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COURSE PROGRAM
AESTHETICS
Topic 1. The subject of aesthetics
The term "aesthetics". Formulation of the subject of aesthetics (A.G. Baumgarten). Universality of thinking in images. The essence of aesthetic education. The role of art in the formation of human sensibility. Specificity of art as a subject of aesthetics. Beauty is a traditional subject of study of aesthetics. Factors influencing the formation of the subject of aesthetics: philosophy, art, social order, the internal logic of the development of science. The main sections of aesthetics: the history of aesthetics (the main stages in the history of aesthetics), the theory of aesthetics, artistic creativity, the aesthetic culture of modern society.
Topic 2. The main stages in the development of aesthetic thought
Aesthetics of antiquity. Periodization of ancient aesthetics. Features of the development of ancient culture and their influence on the formation of aesthetic issues: Greek colonization, characteristics of the Apollonian and Dionysian principles in ancient Greek culture (F. Nietzsche). Features of the development of the art of Ancient Greece (fine arts, literature). The basic concepts of ancient Greek aesthetics: techne, mimesis, catharsis, beauty, harmony, tragedy. The problem of art morphology in ancient aesthetics. Aesthetics of the early classics (cosmological aesthetics), Pythagorean aesthetics. Aesthetics of the Middle Classics (anthropological aesthetics), Sophists, Socrates. Aesthetics of high classics (eidological aesthetics), Plato, Aristotle. Features of Hellenistic aesthetics. Philosophy as a decisive factor that influenced the formation of ancient aesthetic problems.
Aesthetics of Byzantium. Features of the development of Byzantine culture and their influence on the aesthetic problems of this era. Origin of Byzantium. Basic principles of Byzantinism. Personalities. Dionysius the Areopagite (Pseudo-Dionysian Areopagite), Gregory of Nazianzus, Basil the Great, Gregory of Nyssa, John Chrysostom, John of Damascus Simeon the New Theologian, Gregory Palamas. The special role of the aesthetic sphere in the culture of Byzantium. Theology as a dominant factor influencing the formation of aesthetics in the Byzantine era. The main concepts of Byzantine aesthetics and their relationship: beauty, light, color, symbol, image. Theory of the pictorial image - icons. The problem of the morphology of art in Byzantine aesthetics: the differences between the art of the word (Gospel) and pictorial images (icon painting).
Aesthetics of the Western Middle Ages. Theological character of Western European aesthetics. Main personalities. Aurelius Augustine, Thomas Aquinas. Romanesque style as the first pan-European artistic style. Origin of the term "Romance". Architecture as the dominant art form. main architectural structures. Place of sculpture and painting within the Romanesque style. Gothick style. History of the term "Gothic". Gothic as an expression of the religious consciousness of the era. Architecture as the dominant art form. main architectural structures. The place of sculpture and painting in the system of fine arts within the framework of the Gothic style. Theology as a decisive factor in the formation of the aesthetics of the Middle Ages.
Aesthetics of the Italian Renaissance. Periodization. History of the term "Renaissance". Personalities. Dante Alighieri, Francesco Petrarca, Giovanni Boccaccio, Lorenzo Valla, Pico Della Mirandola, Marsilio Ficino, Sandro Botticelli, Leonardo da Vinci, Raphael Santi, Giorgio Vasari. Features of the culture of the Renaissance and their influence on the formation of aesthetic issues: self-affirmation of a person as one of the leading trends in the culture of the Italian Renaissance; antiquity as the ideological support of the culture of the Renaissance; the tragedy of the culture of the Renaissance; elite character of the Renaissance culture. Features of the aesthetics of the Renaissance: the role of art in the formation of aesthetic problems; high social value of art; art as the most perfect way to comprehend the world; interest in art theory; logical organization of space; relation of art to reality; the problem of the general and the individual in the artistic image; a way of artistic generalization in the aesthetics of the Renaissance.
