What the still life told about The teacher of fine arts MBOU "TsO No. 32" Kamenskaya Alena Igorevna

If you see in the picture a Cup of coffee on the table, Or a fruit drink in a large decanter, Or a rose in crystal, Or a bronze vase, Or a pear or a cake, Or all items at once, Know that this is ... STILL LIFE

STILL LIFE is one of the genres of fine art, mainly painting. In the still life, only everyday things are depicted, i.e. everyday, everyday things, inanimate objects.

French "nature morte" - literally means "dead nature". Everything living, natural, natural becomes inanimate, dead in a still life and is equated with things. So, in order to become the subject of a still life, fruits and fruits must be plucked, animals and birds must be killed, fish, marine animals must be caught, flowers must be cut.

Still life expresses the relationship of man to the world around him. It reveals the understanding of the beautiful, which is inherent in the artist as a man of his time. However, it is important not only what is depicted, but also how. The same objects, arranged differently, painted with bright juicy strokes or softly and quietly, can tell about a holiday and sadness, happiness or loneliness.

Painting Graphics

Types of still lifes Plot-thematic still life implies the unification of objects by a theme, a plot. A thematic still life is a complex work of art with which you can tell about the hobbies, views, worldview of the owner of the objects.

items, educational still life. In it, it is necessary to coordinate objects in size, tone, color and texture, to reveal design features, to identify patterns of plasticity of various forms. Educational still life is also called academic or staged. An educational still life differs from a creative one by a strict goal setting: to give diplomas, to promote the activation of their cognitive abilities and to involve them in independent creative work. pictorial learners to learn proportions and basics

creation of a common In a decorative or creative still life, the main task is to identify the decorative qualities of nature, elegance "Decorative still life is not an accurate image of nature, but reflection on this nature: it is the selection and capture of the most characteristic, the rejection of everything random, the subordination of the still life structure to the specific task of the artist ". impression

Still lifes are distinguished: by color (warm, cold); by color (close, contrasting); by illumination (direct lighting, side lighting, against the light); by location (still life in the interior, in the landscape); by time of performance (short-term "slap" and long-term many hours of production); on the formulation of the educational task (realistic, decorative, etc.).

What do still lifes mean, their secret signs? What do flowers in still lifes mean? lilies of the valley, violets, forget-me-nots surrounded by roses, carnations, anemones are symbols of modesty and purity; a large flower in the center of the composition "crown of virtue"; crumbling petals near the vase are signs of frailty; a withered flower is a hint of the disappearance of feelings.

What do fruits and insects mean in still lifes? ripe fruits are a symbol of fertility, abundance, wealth and prosperity; pomegranate is a symbol of resurrection, a symbol of chastity; cherry - "paradise berry", symbolizes the softness of nature, the kindness of a person; strawberries are a symbol of righteousness and diligence; the olive is a symbol of peace; lemon - betrayal, sensual pleasures; birds, butterflies and various insects are signs of different stages of earthly life, the personification of the divine cycle, death and resurrection; a fluttering butterfly is a symbol of the immortality of the soul, resurrection;

graduate work

1.1 The concept of still life, its main methods, techniques and techniques of writing with pictorial materials

What a strange painting it is - a still life: it makes you admire a copy of those things, the originals of which you do not admire.

The purpose of this paragraph is to introduce the genre - still life, to consider such concepts as "method", "painting", "still life painting", "painting technique", "technique of working with pictorial materials" and, on the basis of this, the definition of the main methods and techniques for mastering the technique works with pictorial materials on the example of still life painting.

Still life (fr. nature morte lit. dead nature) - in the visual arts - the image of inanimate objects, in contrast to portrait, genre historical and landscape themes.

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

As an independent genre in art, still life appeared at the turn of the 16th - 17th centuries. in Holland and Flanders and has since been used by many artists to convey the direct connection of art with the life and life of people. This is the time of artists who made themselves famous in the still life genre, P. Klas, V. Heda, A. Beieren and V. Kalf, Snyders and others.

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

There are several types of still lifes:

Plot-thematic;

Training;

Educational and creative;

Creative.

Still lifes distinguish:

By color (warm, cold);

By color (close, contrasting);

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

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

By the time of performance (short-term - "slap" and long-term - many hours of performances);

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

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

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

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

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

A decorative still life is not an exact depiction of nature, but a reflection on a given nature: it is the selection and capture of the most characteristic, the rejection of everything accidental, the subordination of the still life structure to the specific task of the artist. The basic principle of solving a decorative still life is the transformation of the spatial depth of the image into a conditional flat space. At the same time, it is possible to use several plans, which must be located within a small depth. The educational task facing the student in the process of working on a decorative still life is to “reveal the characteristic, most expressive quality and strengthen it in its decorative processing.

The term "method" - means a way of action, techniques, a method for the implementation, achievement of something. In pedagogical practice, by tradition, it is customary to understand an ordered course of action to achieve educational goals. At the same time, it is noted that the methods of implementation of the educational activity of the teacher and the mode of action of the educational activity of students are closely related and interact. The teaching method is characterized by three features. It denotes the purpose of learning, the method for the implementation of assimilation and the nature of the interaction of learning subjects. Consequently, the concept of a method of teaching reflects: the mode of action of the teaching work of the teacher and the methods of educational work of students in their relationship; the specifics of their work to achieve various learning objectives. Thus, it is believed that teaching methods are methods for the implementation of joint activities of the teacher and students, aimed at solving learning problems, didactic tasks.

