creating a living environment and the objective world;
- acquire ideas about the artist's activity in synthetic and spectacular art forms (in theater and cinema);
- acquire primary ideas about the richness and diversity of the artistic cultures of the peoples of the Earth and the foundations of this diversity, about the unity of emotional and value relations to the phenomena of life.
2.2. The design of the school program of art education.
This scheme reveals the content of the program - its "three stages".
The first stage - elementary school - as if the pedestal of the whole building - is composed of four steps and is of fundamental importance. Without having received the development laid down here, it is (almost) useless to gain knowledge of the next stages. They may turn out to be external, not included in the construction of the personality. We constantly repeat to teachers: from whatever class you start working with unprepared, "raw" children, you need to start from this stage.
And here the content of the first two classes is especially significant - they cannot be bypassed, they lay the foundations of the entire course, all stages of the formation of artistic thinking.
Missing the basics laid down here is like missing an elementary introduction to the existence of numbers in mathematics, with the ability to add and subtract them. Although more complex foundations of the arts are also laid here.
As the diagram suggests, the first stage, the primary classes, are aimed at an emotional familiarization with the links between art and life. In general, this problem is the basis of the essence of the program. Art is cognized precisely in this connection: its role in the life of each of us is cognized and the means are realized - the language through which art performs this function.
At the first stage, the arts are not divided into types and genres - their life roles are learned, as it were, from the personality of the child into the breadth of the cultures of the peoples of the Earth.
The second stage is completely different. Here, links with life are traced precisely to the types and genres of art. A large, at least a year, integral block is dedicated to each. Immersion in feelings and thoughts and awareness of the peculiarities of the language of each type of art and the reasons for this particularity, the uniqueness of the spiritual, social function, role in the life of a person and society. Year - decorative and applied arts. Two years - fine. Year - constructive. Ninth grade - synthetic arts.
And the third stage is the final secondary education. Here everyone needs to be given a fairly serious level of knowledge of art history either in the course of "World Artistic Culture", or in the courses of parallel programs of plastic arts, music, literature, cinema. Each option has its own advantages and disadvantages.
But in parallel with this theoretical course, one of the practical courses should have been given, at the student’s choice, but precisely to everyone, one of the practical courses: “graphic literacy”, “decorative literacy”, “design literacy”, “fundamentals of spectacular culture”. Only by creating such a dual unity of the theoretical and practical at the stage of completion of general education, we will be able to compete in the economy (and in culture) with economically developed countries. This way of completing secondary education, for example, has been operating in Japan for more than fifty years.
Today we are raising the problem of the connection between the arts and the attitude of the world. But no less significant are its links with the economy. It is this side that experts from different countries emphasize, where art is given space (up to six hours a week).
This program is designed for 1-2 teaching hours per topic. Ideally, the implementation of all topics should take at least two hours (double lesson).
However, with a clear use of the developed methodology, it is realistic (albeit weakened) to conduct classes on the topic in one lesson. Everything depends on the school's understanding of the role of art education.
Conclusion
In shaping the personality of a child, various types of artistic and creative activities are invaluable: drawing, modeling, cutting figures out of paper and gluing them, creating various designs from natural materials, etc.
Such activities give children the joy of learning, creativity. Having experienced this feeling once, the kid will strive in his drawings, applications, crafts to tell about what he learned, saw, experienced.
The visual activity of the child, which he is just beginning to master, needs qualified guidance from an adult.
But in order to develop the creative abilities inherent in nature in each pupil, the teacher himself must understand the fine arts, children's creativity, and master the necessary methods of artistic activity. The teacher must manage all the processes associated with the creation of an expressive image: with the aesthetic perception of the object itself, the formation of ideas about the properties and general appearance of the object, the development of the ability to imagine based on existing ideas, mastery of the expressive properties of colors, lines, shapes, the embodiment of children's ideas in the drawing , modeling, applications, etc.
Thus, in the process of visual activity, various aspects of education are carried out: sensory, mental, aesthetic, moral and labor. This activity is of primary importance for aesthetic education; It is also important for preparing children for school.