Northern Renaissance. The term "Northern Renaissance". Features of the culture of the northern Renaissance. Sources of the ideas of the Northern Renaissance: Gothic, religious renewal, the influence of the Italian Renaissance. Reformation and Northern Renaissance. Features of the aesthetics of the northern Renaissance, the close connection of its ideas with artistic practice. Dialectics of the concepts of beauty and ugliness in the aesthetics of the Northern Renaissance. Expressiveness of the art of the Northern Renaissance. Features of the organization of artistic space in the fine arts of the Northern Renaissance. Artists of the Northern Renaissance: Jan van Eyck, Albrecht Dürer. Hieronymus Bosch,
baroque aesthetic. Reasons for the appearance of the Baroque trend. baroque theorists. Giambattista Marino, Matteo Peregrini, Emmanuele Tesauro. The basic principles of baroque: the special role of wit; the special role of genius, its connection with wit; orientation of artistic consciousness to the internal inconsistency of being; the subjective nature of beauty. The main features of baroque art. Baroque artists: Lorenzo Bernini, Borromini.
Aesthetics of classicism. History of the term "classicism". The origins of classicism: the influence of the Renaissance, the influence of Cartesianism, the influence of antiquity. Basic principles of classicism. Treatise N. Boileau "Poetic Art". The art of classicism. Artists: Nicolas Poussin, Claude Lorrain, Jean Louis David.
aesthetics of romanticism. The term "romanticism". Romanticism as a broad movement that embraced many areas of cultural and social life. Romanticism as an attitude, a special way of relating to the world. The main reasons for the emergence of the movement of romanticism: socio-historical and cultural-artistic. The main features of the aesthetics of romanticism: individualism, the special role of the artist, the special role of a genius (Jean-Paul), the theory of romantic irony (F. Schlegel). Artists of Romanticism: Theodore Gericault, Eugene Delacroix (France), Friedrich Gaspard (Germany).
Features of aesthetics of the late XIX - early XX century. Influence of the ideological factor. Influence of philosophy (first of all, positivism and schools of subjective idealism). The influence of various specific sciences (psychology, physiology, art history, linguistics, sociology, etc.). The influence of art. aesthetics of realism. aesthetics of modernism.
Topic 3. The specifics of art
Artistic image in realism. The principle of generalization in the aesthetics of realism. Realistic and naturalistic image. The condition of art. Reality as a source of creativity. Degrees of artistic generalization (varieties of artistic realistic image)
Artistic image as a process of artistic creation. The main stages of artistic creativity. Formation of an idea as a starting point for the process of artistic creation. Inspiration as the highest creative activity. Different approaches in the history of aesthetics to the concept of inspiration (Plato, I. Kant, K. Jung, etc.). The role of artistic intuition in the process of inspiration (intuitionism, Marxism). The main stages of inspiration. Objectification of a work of art as the final stage of creativity.
Space and time of the artistic image. The problem of classifying arts in the history of aesthetics, as an attempt to determine the specifics of arts through the allocation of ontological parameters. Features of the spatio-temporal continuum of the artistic image in cinema art as a spatio-temporal form of creativity.
Topic 4. Aesthetic culture of modern society
The diversity of the cultural process of modernity. Elite and mass culture. Elite culture, as a culture that creates a fundamentally new, as a culture of high values, as creativity. Mass culture as a culture of mass society (J. Ortega y Gaset). The standardized nature of mass culture. Distribution, division of culture as the main feature of mass culture. The commercial nature of mass culture. The passive role of mass culture in the cultural-historical process. Mass culture as replication of the achievements of elite culture. The role of mass culture: destruction of personality and sublimation of the human psyche.
PLANS OF SEMINAR LESSONS FOR THE COURSE "AESTHETICS"
Lesson 1. The subject of aesthetics (2 hours).
Main questions:
The term "aesthetics".
The main sections of aesthetics.
Additional questions:
Human sensibility as a subject of aesthetics.
Universality of thinking in images.
The essence of aesthetic education.
Basic aesthetic concepts.
Factors that had the greatest influence on the formation of aesthetics.
What are the main branches of aesthetics?
Literature:
1. Ilyenkov E.V. On the aesthetic nature of fantasy. // Art and the communist ideal, M., 1984. S.231-242.
Baumgarten A. // History of aesthetics. Monuments of world aesthetic thought. In 5 vols. .2. pp.452-456.
Borev Y. Aesthetics. "Rusic". Smolensk, in 2 vols., v. 1, 1997.