Teaching methods in didactics characterize individual details, the main parts of the method. These included, for example, showing an illustration or an object in the process of being depicted in order to clarify students' ideas about the shape, size, color or other qualities of an object (if students find it difficult to do something). Methods and methods of teaching are in dialectical unity and can pass one into another. Reception - a technical method inherent in an artist or art school for solving a particular problem; a relatively complete element of educational technology, fixed in a general or personal pedagogical culture; element of a method, its integral part, a separate step in the implementation of a method.

The method of observation underlies the entire system of teaching fine arts. The success of the development of their creative abilities, as well as the success of mastering the techniques of working with pictorial materials, depends on how well the students develop the ability to observe the environment, establish connections between the phenomena of reality, distinguish between the general and the individual.

At school, in the classroom for visual activity, a variety of methods and techniques are used, which can be conditionally divided into visual and verbal. A special, student-specific group of techniques is made up of game techniques. They combine the use of visualization and the use of the word.

The method of teaching, according to the definition adopted in pedagogy, is characterized by a holistic approach to solving the problem, determines the nature of all activities of both students and teachers in this lesson.

The method of learning is a more private, auxiliary mode of action that does not determine the entire specifics of the activity in the lesson, which has only a narrow educational value.

Visual teaching methods and techniques include - the use of nature, pedagogical drawing, reproductions of paintings, samples and other visual aids; examination of individual objects; showing the teacher of image techniques; showing students' work at the end of the lesson, when they are evaluated. When disclosing the principles of image construction, it is necessary to accompany the verbal explanation with a pedagogical drawing on the blackboard, in order to help children cope with the most difficult tasks for them, it is necessary to show them the right way to build the main form of the subject.

Pedagogical drawing is one of the most important means, methods of teaching the technique of working with pictorial materials. At some point, pedagogical drawing must be simplified, schematized for the sake of clarity, so that students correctly understand the design of the form, its structure, and plastic features.

Work from nature involves the image of an object from a certain point of view, in the position in which it is in relation to the eye of the painter. This feature of the image from nature also determines the originality of perception in the process of class. The main thing here is visual perception, and when depicted on a plane, an object is perceived only from one side.

The ability to perceive an object in the totality of its qualities is characteristic of students of the 5th grade. However, the need to depict an object from nature requires the ability to analyze the ratio of parts, their location in space.

Psychologists believe that 5th grade students are capable of such analytical-synthetic perception only if they have the right pedagogical guidance.

Let us note some features of the use of nature in the lessons of fine arts. Nature, first of all, facilitates the work of memory, since the process of image is combined with perception; helps students to correctly understand and convey the shape and structure of the object, its color.

Perceiving an object, students must show its volume (give a two-dimensional image of a three-dimensional nature on a plane), which is associated with the use of chiaroscuro, the transfer of perspective changes in the object, the use of various painting techniques, and the display of complex resources.

Thus, the use of nature as a teaching method covers the entire process of the image: the initial analysis of the subject, the analysis of the techniques used for working with pictorial materials, the comparison of the image with nature in form, position, color, evaluation of the results of the work by comparing the drawing and nature.

A sample, like nature, can act as a method and as a separate teaching technique. In those types of graphic activity where the main goal is not to consolidate impressions from the perception of the environment, but to develop individual moments of this activity, the model is used as a teaching method.

Sometimes several samples can be entered for selection if the students have already mastered some painting techniques. Sometimes the sample acts as a learning technique. For example, in object drawing, a sample is used not for the purpose of copying, but to clarify children's ideas about the depicted object.

Showing reproductions of great masters also contributes to the development of the level of mastering the technique of working with pictorial materials and explaining the means and methods of depiction.

Examination of reproductions of paintings can be recommended in cases where there is no necessary subject, and can also serve as a means of familiarizing students with some methods of depicting on a plane, with a variety of painting techniques. For example, a teacher shows reproductions of great masters in order to explain the image of individual objects, how to use certain painting materials, how to apply them in practice. The visual arts program establishes the scope of visual skills that students must master in the learning process. Mastering a relatively small range of skills will enable students to depict a wide variety of objects.

The teacher's demonstration of image methods is a visual-effective technique that teaches children to consciously create the desired form based on their specific experience. The display can be of two types:

Show with a gesture;

Demonstration of image techniques.

In all cases, the display is accompanied by verbal explanations.

Gesture explains the location of the object on the sheet. With a gesture, the main form of the object, if it is simple, or its individual parts, can be restored in the memory of students.

At the end of the lesson, the teacher shows some well-done work. The purpose of the show is to draw the attention of students to the results of their activities. The teacher also approves the work of other students. A positive assessment of them contributes to the preservation of interest in visual activity.

Conversation is one of the verbal methods and techniques of teaching. The purpose of the conversation is to evoke previously perceived images in the memory of students and arouse interest in the lesson. The role of conversation is especially great in those classes where students will perform work on the basis of a presentation (according to their own design or on a topic given by the teacher), without using visual aids.

The conversation should be short, but meaningful and emotional. The teacher mainly draws attention to what will be important for further work, i.e. on the constructive color and compositional solution of the artistic image. However, one conversation, without additional techniques, is not enough to complete the task.

To clarify the students' ideas on the topic or to familiarize them with new techniques for working with pictorial materials, the teacher, during the conversation or after it, shows the desired object or reproductions of paintings, and before starting the task, the children demonstrate methods of constructive construction, pictorial materials.

Practical teaching methods cover a very wide range of different activities of students. During the use of practical teaching methods, the following techniques are used: setting a task, planning its implementation, operational stimulation, control and regulation, analysis of the results of practical work, identifying the causes of shortcomings.