It should be emphasized that it is possible to ensure the comprehensive development of the student only if the attention of the teacher is directed to solving this problem, if the program for teaching visual activity is carried out, and the correct and varied methodology is used.
Bibliography
- Alekseeva O., Yudina N. Integration in fine arts. // Elementary School. - 2006. - No. 14.
- Arnheim R. Art and visual perception. - M.: Architecture-S, 2007. - 392 p.
- Bazhov Encyclopedia. Edited by Blazhes V.V. - Yekaterinburg: Socrates, 2007. - 639 p.
- Bashaeva T.V. The development of perception in children. Shape, color, sound. - Yaroslavl: Academy of Development, 1998. - 239 p.
- Blonsky P.P. Psychology of the junior school student. - M.: Academy of Psychological and Social Sciences, 2006. - 631s.
- Bogoyavlenskaya D.B. Psychology of creative abilities. - M.: Academy, 2002. - 320 p.
- Grigorovich L.A. Development of creative potential as an actual pedagogical problem. - Chelyabinsk, 2006.
- Gin S.I. World of fantasy (a manual for primary school teachers). - Gomel, 2003.
- Musiychuk M.V. Workshop on the development of personality creativity. - MGPI, 2002. S. 45
- Sokolnikova N.M. Visual arts and methods of its teaching in elementary school. - M., 2007.
METHODOLOGY OF TEACHING FINE ARTS
Short course of lectures
Kemerovo 2015
This publication is a teaching aid for preparing for the interdisciplinary state exam in the professional module "Pedagogical activity" and includes a short course of lectures on the history of methods of teaching fine arts, theory and methodology of organizing a modern fine art lesson
It is intended for students of the direction of training specialists in the specialties 54.02.05 "Painting: easel painting", 54.02.01 "Design in culture and art", 54.02.02 "DPI and folk crafts: art ceramics"
Compiled by: A.M. Osipov, artistic director,
teacher GOU SPO "KOHK",
E.O. Shcherbakova, methodologist of the State Educational Institution SPO "KOHK".
Deputy Director for R&D T.V. Semenets
Kemerovo Regional Art College, 2015
Topic 1. Goals and objectives of artistic and pedagogical education……………………...……....4
Topic 2. Methods of teaching fine arts as a subject of study……………6
Topic 3. Methods of teaching drawing in the Ancient World and the Middle Ages……………..…………..8
Topic 4. The value of the methodological provisions of the art of the Renaissance………………..……11
Topic 5. Models of art education of the New Age in Western Europe………….14
Topic 6. Formation of the national school of art pedagogy in the XVIII–XIX centuries….…18
Topic 7. Academic system of art education in Russia. ………………...……22
Topic 8. Methods of teaching drawing in the Soviet school………………………………………………25
Topic 9. Analysis of the program of B.M. Nemensky “Fine Arts
and artistic work”………………………………………..…………………………………………….28
Topic 10. Curricula and programs………………………………………….…………………………31
Topic 11
Topic 12. Lesson as the main form of organization of the educational process……………..……………….36
Topic 13. Methodical forms of completing the lesson. ………………...………………………………..39
Topic 14. The main methodological provisions for conducting visual activities with preschoolers 42
Topic 15
Topic 16
Topic 17
Topic 18
Topic 19. Lessons-conversations on the history of fine arts and the methodology for their conduct ...
Topic 20. The role of visual materials in the process of teaching fine arts 55
List of used literature……………………………………………………………………....….58
The teacher of fine arts must himself be proficient in visual literacy, the basics of which he teaches, must be able to methodically correctly explain and clearly show the process of depicting an object, a particular technique, the rules for working with a pencil or brush. Practice shows that if the teacher himself is poorly versed in fine arts, draws poorly, does not know how to connect the patterns of perspective, color science, composition with the practice of drawing, then his students do not have this knowledge and skills.