Aesthetics. Dictionary. M., 1989.
Kondrashov V.A. Chichina E.A. Aesthetics. "Phoenix" Rostov-on-Don, 1998.
6. Bychkov V.V. , Bychkov O.V. Aesthetics. // NFE in 4 vols., v.4. M., Thought. 2001.
Lesson 2. Aesthetics of antiquity (4 hours).
Main questions:
Basic concepts of ancient aesthetics: beauty, art, mimesis.
Features of ancient art.
Additional questions:
1. How is beauty characterized in the cosmological aesthetics of the Pythagoreans?
2. What is the connection between the Pythagoreans and the question of harmony?
What is the reason for the Pythagoreans' interest in music?
What, according to the Pythagoreans, is the psychological and cathartic function of music?
The first definition of beauty in the Sophists.
Sophists about artistic creativity.
Sophists about the peculiarities of artistic perception.
Why can the aesthetics of the Sophists and Socrates be characterized as anthropological?
Socrates on art and the main tasks of the artist.
The concept of mimesis in Plato's philosophy.
The place of the beautiful in the philosophical system of Plato.
Plato's theory of artistic creation.
Why is the aesthetics of Plato and Aristotle characterized as eidological?
Aristotelian definition of art. Aristotle's theory of mimesis.
Aristotelian definition of tragedy. Catharsis.
Literature:
1. History of aesthetics. Monuments of world aesthetic thought, in 5 volumes. T.1. pp. 80-88, 89-92, 94-100.
2. Plato. Hippias the Greater. // Plato, op. in 3 volumes. T.1. M., 1968.
3. Plato. And he. There.
4. Plato. Feast. Ibid., v.2.
5. Losev A.F. History of ancient aesthetics. Sophists. Socrates. Plato. M., 1969. S. 32-41.
Tatarkevich V. Antique aesthetics. M., 1977.
Dmitrieva N.A. Brief history of arts. Issue. 1. M., 1987. S.53-96.
Alpatov M. Artistic problems of the art of Ancient Greece. M., 1987. pp. 51-127.
General history of architecture. T.II. book. 1. M., 1949. S. 32-43.
Akimova L. Ancient Greek art. // Encyclopedia for children. T. 7. Art. part 1. M., 1997.
Lesson 3. Aesthetics of Byzantium (4 hours).
Main questions:
The place and role of artistic creativity in the culture of Byzantium.
Additional questions:
The role of the works of Dionysius the Areopagite (Pseudo-Areopagite) in the formation of aesthetic problems.
What aesthetic problems did the great Cappodocians deal with in their religious works: Gregory of Nazianzus (Gregory the Theologian), Basil the Great, Gregory of Nyssa?
What are the main features of the main direction of Byzantine aesthetics - church-patristic?
What is the essence of the so-called interior aesthetics or the aesthetics of asceticism, which developed within the framework of patristics?
The concept of beauty.
The concept of "One good-and-beautiful".
The concept of light.
The concept of a symbol.
The concept of an image (images similar and dissimilar).
The struggle of iconoclasts and iconodules. What principles did each of them uphold?
The concept of canon.
Features of iconography.
Literature:
John of Damascus. Exact presentation of the Orthodox faith. M., 1992.
History of aesthetic thought. In 6 volumes. T.1. M., 1985. S. 328-370.
Byzantine culture. IV - the first half of the VII century. M., 1984. S.504-545, 546-595.
Byzantine culture. Second half of the 7th - 12th centuries M., 1989. S. 401-469,470-519.
Byzantine culture. XIII - first half of the XV century. M., 1991. S.412-446.
Bychkov V.V. Russian medieval aesthetics. XI - XVII centuries. M., 1995. pp.37-60.
Palamas Gregory. In defense of the silent saints.
Damascene John. Exact presentation of the Orthodox faith. M., 1992.
Dionysius the Areopagite. mystical theology.
Bulgakov S. Orthodoxy. Essays on the teachings of the Orthodox Church. M., 1991. S.297-308, 308-323.
Khoruzhy S.S. After the break. Ways of Russian Philosophy. S-P., 1994.
Frank S.L. Spiritual foundations of society. M., 1992. S. 317-324.