Practical teaching methods include performing various exercises aimed at gaining knowledge of skills and abilities through mastering the techniques of working with pictorial materials, where during the exercise, students put into practice the knowledge they have gained.

Practical teaching methods are used in close combination with verbal and visual teaching methods, since practical work should be preceded by an instructive explanation by the teacher. Verbal explanations and illustrations usually accompany the process of doing the work itself, as well as an analysis of the work done, which is best done through personal contact with students.

Game teaching techniques - this is the use of the moments of the game in the process of visual activity refers to visual and effective methods of teaching the technique of working with pictorial materials. Game teaching methods will help to attract the attention of students to a gradual task, will facilitate the work of thinking and imagination.

Teaching painting from nature in grade 5 may begin with game exercises. Their goal is to make the learning process of students more effective. When using gaming moments, the teacher should not turn the entire learning process into a game, as it can distract students from completing the learning task, disrupt the system in acquiring knowledge, skills and abilities.

Separate methods and techniques - visual and verbal - are combined and accompany one another in a single learning process in the classroom.

Visualization renews the material and sensual basis of visual activity, the word helps to create the correct representation, analysis and generalization of the perceived and depicted.

Thus, the choice of certain methods and techniques depends on:

From the age of students and their development;

From the task set before the lesson;

From the type of pictorial materials with which students act.

“Painting,” said the outstanding teacher and outstanding artist P.P. Chistyakov - it's a simple matter. You have to find the right color and put it in its right place.” However, to cope with this "simple case", you need experience and knowledge. Painting means “to write life”, “to write vividly”, that is, to fully and convincingly convey reality. Painting is the art of color.

Painting is a type of fine art, the works of which (paintings, frescoes, murals) reflect reality, have an impact on the thoughts and feelings of the audience. A work of art made with paints (oil, tempera, watercolor, gouache, etc.) applied to a surface is called painting. The images of painting are very clear and bright. Artists create canvases with pictorial and plastic means. They use the possibilities of drawing and composition, but the main means of expression in painting is color. It is able to evoke various feelings, associations, enhance the emotionality of the image. A pictorial image is created using paints, that is, colors that form a continuous colorful layer of the pictorial surface. Even in watercolor painting, where sometimes unpainted areas of paper remain, they do not significantly affect the overall impression of the continuity of the image, because the colors flow into one another, fuse and mix.

The pictorial and expressive possibilities of color are used in painting in full force, freely, as the artist needs. Color can highlight the main thing in the composition, emphasize important details, convey the depth of space or emphasize the flatness of the image. The very colorful mass with the finest color transitions, nuances, contrasts, reflections is a value in painting.

The pictorial representation of an object is based on the color that the artist's eye perceives at the moment of observation. In painting, the main language - color - is helped by the language of line, volume, space, composition.

Important means of artistic expression in painting, in addition to color (color), are the stain and the nature of the stroke, the processing of the colorful surface (texture), reflexes.

A special role in aesthetic education belongs to the techniques of working with pictorial materials.

Observations of the process of visual activity show that students experience great difficulties in creating an image if they do not have painting skills. And when they cannot portray what they want, this causes dissatisfaction with themselves, an emotionally negative attitude towards this activity, and a refusal to draw in general. Not knowing the technical methods of drawing, students themselves try to find them. Most of the time, these are the wrong ones. As a result, the shape of the object in the drawing is distorted, causing distress to the students.

Technique, according to the figurative expression of P.P. Chistyakov, is the language of the artist. Without mastering this language, the artist will not be able to convey to the viewer the idea of ​​his work.

In the visual arts, the technique of working with pictorial materials is understood as a set of special skills, methods and techniques through which a work of art is performed. The concept of "technique" in the narrow sense of the word usually corresponds to the direct, immediate result of the artist with a special material and tool (oil painting technique, watercolor, etc.) the ability to use the artistic possibilities of this material; in a broader sense, this concept also covers the corresponding elements of a pictorial nature - the transfer of the materiality of objects.

Thus, under the technique of the image should be understood: the possession of materials and tools, the ways of using them for the purposes of the image and artistic expression. The concept of technology includes the development of the eyes and hands, their coordinated activity. Particular importance is attached to the skillful, correct depiction of the contour, the shape of the object. Visual activity at school is aimed at teaching the technique of working with pictorial materials by means available to students of the 5th grade.

By pictorial technique in the literal sense of the word, one should mean a special branch of knowledge, the subject of which is the rational construction of a pictorial work from the point of view of its material essence.

Knowledge of painting techniques gives the artist the opportunity not only to create durable works, but also to make the best use of his painting materials from an artistic point of view.

Still life painting is a set of special skills, methods and techniques through which a still life is performed. The concept of technology also covers the most rational and systematic use of the artistic possibilities of materials in the transfer of the materiality of objects, in modeling three-dimensional forms, modeling spatial relationships, etc. Thus, technique is one of the most important elements of the system of expressive means of painting.

Techniques and directions of painting used in the lessons at school:

Watercolor painting - water paints, from the Latin agua - water. The main property of watercolor is the transparency of the ink layer. This property should be taken into account when applying one color to another. Highlighting a saturated tone occurs by diluting the watercolor with water. Watercolor painting is based on the technique that first light tones of colors are applied to paper, leaving the highlights uncovered, then saturated colors are gradually introduced. In the process of studying watercolor at the initial stages, staging of objects with a very dark color should be avoided (Appendix 1).

Watercolor work is characterized by purity, transparency and intensity of the paint layer and the ability to convey the subtlest shades of color.