The teacher's systematic visits to art exhibitions and workshops of artists, museums, communication with the artistic intelligentsia, regular reading of books and magazines on fine arts, creative work is a necessary condition for improving the scientific, theoretical, and professional level of the teacher.
The method of teaching fine arts as a science theoretically generalizes practical experience, formulates the laws and rules of teaching, highlights the technology of the most effective methods, and offers them for implementation. The methodology is based on the scientific data of pedagogy, psychology, aesthetics and art history.
Of course, in the living process of teaching, each teacher develops his own methodology of work, but it must be built in accordance with the general goals and objectives of modern teaching of fine arts, which were not developed immediately, before that the methodology went through a difficult path of development.
The methodology of teaching fine arts as a science summarizes practical experience, offers such teaching methods that have already justified themselves and give the best results.
The method of teaching fine arts is a living, developing science that absorbs all innovations. But in order for new technologies to be successfully implemented in practice, it is necessary to know the historical experience and directions for the development of teaching fine arts.
SECTION 2. PEDAGOGICAL PRINCIPLES IN DIFFERENT SCHOOLS
The era of ancient Greece was the most brilliant era in the history of the development of the fine arts of the ancient world. The value of Greek fine art is extremely great. Here was laid the method of scientific understanding of art. Greek artists-educators urged their students and followers to directly study nature, observe its beauty, and indicate what it is. In their opinion, beauty consisted in the correct proportional proportion of parts, the perfect example of which is the human figure. They said that the proportional regularity of the human body in its unity creates the harmony of beauty. The main principle of the sophists was: "Man is the measure of all things." This position formed the basis of all the art of Ancient Greece.
Methods of teaching drawing in ancient Rome. The Romans were very fond of fine arts, especially the works of Greek artists. Portrait art is becoming widespread, but the Romans did not bring anything new to the methodology and teaching system, continuing to use the achievements of Greek artists. Moreover, they lost many valuable provisions of the drawing, failing to save them. The artists of Rome mostly copied the works of the artists of Greece. The setting of teaching was different than in Greek schools.
Roman society required a large number of craftsmen to decorate premises, public buildings, the training period was short. Therefore, the method of teaching drawing was unscientific, the drawing became conditional and schematic. When teaching drawing, copying from samples, mechanical repetition of work methods prevailed, which in turn forced the Roman artist-teachers to move more and more away from the teaching methods used by the artist-teachers of Greece. Many noble nobles and patricians themselves were engaged in drawing and painting (for example, Fabius Pictor, Pedius, Julius Caesar, Nero, etc.). In the drawing technique, the Romans first began to use sanguine as a drawing material.
The role of ancient culture in the development of realistic art, in the formation and development of the academic system of teaching drawing is great. It still inspires us today to search for more effective methods of teaching fine arts, to scientifically develop methods for teaching drawing.
Drawing in the Middle Ages. In the Middle Ages, the achievements of realistic art were consigned to oblivion. Artists did not know the principles of constructing an image on a plane, which were used in Ancient Greece. The basis of training is mechanical copying of samples, and not drawing from life.
The painters of the first centuries of Christianity still used the artistic forms of ancient painting. In a short time, the traditions of realistic art were forgotten and lost, the drawing became conditional and schematic. Manuscripts perished - the theoretical works of great artists, as well as many famous works that could serve as models. The study of nature and nature in the academic sense was not practiced, since realistic nature evoked an “earthly” feeling, which in this era was replaced by spiritual quests. Medieval artists worked not from nature, but according to samples that were stitched into notebooks, they were contour sketches of compositions of various church subjects, individual figures, drapery motifs, etc. They were guided by both wall paintings and easel paintings. Drawing was taught by a master who did not follow a strict system or clear teaching methods. Most of the students studied on their own, looking closely at the work of the master.
Preisler puts geometry at the basis of teaching drawing. Geometry helps the draftsman to see and understand the shape of an object, and when depicted on a plane, it facilitates the construction process. However, Preisler warns, the use of geometric figures must be combined with a knowledge of the rules and laws of perspective and plastic anatomy.