Dmitrieva N.A. Brief history of arts. Issue. 1. M., 1987. S. 113-130.
Barskaya N.A. Plots and images of ancient Russian painting. M., 1993.
Ostrovsky G. How the icon was created. - In the book. Ostrovsky G. A story about Russian painting. M., 1989. S.17-24.
Philosophy of Russian religious art. M., 1993. (Art. E. Trubetskoy, S. Bulgakov, L.A. Uspensky)
Uspensky F. Byzantium. // New Encyclopedic Dictionary, ed. K.K. Arsenyeva, ed. Brockhaus F.A. and Efron I.A. T. 10.
Anisimov A.I. On ancient Russian art. M., 1983.
Lesson 4. Aesthetics of the Italian Renaissance (2 hours).
Main questions:
The main trends that determined the development of culture and aesthetics of the Italian Renaissance.
Antiquity as the ideological support of the Italian Renaissance.
modification of the Catholic tradition.
The specificity of the aesthetics of the Renaissance.
Additional questions:
1. Is the Italian Renaissance unique?
2. What does the concept of "Renaissance" mean?
3. What are the reasons for the self-affirmation of the individual in the era of the Italian Renaissance?
4. What areas of ancient philosophy were the ideological support of the culture of the Italian Renaissance?
5. What is the influence of the Christian faith (in its Catholic version) on the culture, art and aesthetics of the Italian Renaissance?
6. What is the contradictory nature of the Renaissance culture? (combination of optimistic and tragic attitude)
7. In what does N. Berdyaev see the tragedy in the work of Renaissance artists?
8. What is the reason for the high social value of art?
9. What is the interest in the theory of art? The role of the theory of various types of art in the formation of the aesthetics of the Italian Renaissance?
10. Why did art acquire a high cognitive value during the Italian Renaissance? How does this relate to the modification of the Catholic tradition?
11. Beautiful in the aesthetics of the Renaissance.
12. The logical organization of space among the artists of the Renaissance.
13. The relation of art to reality.
14. The problem of the general and the individual in the artistic image.
15. Method of artistic generalization in the aesthetics of the Renaissance.
Literature:
History of aesthetic thought. In 6 volumes. T.2. M., 1985. S.128-166.
Berdyaev N.A. The meaning of creativity. Chapter 10. // Berdyaev N.A. Philosophy of freedom. The meaning of creativity. M., 1989.
Gurevich A.Ya. Kharitonovich D.E. History of the Middle Ages. M., 1995. S.252-276.
Dmitrieva N.A. Brief history of arts. Issue 1. M., 1987. S.215-257.
Kaptereva T. Renaissance Art in Italy. // Encyclopedia for children. T.7. Art. part 1. M., 1997.
Ivanov K.A. Troubadours, Trouvers and Minnesingers. M., 1997.
History of aesthetics. Monuments of world aesthetic thought. In 5 volumes, v.1.
Lesson 5. Tragic in the art of the Italian Renaissance.
Main questions:
The origins of the tragedy of the Renaissance in the concept of Berdyaev.
The origins of the tragedy of the Renaissance in the concept of Losev.
Additional questions:
What is the nature of artistic creativity from the point of view of Berdyaev?
What is the reason for Berdyaev's conclusion that the tragedy of the artist-creator made perfect classical art almost impossible?
What, according to Berdyaev, is the secret of the Renaissance?
In what does Losev see the origins of the tragedy of the Renaissance?
Is there any similarity in the analysis of the Italian Renaissance by Berdyaev and Losev? Concepts N.A. Berdyaev and A.F. Losev.
Literature:
1. Berdyaev N.A. The meaning of creativity. Chapter 10. - Berdyaev N.A. Philosophy of freedom. The meaning of creativity. M., 1989.
Berdyaev N.A. The meaning of history. M., 1990. S.100-144.
Losev A.F. Aesthetics of the Renaissance. M., 1978.
Lesson 6. Aesthetics of the Baroque (2 hours).
Main questions:
1. Reasons for the appearance of the Baroque.
2. History of the term "Baroque".
3. Basic principles of baroque.
4. Baroque in art.
Additional questions:
Features of the connection between the Baroque and the Renaissance.