Gouache technique - the French word gouache - opaque watercolor paints. It has good covering properties. Thanks to this, one color can be applied to another. Lightening of color is achieved by adding white. Obtaining derivative colors is carried out by preliminary mixing of colors on the palette. After drying, gouache paints lighten and acquire a beautiful, velvety, matte surface. Therefore, it is important when writing with gouache to choose the desired color and tone. Acquaintance with the gouache technique should begin with a still life, in which color relationships are clearly outlined. The methods and techniques of working with gouache are very diverse. Gouache allows the painting process to be carried out for a long time, to rewrite and wash away unsuccessful places, to make clarifications at the end of the work. The wet ink layer is easily blurred, allowing one color to fit into another (Appendix 1).

Pastel technique - came from the Latin language from the word "paste" - "dough", this is the impression produced by dry pastel crayons. Pastel is a kind of chalk, its variety with its own specific properties, it fits better on paper, strokes made with pastel give the impression of velvety and soft blurry edges. Strokes can be mixed (shaded) or left in their pure form, like a mosaic. Soft, gentle, airy halftones are obtained, there is a feeling that the image is surrounded by radiance. Weightless perception and sensuality are the companions of pastels. Paper for working with pastels is taken rough, and the work done is fixed with a fixative, since the pastel tends to crumble.

The use of various artistic materials and techniques when drawing allows children to creatively approach the solution of the figurative characteristics of a natural setting. Each technique has only its inherent artistic merits and, at the same time, limited possibilities in conveying the surrounding reality. So, with oil paint it is almost impossible to achieve a special transparency and airiness of the paint layer, like watercolors, or soft velvety, like pastels (Appendix 1).

Grisaille technique - one-color painting in neutral tones. This technique is suitable for performing initial exercises on mastering the technique of working with watercolors and gouache paints, on studying the properties and characteristics of visual materials, the patterns of chiaroscuro and the general tone of natural objects (Appendix 1).

In this technique, the necessary tonal gradations in the shape of the object are achieved by applying paint immediately at full strength, i.e. for each surface of the drawing, or even for each stroke, a different paint solution is drawn up. A colorful mixture is being prepared on a palette. Repeated registrations can be done both on a dried-up and on a wet paint layer. It is better to work from dark to light.

The glazing technique is a multi-layer painting based on the use of paint transparency and the ability to change color when applying one transparent layer of paint to another by optical addition of colors. But it must be observed that the applied paint layer dries completely, and there are no more than three layers of overlays. Only with this condition is achieved the depth, purity and saturation of color. Each stroke of paint is applied immediately to the place, without moving the brush in one place several times, so as not to disturb the texture of the paper. The glazing method is used in long-term still lifes (Appendix 1).

Technique alla prima (alla prima) - painting in one step, without preliminary drawings and underpainting. All colors are taken in full force using mechanical mixing of paints. The colors are fresh and vibrant. This method is most often used for sketches, but also takes place in independent works (Appendix 1).

The oil painting technique is one of the painting techniques that uses paints with vegetable oil as the main binder. Oil paints come in every imaginable and unimaginable color, with different effects and textures. They mix well on the palette, which helps to achieve the desired colors and shades. Oil paintings are long lasting. Oil paints make it possible to better convey color tones, the depth of space (Appendix 1).

Oil paints are usually painted on canvas, but you can also use wooden boards, plywood. The canvas is strong enough, elastic, light, has a good texture. For painting, the canvas must have a number of qualities - be durable, dense, with a pronounced grainy surface. The best canvases with these properties are linen and hemp. The canvas is glued and primed before work.

Lightening of paints is achieved by adding white, and the density is regulated by the use of thinners. It can be turpentine or linseed oil. Work with oil paints begins with underpainting. Underpainting is a thin-layer color preparation of the canvas with the expectation of subsequent painting. It generalizes the main tonal and color relations, the relations of large objects, main surfaces. Methods and techniques for applying the paint layer are different. You can write in a thick or thin layer, with strokes or shade the paint with a brush, make mixtures with other paints, whitewash or put it in its pure form, liquidly dilute the paints and apply transparent layers so that the lower layers show through, and thereby create a new color tone. Bristle brushes are widely used in oil painting. Polar bear hair brushes are also of good quality. They are quite soft, elastic, resilient. In a good brush, the hair bundle should be compactly collected towards the end, and not stick out to the sides. After work, the brushes must be washed with thinner, and then with warm water and soap. A clean brush, when dried, is wrapped in soft paper so that when it dries, it retains the desired shape.

Wooden planks are used as a palette. After work, the palette should be thoroughly washed. Unfortunately, the oil paint technique is rarely used at school, only in fine art circles.

There are many ways of teaching artistic image, which must be taken into account in the process of purposeful development of the level of mastering the techniques and methods of working with pictorial materials.

Mastering the techniques and methods of working with pictorial materials in the visual activity of students is one of the main tasks of shaping the personality, talent, abilities and aesthetic feelings of students.

The first stage in the development of students' artistic abilities begins from the moment when the child's hand for the first time gets a visual material - paper, pencil, paints, crayons. In the future, with the accumulation of experience, mastery of visual skills and abilities, new tasks can be set before them.

Thus, work on an artistic image with various pictorial materials evokes strong positive emotions among students. Students enjoy doing the work with a variety of painting techniques. The use of painting techniques helps to express the emotional attitude of students to the depicted. The means of expression used by students are quite diverse: color, shape, composition, painting techniques. In our time, there are many techniques for working with pictorial materials, they are different in terms of labor intensity and execution, depending on the goals and objectives set by the teacher for students. Various painting techniques allow you to work in different stylistic trends, filling and complicating the artistic image of the objects depicted.