Preisler's manual was highly appreciated by his contemporaries, it was reprinted several times both abroad and in Russia. There was no more detailed and clear methodological development on educational drawing at that time, so Preisler's work in Russia was used for a long time not only in general educational institutions, but also in special art schools.
Of course, today you can find flaws in Preisler's book, but for the sake of historical truth, it must be pointed out that for its time it was the best guide. The knowledge that the student received on the basis of studying Preisler's course helped him to draw from life in the future, as well as draw from memory and from imagination, which is so important for the artist.
In 1834 the first textbook by A.P. Sapozhnikov - a fateful publication for Russian art. A. P. Sapozhnikov’s drawing course begins with an acquaintance with various lines, then he introduces you to angles, after which he masters various geometric shapes. Before starting to draw three-dimensional objects, Sapozhnikov suggests demonstrating the law of perspective to students using special models, again starting with lines, then moving on to various surfaces and, finally, to geometric bodies. Next comes an acquaintance with the laws of chiaroscuro, also with the help of showing models. When the drawing of simple geometric bodies is well mastered, Sapozhnikov suggests moving on to drawing complex bodies: first, groups of geometric bodies are given, then the tasks gradually increase in complexity up to drawing plaster heads. To show the construction of the human head, the author proposes to use a wire model specially made by him, which should always be near the plaster head, in a similar turn and position.
The value of Sapozhnikov's method lies in the fact that it is based on drawing from nature, and this is not just a copy of nature, but an analysis of the form. Sapozhnikov set as his goal to teach those who draw from life to think, analyze, reason.
The positive aspects of A.P. Sapozhnikov’s teaching methods have not lost their significance in our time, they are used by domestic methodologists. Concise and simple in a military way, the system formed the basis of the methods of the Soviet school and became the state one.
Studying the history of drawing techniques, you need to familiarize yourself with the work of G. A. Gippius . In 1844 he published the work "Essays on the Theory of Drawing as a General Subject". It was the first major work on the methodology of teaching drawing in a secondary school. All the advanced ideas of pedagogy of that time were concentrated here. The book is divided into two parts - theoretical and practical. The theoretical part outlines the main provisions of pedagogy and fine arts. In the practical part, the teaching methodology is revealed.
Gippius strives to scientifically and theoretically substantiate each position of the method of teaching drawing. In a new way, he considers the process of teaching itself. Teaching methods, says Gippius, should not follow a certain pattern; different teaching methods can achieve good results. To learn how to draw correctly, you need to learn to reason and think, says Gippius, and this is necessary for all people, and this must be developed from childhood. Gippius gives a lot of valuable methodological advice and recommendations in the second part of his book. Teaching methodology, according to Gippius, should be based not only on the data of practical work, but also on the data of science, and above all psychology. Gippius makes very high demands on the teacher. The teacher should not only know and be able to do a lot, but also speak to the students like an actor. The work of each student should be in the field of view of the teacher. Gippius closely connects the provision of class with equipment and materials with questions of methodology.
The work of G. A. Gippius was a significant contribution to the theory and practice of teaching drawing as a general educational subject, it greatly enriched the teaching methodology. We do not find such a serious and in-depth study of the issues of teaching methodology in that period in any, even the most prominent representative of pedagogical thought.
In 1804, school regulations introduced drawing into all district schools and gymnasiums. Due to the lack of teachers in 1825 in Moscow, on the initiative of Count S. G. Stroganov, the School of Technical Drawing was founded, where there was a department that trained drawing teachers for a general education school. In 1843, the Ministry of Public Education issued a circular proposal to replace teachers of drawing, drafting and penmanship who did not have a special artistic education in county schools with students from the Stroganov school. Until 1879, this school was the only educational institution that specially trained drawing teachers.
Since the second half of the 19th century, not only outstanding artists-teachers, but also ordinary school teachers began to pay special attention to teaching methods. They understood that without special methodological training it is impossible to successfully conduct pedagogical work.