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

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

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

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

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

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

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

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

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

INTRODUCTION

The relevance of research. 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 child will strive in his drawings, applications, crafts to tell about what he learned, saw, experienced.

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

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

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

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

The learning process should be aimed at the development of children's fine arts, at the creative reflection of impressions from the surrounding world, works of literature and art.

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

Subject of study is a method of teaching still life to younger students.

Objective – to consider the features of the methodology of teaching still life drawing to younger students.

In accordance with the goal, the following tasks:

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

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

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

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

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

Theoretical basis The work served as the study of Komarova T.S. Kosminskoy V.B., Khalezova N.B., Maksimova Yu.V. and etc.

Research methods:

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

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

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

CHAPTER 1. STILL LIFE AS A GENRE OF FINE ART

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

Still life (fr. naturemorte, lit. dead nature) - in the visual arts - the image of inanimate objects, in contrast to portrait, genre, historical and landscape themes.

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

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

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

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

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

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

There are several types of still lifes:

Plot-thematic;

Training;

Educational and creative;

Creative.

Still lifes distinguish:

By color (warm, cold);

By color (close, contrasting);

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

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

By the time of performance (short-term - "slap" and long-term - many hours of performances);

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

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

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

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

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

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

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

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

1.2. Artistic materials and techniques used in still life painting

Drawing, as a rule, does not require complex devices. Everyone had to draw with pencils, felt-tip pens or pens on paper, but it is not easy to achieve mastery in accurately conveying movement, the nature of the texture. In general, if we talk about paper, then let the children try its various varieties for drawing.

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

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

Paper covered with an even layer of chalk with a small amount of binders is coated, or chalk, paper. She perceives paint well, the stroke and line become distinct, the ink lays down very evenly and densely. But the most important thing is that retouching is possible according to the finished drawing, that is, making changes and corrections with a needle, scalpel, knife, etc. Here even such a new technique arises as a white line and a stroke on a black background, which resembles engraving (the principle of linocut). However, they should not be abused.

Draw well on colored paper. This tradition of the old masters has great meaning and rich technical possibilities, colored paper gives the drawing a tonal environment, you can work on it both dark and light at the same time. Such paper can be prepared as follows: finely crushed pastel or some other coloring powder is evenly rubbed over the entire sheet with a cotton swab. Colored or tinted paper is also made by pouring a weak solution of tea or coffee, monochromatic watercolor or gouache. The color and tone of paper painting can be infinitely varied. The artistic possibilities of paper are very wide.

Educational practice has shown that graphite and colored pencils, felt-tip pens, watercolor, ink, sauce, colored crayons, as well as charcoal, sanguine, and pastel are most preferable for performing drawing tasks.

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

A graphite pencil is equally convenient for both educational and creative work. It has a nice gray tone and some sheen, easily erased with an elastic band, you can make corrections. This pencil creates drawings of a linear, linear-stroke and tonal-painterly spot. For drawing, a graphite pencil of all materials is the simplest and most affordable tool. Graphite, combined with other art materials, holds great potential for every artist.

Graphite fits well on any paper and does not crumble. Pick up a pencil and paper should be in accordance with the tasks. First you need to learn how to work with one pencil and try to use all its expressive possibilities. Line and stroke work well on thick, smooth paper, while grainy paper is suitable for tone work. Pencil drawings on yellowed paper look good.

When working with a graphite pencil, one should not be particularly fond of shading, as it may give the impression of a worn and greasy pattern. A graphite pencil is good for drawings in an album, on a paper sheet, but if you need to close large planes, then charcoal is usually used.

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

Equally important when working with a pencil is an elastic band. Good quality gum is determined by its softness.

Colored pencils can also achieve a variety of graphic or painterly effects, especially watercolor pencils that can be blurred with water.

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

It is allowed to combine charcoal with other materials - sanguine, chalk, pastel, colored pencils, watercolor, special charcoal pencil "Retouch".

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

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

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

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

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

The sauce is a drawing material in the form of thick pencil sticks made of pressed dyes with glue, wrapped in foil. It is used in large and lengthy drawings, in sketches and sketches. The sauce gives a rich opportunity in tonal drawing, has a deep velvety black color (sometimes gray or brown), blends well; applied to paper with a stroke, shading (dry sauce) or blurred with a brush with water. Similar to watercolor (wet sauce). Drawings made using the dry sauce technique are best fixed or stored covered with thin paper and also under glass.

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

The “wet” method is as follows: the grated sauce powder is diluted with water to the desired consistency. First, with a solution of medium saturation, the brush covers its own and falling shadows. Then large parts of the mold and the environment are covered with a weak solution. Then proceed to the detailed study of the subject. Thus, the method of working with a “wet” sauce is in its own way close to the technique of working with watercolors (grisaille). You can work with the sauce in a combined way.

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

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

In the old days, they drew with bird feathers (goose, swan, crow, peacock, etc.). For example, A.S. Pushkin made sketches on the margins of his manuscripts with a quill pen. Drawing with bird feathers has not yet lost its significance. The flexibility and elasticity of such pens allow you to make lines of very different thicknesses, but this tool breaks down very quickly, and preparing a new pen is quite laborious and requires a certain skill. The end of the pen is cut obliquely with a sharp knife and then cut along a few millimeters (the name "penknife" is associated with this process).

A significant distribution for ink drawing in the past and now has a wooden stick. Its preparation is very simple; an ordinary thin stick at the end is sharpened like a pen in the way the artist himself needs.