In 1864, drawing was excluded from the number of compulsory subjects by the charter of secondary educational institutions. In 1872, drawing was again included in the range of subjects in real and city schools. In the same year, 1872, "Free Sunday Drawing Classes for the People" were established. Teaching in these classes was conducted at first under the supervision of Professor of Painting V.P. Vereshchagin and Academician of Architecture A.M. Gornostaev. In order to develop methods for teaching drawing in general education schools, a special commission was created at the Academy of Arts. This commission included outstanding artists: N.N. Ge, I.N. Kramskoy, P.P. Chistyakov. The commission was also involved in drawing up a program for secondary schools.
Features of the art school of drawing P. P. Chistyakov. Russian artist and professor of the Academy of Arts P. P. Chistyakov believed that the Academy of Arts of the time of his teaching (1872-1892) needed reform and new methods of working with students, it was necessary to improve the teaching methods of drawing, painting, and composition.
Chistyakov's teaching system covered various aspects of the artistic process: the relationship between nature and art, the artist and reality, the psychology of creativity and perception, etc. Chistyakov's method brought up not just an artist-master, but an artist-creator. Chistyakov attached decisive importance to the drawing in his system, urged to penetrate into the very essence of visible forms, to recreate their convincing constructive model on the conditional space of the sheet. .
The advantage of Chistyakov's teaching system was integrity, unity at the methodological level of all its elements, logical following from one stage to another: from drawing, to chiaroscuro, then to color, to composition (composition).
He attached great importance to color, seeing in color the most important means of figurative expression, revealing the content of the work.
The composition of the picture is the result of the artist’s training, when he was already able to comprehend the phenomena of life around him, to summarize his impressions and knowledge in convincing images “According to the plot and technique” was Chistyakov’s favorite expression.
Analyzing the pedagogical activity of P. P. Chistyakov, one can identify the main components of the system of his work, thanks to which a high level of quality in teaching drawing was achieved. It consisted of the interaction of the following components:
· goals and objectives of teaching as the starting point of the pedagogical system;
scientifically substantiated content of educational material;
The use of various types and forms of conducting classes, thanks to which the activities of students in mastering artistic literacy in drawing were organized;
various forms of control, with the help of which possible deviations from the tasks set were prevented when performing the drawing;
· the constant self-improvement of P. P. Chistyakov himself, which was aimed primarily at improving the positive impact on the trainees.
Also, an integral part of the system of work of Pavel Petrovich Chistyakov was built relationships with students, aimed at communication with wards, dialogue and respect for the individual. “A real, developed, good teacher does not blow the student’s stick, in case of an error, failure, etc., he tries to carefully explain the essence of the matter and deftly lead the student onto the true path.” When teaching students to draw, one should strive to intensify their cognitive activity. The teacher must give direction, pay attention to the main thing, and the student must solve these problems himself. In order to correctly solve these problems, the teacher needs to teach the pupil not only to pay attention to the subject, but also to see its characteristic sides. Chistyakov's methods, his ability to guess the special language of each talent, careful attitude to any talent gave amazing results. His teaching system brought up the artist in the true sense of the word. The variety of creative personalities of the master's students speaks for itself - they are V. M. Vasnetsov, M. A. Vrubel, V. D. Polenov, I. E. Repin, A. P. Ryabushkin, V. A. Serov, V. I. Surikov and others.
The pedagogical views of P. P. Chistyakov were already recognized in Soviet times. Its pedagogical system, revolutionary in nature, has no analogies in the theory and practice of other national art schools.
Like teaching drawing, Chistyakov divides the science of painting into several stages.
First stage- this is the mastery of the figurative nature of color, the development of a young artist, the ability to be accurate in determining the color shade and in finding its correct spatial position. Second phase should teach the student to understand the movement of color in form as the main means of conveying nature, third- to teach to solve those silt other plot-plastic tasks with the help of color. Chistyakov was a true innovator who turned pedagogy into high creativity.
Topic 7. Academic system of art education in Russia
· Imperial Academy of Arts in Russia XVIII - in the first half of the XIX century. and Educational School.