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

A realistic image is not a mirror image of nature. Its purpose is to create an artistic image that correctly conveys the meaning and content of the phenomenon of nature and life. Painting, like drawing, is based on strictly defined patterns of constructing a realistic form. Teaching painting is a way of studying the ways, techniques and means of building a picturesque form of color. The factors influencing the color change include light and air environment, color environment, light sources.

Younger students need to develop the ability to see objects in the environment, to look at a still life as a harmonious group of objects that have reflex and spatial connections. The only method that allows you to successfully create a visual image of nature is the method of relations. The process of development of visual perception goes in parallel with the accumulation of knowledge and skills.

Colors are subdivided into achromatic colors (white and black). They differ in lightness. All colored paints are called chromatic. Colors can be either warm or cool. Also, when working with a still life, we are faced with a phenomenon - contrast. Any achromatic color brightens when surrounded by a darker one, and darkens when surrounded by a lighter one. This is a light contrast. The change in color tone depending on the adjacent color is called color contrast.

Hue is a chromaticity characteristic by which one color differs from another. Lightness - the difference in lightness, saturation - the degree of expression of a particular color tone. Halftone is an intermediate part of the form between light and shadow.

Work on a still life is carried out with various pictorial materials. One of these materials is watercolor.

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

There are two ways to work in watercolor:

Glaze - the imposition of one transparent layer of paint on another, while the first layer is dried.

Alla prima - all colors are taken immediately of the desired strength, each color detail begins and ends in one step. Also called "working on the raw".

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

The next painting material is gouache - the French word gouache - opaque watercolors. According to the production technology, gouache is close to soft varieties of watercolor, but differs from it in opacity. It has good covering properties. Thanks to this, one color can be applied to another. Lightening of color is achieved by adding white. Obtaining derivative colors is carried out by preliminary mixing of colors on the palette. After drying, gouache paints lighten. Acquaintance with the gouache technique should begin with a still life in which color relationships are clearly outlined.

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

CHAPTER 2

2.1. The role of art in the development of primary school students

An analysis of the artistic activity of schoolchildren shows that art is an indispensable tool for the formation of personality; it is thanks to him that younger schoolchildren can get acquainted with socially significant ideas and concepts, assert themselves in their value orientations. Introduction to art gives the younger student the opportunity to feel and reproduce special, primary forms of creativity, to touch the richest half-forgotten layers of universal culture; is a good starting position for mastering the subsequent stages of the development of art.

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

As you know, an important component of the formation of an aesthetic attitude to reality is the form of its manifestation - the motivation for sensual experiences, the comprehension of a work of art.

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

It is known that artistic creativity plays an important role in the formation of the personality of a junior schoolchild. Developing the universal human ability to see and comprehend the beautiful, it is one of the ways to activate his imaginative thinking, imagination and intuition.

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

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

It is known that the educational impact of art on a person is a two-way process, which is an active interaction between a work of art and a person. A feature of such a pedagogical impact on the younger generation is the formation of an aesthetic attitude towards art. An important role in shaping the artistic and creative development of the student is played by the family as a "microenvironment" in which he receives his first artistic impressions.

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

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

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

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

In addition, artistic creativity, as you know, develops the flexibility and productivity of thinking in schoolchildren, makes it possible to see their natural inclinations for a particular type of activity, and creates conditions for their implementation. Being an almost spiritual activity, it presupposes the obligatory presence of specific performing skills. As you know, any artistic and creative process involves the mastery of the subject environment by certain means. That is why the need to form the interest of adolescents in artistic creativity is dictated by the fact that their fruitful familiarization with art is possible only on the basis of their true awareness in the field of artistic culture. The involvement of children of primary school age in visual and creative activities is an indispensable aspect of the educational process.

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

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

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

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

Still life is the first genre of painting, which, as studies of teachers and psychologists show, should be introduced to younger students. It not only causes the greatest emotional response in children from the age of 3-4, associations with their own life experience, but also draws the attention of children to the means of expressiveness of painting, helps them to look more closely at the beauty of the depicted objects and admire them. Experiment N.M. Zubareva showed that the greatest attention of children was attracted by the genre everyday painting and still life. The motive for choosing these genres of painting by children is understandable: they are consonant with their experience, since children encounter many objects depicted, for example, in still life, in everyday life. N.M. Zubareva established the levels of aesthetic perception by children of a picturesque still life. At the first level, the lowest, the child enjoys the image of familiar objects that he recognized in the picture. At this level, there are children of three years of age, but if pedagogical work is not carried out with them, then they remain at the same level at 6, and at 7, and more years. At the second level, the child begins to realize the elementary aesthetic qualities of the work - they can evaluate both the color and color combinations of the depicted objects and phenomena in the picture as beautiful, less often - the form and composition. At the third level, the child is able to capture the inner characteristics of the artistic image. This is still a partial, not complete comprehension of the artistic image, but it allows the child to aesthetically experience at least part of the artist's intention.