A.P. Losenko, A.E. Egorov, V.K. Shebuev.
Since 1758, the "Academy of the Three Most Noble Arts" has become the scientific and methodological center of art education, and throughout its history, the St. Petersburg Academy has been the main Russian center of art education. The largest Russian architects, sculptors, painters, engravers underwent a strict, exacting training at the Academy.
From the very beginning, the Academy of Arts was not only an educational and educational institution, but also a center of art education, as it regularly organized exhibitions. Under her, museums and a scientific library were founded. In order to develop a good artistic taste in students and arouse interest in the arts, the founder and first chief director I.I. Shuvalov decided to surround the pupils with brilliant works. He donates to the academy his collection of paintings and drawings, as well as his personal library. After Shuvalov, the academy maintained this tradition for many years, and it brought great success to the cause, instilling in the students a sense of deep respect for art and for the academy. The Academy provided students with all the necessary materials for work: paper of all grades, paints, pencils, canvas, stretchers, brushes and varnishes.
The main subject at the academy was drawing. For the best educational drawings, the Council of the Academy gave awards to the authors - small and large silver medals. On the initiative of the sculptor Gillet, in 1760, a full-scale class was organized at the academy, where serious attention was paid to the study of the anatomical structure of the human body. Here, the skeleton and the “ragged figure”, as the anatomical model was then called, are carefully studied.
Drawing classes were structured as follows: “Classes were divided into morning, from 9 to 11, and evening, from 5 to 7 hours. During the morning classes, everyone was engaged in their specialty, and in the evening everyone, no matter what class they were, drew with a French pencil . After a month, the drawings were exhibited in the classrooms for the consideration of professors; it was like an exam. In addition, figures were exhibited every week, plaster heads, in relation to which it was required that the contours from them be made the most faithful, although the shading was not completed. For monthly examinations, or examinations, these weekly works could not be presented by students, since the professor examined them during the week, but some works, exclusively prepared for the monthly exam, were already exhibited by the appointed date without fail.
The students of the academy were divided into groups according to age:
1st group - from 6 to 9 years old,
2nd - from 9 to 12,
3rd - from 12 to 15 years old,
4th - from 15 to 18 years.
1st group: In the first group, in addition to general education disciplines, drawing from originals, plasters and from nature was practiced. Drawing began with an acquaintance with technique and technology. The pencil had to be held further away from the peeled end, which gave more freedom and mobility to the hand. Engravings from the drawings of outstanding masters, drawings of the academy teachers, as well as drawings of particularly distinguished students served as samples in the original classrooms. Grez's drawings were especially popular with teachers and pupils. The expressiveness of the lines in his drawings helped students to visually see and understand the plasticity of forms.
2nd group: The second group drew from originals, plasters and from life. By the end of the year, the students began to copy from the originals drawings of heads, parts of the human body and naked human figures (academies), first plaster, and then living. Ornaments and plaster heads were drawn from nature.
3rd group: The third group studied perspective, drawing from originals, plasters and from life, painting, sculpture, architecture, engraving art. Plaster figures of Antinous, Apollo, Germanicus, Hercules, Hercules, Venus Medicea were painted from nature. Here the student painted from plaster casts until he had the necessary professional skills. After that, he could move on to drawing live nature in a natural class.
To thoroughly memorize the figure, the student had to draw the same setting several times. To thoroughly memorize the figure, the student had to draw the same setting several times. It is known that K. P. Bryullov made forty drawings from the Laocoon group. The skill was so great that some academics could start drawing from anywhere.
When teaching drawing, great importance was attached to personal demonstration. The instructions of that time indicated that the teachers of the academy should draw the same nature as the students - so the pupils would see how the process of constructing a drawing should proceed and what quality should be achieved.
In one of the archival documents we read: “To prescribe to professors and teachers of adjuncts that all adjuncts be at their appointed hours for drawing nature, also to watch how Fontebasse works.” We read the same in the instructions of A.I. Musin-Pushkin: artists, of which one is to set nature and correct student work, and the other at the same time draw or sculpt with them himself.