Art awakens an emotional and creative beginning in children of primary school age. With the help of painting, younger students are taught to understand the harmony of nature. When we consider a number of still lifes by different artists, we see how diverse they are in content, in means of expression and in the individual creative manner of each artist. Art critics do not subdivide still lifes by type, but for pedagogical work with children this seems important to us. A single-species still life depicts objects of one specific type: only vegetables, only fruits, only berries, mushrooms, flowers; food or household items are possible, for example: P. Konchalovsky "Peaches"; I. Repin "Apples and leaves"; I. Levitan "Lilac"; V. Stozharov “Bread. Kvass"; P. Konchalovsky "Dry paints" and others. If the picture shows dissimilar objects (vegetables and fruits, flowers and fruits, dishes and vegetables, etc.), we conditionally define such a still life as mixed in content, for example: I. Khrutsky “Flowers and Fruits”; I. Mikhailov "Vegetables and Fruits"; K. Petrov-Vodkin "Glass and Lemon". The plot still life can include still lifes depicting living beings: birds, animals, humans - or still lifes with the inclusion of a landscape in them, for example: F. Tolstoy “A bouquet of flowers, a butterfly and a bird”; I. Serebryakova "At Breakfast"; P. Krylov "Flowers on the Window" and others.

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

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

Paintings, still lifes, should realistically reflect the phenomena of social life and nature familiar to children. The picture should clearly express the idea, the intention of the artist. When selecting still lifes for consideration, it is necessary to clearly understand what the picture is about, what main idea the artist expressed, why he created this work, how he conveyed the content (what artistic means he used). The theme of still life should be close to the social experience of the child, his life impressions. When selecting still lifes to familiarize younger students, they take into account the individual creative vision of reality in similar topics of still lifes. Younger students are introduced to still lifes created by different artists on the same theme. Perceiving these still lifes, children acquire the ability to compare the different manner of performing the same phenomenon by different artists, to highlight their attitude to the depicted.

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

2.3. Stages of work on a still life

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

You should consider which paper size to choose and how best to compose a still life on a sheet - vertically or horizontally. For example, if you need to include a table corner in the composition, then it is better to put a sheet of paper vertically.

Alberti wrote: "Never take up a pencil or a brush until you have properly considered what you have to do and how it should be done, for, truly, it is easier to correct mistakes in the mind than to scrape them from the picture."

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

The teacher should explain to the students that more space should be left at the top than at the bottom - then the viewer will get the impression that the objects are firmly on the plane. At the same time, care must be taken that the depicted objects do not rest against the edges of the sheet of paper and, conversely, that there is not much empty space left.

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

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

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

Then the teacher erases the drawings from the blackboard and the students get to work.

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

Those students who cannot determine the general composition of a group of still life objects in the drawing can be allowed to draw each object separately, starting, however, with an approximate estimate of the size of each of them. Next, you need to specify the size of each item separately.

We build the shape of objects in the same way as in tasks for drawing individual objects. We outline the surfaces of each object, both visible and invisible. Thus, in the figure, an image of wire models is obtained, as it were.

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

In the same way, you need to work on the image of an apple. You should not immediately draw and refine the contour of objects; the main thing is to determine the dimensions and proportions of each of the objects (in height, width, depth).

Revealing the constructive basis of the shape of objects, it is necessary to carefully check the perspective. Particular attention should be paid to the perspective image of the bases of objects. It should not be allowed that in the drawing the footprint of one object “steps” on the footprint of another, in other words, the student must clearly understand which object is in the foreground, which one is in the second. Beginning draftsmen usually do not follow this, and they do not get the space between objects in the drawing. Then they begin to introduce tone into the drawing, hoping that the defect can be corrected in this way, but this does not give the desired results.

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

P. P. Chistyakov wrote: “First and foremost, you need to pay attention to the plan, the points that the figure touches. For example, footprints on the floor. Here, in the lines, one should also outline the boundaries of light and shadow, so that later they would not be looked for on each subject separately.

Separately, it must be said about the image of the drapery, which descends from above and covers the object plane. When depicting drapery, we first determine the horizontal and vertical plane, and only then proceed to drawing the folds. Light in tone and thin in its structure and material, the fabric forms expressive folds in terms of plasticity and cut-off modeling on a vertical plane. On the object plane, the folds of the drapery are slightly outlined. When constructing volumetric folds, you can use the method of form generalization (cutting). The student must ultimately generalize the complex shape of the folds to straight geometric shapes. This method will help to understand the shape of the folds and correctly solve the tone problems of the drapery pattern.

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

In the process of learning to draw from nature, students must learn to see and understand the relationship between the design of an object and the phenomena of chiaroscuro, and master the means of chiaroscuro drawing. Not knowing the laws of distribution of light on the shape of an object, they will passively copy light and dark spots from nature, but will not achieve credibility and plausibility of the image.

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

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

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

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

Leonardo da Vinci wrote: “First put a general shadow on the entire filled part that does not see the light, then put penumbra and main shadows, comparing them with each other. And in the same way lay down the fill light held in the half light, and then lay down the middle and main lights, also comparing them.”

When the general drawing of the still life is planned correctly, you can increase the pressure of the pencil on the paper and lay the tone, proceeding to the detailed drawing of each object.

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

When drawing a form in detail, one must carefully observe all the shades and transitions of chiaroscuro, all the details of the form. But when working on a detail, we must not forget to compare it with the one next to it. P.P. Chistyakov recommended: “It is not necessary to work on a detail for a long time, since the sharpness of perception disappears, it is better to move on to another, nearby part. When you return to the work done at the beginning, it is easy to see the imperfections. So, in the process of the whole work, moving from one place to another, keep the whole figure in your eye, do not immediately strive for the general, but delve into the details, do not be afraid of the initial variegation, it is not so difficult to generalize it, it would be something to generalize.

When working out the forms of still life objects, serious analytical work should take place. It is necessary to carefully draw every detail of the object, identify its structure, convey the characteristic features of the material, trace how the constituent elements are linked to each other and to the overall shape, for example, the handle, the spout of the teapot, the texture and shape of the apple, how the glare on various objects differs from each other.

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

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

2.4. Rules for drawing up a still life

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

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

The moment of compiling a still life by the students themselves is important, since such exercises will make it possible to carry out plastic tasks and the most advantageous groupings of objects.

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

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

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

An important role in the composition of a still life is played by lighting - artificial or natural. Light can be lateral, directional or diffused (from a window or with general lighting). When a still life is illuminated with directional light from the front or side, contrasting chiaroscuro appears on objects, and in order to highlight the first (or main) plan, you can close part of the light falling into the background. When illuminating the still life from the window (if the objects are placed on the windowsill), there will be a silhouette solution of dark on light, and part of the color will disappear if the still life is decided in color. The tonal difference in objects is more noticeable in diffused light.

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

It consists of three items (one large - the center of the composition and two or three smaller ones) and draperies;

Items are different in color, but not intense colors;

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

Objects and draperies should have a pronounced tonal difference;

Placement of the production in direct daylight (large color ratios are easy to read, have a decorative appeal).

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

CONCLUSION

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

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

The development of artistic perception and practical activities are presented in the program in their meaningful unity. A variety of practical activities lead students to understand the phenomena of artistic culture, the study of works of art and the artistic life of society is supported by the practical work of schoolchildren.

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

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

A characteristic feature of art is the reflection of reality in artistic images that act on the mind and feelings of the child, educate him in a certain attitude to the events and phenomena of life, and help to better and more fully cognize reality. The influence of art on the formation of a person's personality, its development is very great. The soul of the child is predisposed to the perception of beauty, the child is able to subtly feel the painting.

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

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

BIBLIOGRAPHY

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

The basis for compiling a still life is the selection of objects, in terms of meaning and content.

There are several types of still lifes:

Plot-thematic;

Training;

Educational and creative;

Creative;

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

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

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

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

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

From the experience of working in a children's art school:

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

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

The course program provides for the study of the basics of pictorial writing on the example of still lifes and their depiction by means of painting in different materials.

1. Types of still lifes

Still life(French nature morte lit. dead nature) - in the visual arts - the image of inanimate objects, in contrast to portrait, genre, historical and landscape themes.

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

As an independent genre in art, still life appeared at the turn of the 16th - 17th centuries. in Holland and Flanders and has since been used by many artists to convey the direct connection of art with the life and life of people. This is the time of artists who made themselves famous in the still life genre, P. Klas, V. Heda, A. Beieren and V. Kalf, Snyders and others.

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

There are several types of still lifes:

- plot-thematic;

- educational;

– educational and creative;

- creative.

Still lifes distinguish:

– by color (warm, cold);

- by color (close, contrasting);

- by illumination (direct lighting, side lighting, against the light);

- by location (still life in the interior, in the landscape);

- by the time of performance (short-term - "blotches" and long-term - many hours of performances);

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

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

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

Plot-thematic still life implies the unification of subjects by a theme, a plot.

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

AT decorative still life the main task is to identify the decorative qualities of nature, to create a general impression of elegance. Decorative still life is not an accurate depiction of nature, but reflection on this nature: it is the selection and capture of the most characteristic, the rejection of everything random, the subordination of the still life structure to the specific task of the artist.

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

1. Rules for drawing up a still life

Drawing up a still life must begin with a plan. Through comparative analysis, one comes to the definition of the most characteristic features of the form and the generalization of observations and impressions. It must be remembered that each new object in the production is “a new measure of all the things included in it, and its appearance is like a revolution: objects change and change their relations, as if falling into another dimension.”

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

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

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

An important role in the composition of the setting of a still life is played by lighting - artificial or natural. Light can be lateral, directional or diffused (from a window or with general lighting). When illuminating the still life from the window (if the objects are placed on the windowsill), there will be a silhouette solution of dark on light, and part of the color will disappear if the still life is decided in color. The tonal difference in objects is more noticeable in diffused light.

When starting work on a painting, you need to pay attention to the following basic requirements.

1) The lighting is even, diffused, falling from the left side so that the shadow from the hand does not cross the sheet. It is unacceptable for a sheet of paper to be illuminated by the sun's rays.

2) The sheet must be placed no closer than at arm's length. When working, it is advisable to move away from the sketch or leave it to be examined from afar. This technique allows you to more clearly see your mistakes or successes.

3) The image object (model) should be located slightly to the left of the student's workplace at such a distance from which it can be viewed as a whole. The larger, the greater the distance between it and the image.

4) Long etudes of productions are performed on paper stretched over a tablet.

The work begins with the compositional placement of the image on a sheet of paper. Previously, the student must examine the still life from all sides and determine from what point of view it is more profitable (more efficient) to place the image on the plane. Before proceeding to painting, the student must get acquainted with nature, note its characteristic features, and understand the general color of the production.

The study of nature begins with direct observation. The student first visually gets acquainted with nature, and then his attention switches to its proportions, the nature of the form, movement, lighting, color and tone. Such a preliminary observation of nature serves as a stepping stone to a detailed analysis of the object.

The image begins with a light pencil drawing. 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.

The task of the student is to learn to separate the main from the secondary. 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.

When working on still lifes, both the techniques of the “a la prima” technique and multilayer (2-4) painting with glazing are appropriate.

When all the details are written down, and the image is carefully modeled in tone and color, the generalization process begins.

At the last and most important stage of work on the production, the student sums up the work done: checks the general condition of the image, subordinates the details to the whole, generalizes the color scheme. At the final stage of work, it is desirable to return to a fresh, original perception again.

The task is not blind copying, but the need for a creative approach to depicting nature.