Unfortunately, this progressive method of training future artists later fell into disuse in pedagogical practice. If in modern educational institutions a student is obliged to complete the course program during the year, regardless of success, then in the academy of the 18th century, as well as in the first half of the 19th century, the pupil could move from one class to another, for example, from plaster figure to full-scale, only having achieved certain success. .
4th group: Pupils of the fourth group drew naked living nature and studied anatomy. Then came the class of mannequin and composition, as well as copying paintings in the Hermitage.
A great contribution to the methodology of teaching drawing was made by artists and teachers of the Academy of Arts A. P. Losenko and V. K. Shebuev.
A.P. Losenko began teaching at the academy in 1769. An excellent draftsman and a wonderful teacher, who paid much attention not only to practice, but also to the theory of drawing. His bright pedagogical activity very soon won universal recognition. Starting with Losenko, the Russian academic school of drawing received its own special direction.
Losenko made it his task to give a scientific and theoretical substantiation of each provision of academic drawing, and above all in drawing the human figure. For this purpose, he began to thoroughly study plastic anatomy, look for the rules and laws of the proportional division of the figure into parts, draw diagrams and tables for visual demonstration to his students. Since that time, the method of teaching drawing has been based on a serious study of anatomy, the proportions of the human figure, and perspective. All this scientific knowledge necessary for an artist, Losenko, with great persuasiveness and bright pedagogical talent, was able to transfer to his students. Understanding the complexity and difficulty of combining two different things - independent creative work and teaching, Losenko spared neither time nor effort for the cause he served. Noting this feature of Losenko as an artist and teacher, A. N. Andreev wrote: “He spent whole days and nights with them (students), taught them in word and deed, he himself drew academic studies and anatomical drawings for them, published for the leadership of the academy the anatomy and proportion of the human body, which has been used and is still used by all the school that followed it; started full-scale classes, he himself wrote on the same bench with his students and his works even more helped to improve the taste of the students of the academy.
Losenko's merit lies not only in the fact that he did a good job of teaching drawing at the Academy of Arts, but also in the fact that he took care of its further development. In this, his theoretical works and teaching aids should have played their role.
By the beginning of the 19th century, drawing as a general educational subject began to become widespread. Much was done during this period in the field of publishing various manuals, manuals and tutorials on drawing.
Main activities
The image on the plane and in volume (from nature, from memory and from representation); decorative and constructive work;
application;
volume-spatial modeling;
design and constructive activity;
artistic photography and video filming; perception of the phenomena of reality and works of art;
discussion of the work of comrades, the results of collective creativity and individual work in the classroom;
study of artistic heritage;
listening to music and literature
Educational and methodological support - methodological kits for the program, including textbooks, workbooks for schoolchildren and teaching aids for teachers. All publications are edited by B.M. Nemensky.
Stage I - elementary school.
Grade 1 - foundation - familiarity with the ways of working, various artistic materials, the development of vigilance and mastery of the material. "You depict, decorate and build."
Grade 2 - "You and Art" - introducing children to the world of art, emotionally connected with the world of personal observations, experiences, thoughts. Formation of ideas about the content and role of art
Grade 3 - "Art around you" - introducing children to the world of surrounding beauty.
Grade 4 - "Every nation is an artist" - the formation of an idea of \u200b\u200bthe diversity and fascination of art. creativity in all corners
land and every nation.
II stage - high school. Fundamentals of artistic thinking and knowledge. An in-depth study of various types and genres of art in the context of historical development, interdisciplinary connections with history lessons are strengthened.
Grade 5 - Connections of the decorative arts group with life. Feeling in harmony with the material
Grade 6 - 7 - Connections of the visual arts group with life. Mastering the artistic and figurative patterns of art and their systematization. Creativity of artists.
Grade 8 - "Connections of the constructive group of arts with life." Architecture is a synthesis of all art forms.
Grade 9 - a generalization of the passed. "Synthesis of Spatial and Temporal Arts".
III stage. Fundamentals of artistic consciousness. Division of practical and theoretical work into parallel courses.
10-11 classes - Historical connections of arts.
SECTION 3. ORGANIZATION AND PLANNING
Performing foreskets.
Foreskets are compositional sketches of a future drawing that precede work on the main sheet. To do this, you can use the viewfinder - a piece of cardboard or paper, in which a small rectangular hole is cut. The student, looking through the viewfinder, should, as it were, see the frame of the future picture. The size of the frame is set depending on the size of the main sheet of paper. Having made several compositional sketches with the help of the viewfinder, the student chooses the one that best satisfies the task and starts working on the main sheet.
3. Stages of work on the format.
First stage begins with the compositional placement of the image on a sheet of paper. Then the main proportions are established and the general view of nature is outlined. The plastic characteristic of the main masses is determined. So that the details do not distract the beginner's attention from the main character of the form, it is proposed to squint the eyes so that the form looks like a silhouette, like a common spot, and the details disappear. The image begins with light strokes. It is necessary to avoid premature loading of the sheet with unnecessary spots and lines. The form is drawn very generally and schematically. The main character of the large form is revealed. If this is a whole group of objects (still life), then the student must be able to equate (inscribe) them to a single figure, that is, to generalize.
Second phase- constructive identification of the shape of objects using lines. The different thickness of the contrasting line reveals the airiness of the perspective, the construction. Objects should look transparent, glassy.
Third stage- plastic modeling of the form in tone and detailed study of the drawing.
The elaboration of details also requires a certain pattern - each detail must be drawn in connection with others. When drawing a detail, you need to see the whole.
The stages of working out the details of the active analysis of forms, the identification of the materiality of nature and the relationship of objects in space is a crucial stage. Using the laws of perspective (both linear and aerial), it is necessary to build images based on an accurate analysis of the relationships between all elements of the form. At this stage of work, a detailed characterization of nature takes place: the texture of the model is revealed, the materiality of objects (gypsum, fabric) is transferred, the drawing is carefully worked out in tonal relations. When all the details are drawn and the drawing is carefully modeled in tone, the generalization process begins.
Fourth stage- summarizing. This is the last and most important stage of work on the drawing. At this stage, the student sums up the work done: checks the general condition of the drawing, subordinates the details to the whole, refines the drawing in tone (subordinates light and shadows, highlights, reflections and halftones to the general tone). At the final stage of work, it is advisable to return to fresh
initial perception.
Consistent painting work
Starting painting, you need, first of all, to peer into nature, determining the main tonal and color relationships.
preliminary sketch
search for a composition (color, coloristic organization) -
search for a solution to the shape, proportions, structural structure
search for large tonal-color relationships (warm and cold, saturated and weakly saturated, light and dark colors)
final determination of the format and size of the future study
It is necessary to perform at least three sketches, different from one another, to choose the best option, on the basis of which the work will be performed. The sketch must be preserved until the end of the work on the main study.
2. Preparatory drawing for painting
Transferring the sketch composition to the main canvas. Drawing for painting should be precise and definite, but it should not be detailed
Working on the details
The transition from general color relationships to sculpting forms with color. The registration of the form must be carried out evenly over the entire picture plane.
Generalization
The stage of simultaneous generalization and emphasizing of the characteristic moments for the overall color unity
The result of each of the two half-years should be at least one finished composition in color or graphic, maybe a series of color or graphic sheets. The technique of execution and the format of work is discussed with the teacher.
Independent works on composition are reviewed by the teacher weekly. Independent (extracurricular) work can be used to do homework by children, visit cultural institutions (exhibitions, galleries, museums, etc.), participation of children in creative events, competitions and cultural and educational activities of an educational institution. The assessment marks all stages of work: collection of material, sketch, cardboard, final work. It is necessary to enable the student to penetrate deeper into the subject of the image, creating conditions for the manifestation of his creative individuality.
Lesson types.
The most common and used in practice classification was introduced by B.P. Esipov and identified the following types of lessons:
1 type: Learning new material.
Lesson type.