Baroque theorists (Giambatista Marino, Matteo Peregrini, Emmanuele Tesauro).
The special role of wit.
The special role of genius, its connection with wit.
The role of inspiration
The internal inconsistency of being is the subject of analysis of baroque aesthetics.
Baroque art.
Literature:
Kuchinskaya A. and Golenishchev-Kutuzov I.N. Baroque. // History of aesthetic thought in 6 volumes. T.2, M., 1985.
Golenishchev-Kutuzov I.N. Baroque and its theorists. // XVIII century in the world literary development. M., 1969.
Menendez Pidal R. Selected Works. M., 1961.
Benois A. Baroque. // New Encyclopedic Dictionary, edited by K.K. Arseniev, ed. Brockhaus F.A. and Efron I.A. v.5, 1911.
Dmitrieva N.A. Brief history of arts. Issue 2. M., 1989. P. 91-120.
Lesson 7. Aesthetics of classicism (2 hours).
Main questions:
History of the term "classicism".
The origins of classicism.
Basic principles of classicism.
Classicism in various forms of art.
Additional questions:
The meaning of the term "classicism" in antiquity.
The meaning of the term "classicism in the XVII century.
Renaissance influence.
Influence of Cartesianism.
The influence of antiquity (antiquity as the source of classicism: "for" and "against").
Rationalism as the basic principle of classicism.
The aesthetic rules of classicism, set out in the treatise N. Boileau "Poetic Art".
Classicism in French literature and painting.
Literature:
N. Boileau. Poetic art. M., 1957.
Literary manifestos of Western European classicists. Moscow State University
Dmitrieva N.A. Brief history of arts, in 3 editions, no. 2, 1990, p. 219-257.
Alpatov M. Unfading heritage. M., 1990, p. 116-130.
Ovsyannikov M. F. History of aesthetic thought. M., 1978, p. 72-84.
Aesthetics. Dictionary. M., 1989.
Kogan P. Classicism // New Encyclopedic Dictionary, ed. K.K. Arsenyeva, ed. Joint-stock company "Publishing business of the former Brockhaus-Efron". Volume 21.
Lesson 8. Aesthetics of Romanticism (2 hours).
Main questions:
The concept of romanticism.
The main reasons for the emergence of the movement of romanticism.
The main features of romanticism.
Romanticism in various art forms.
Additional questions:
What is romanticism in the concrete historical sense?
Romanticism as a special feeling.
Socio-historical and cultural-artistic reasons for the emergence of the romanticism movement.
Individualism as the main feature of romanticism.
The special role of the artist.
6. Theory of romantic irony.
Literature:
History of aesthetics. Monuments of world aesthetic thought. Vol. 3, Moscow, 1967.
Jean Paul. Preparatory School of Aesthetics. M., 1981.
Schlegel F. Aesthetics. Philosophy. Criticism. In 2 vols. T.1. M., 1983.
Kant I. Criticism of the ability of judgment. S-P., 1995. S.241-247.
Nietzsche F. Human, too human. // Nietzsche F. Op. In 2 volumes. T.1.328.
Schopenhauer A. Basic ideas of aesthetics. // Schopenhauer A. Selected works. M., 1992.
Literary manifestos of Western European romantics. Moscow State University, 1980.
History of aesthetic thought in 6 volumes. Vol. 3, M., 1986. pp.37-96, 122-151.
Ovsyannikov M.F. History of aesthetic thought. M., 1978. S. 228-256.
Dmitrieva N.A. Brief history of arts. Issue 3. M., 1993.
Lotman Yu.M. Conversations about Russian culture. S-P., 1994.
Lesson 9. Aesthetics of realism (2 hours).
Main questions:
A method of generalization in the art of realism.
The specificity of realism in various forms of art.
The concept of critical realism.
Realism in art.
Additional questions:
What is typing?
Typical and similar.
Typical and original.
Features of the realistic trend in spatial and temporal arts.
What are the characteristics of critical realism?
Art criticism about critical realism.
representatives of realism.
Literature:
History of aesthetics. Monuments of world aesthetic thought. In 5 volumes. T.4. 1st semi-volume (Russian aesthetics of the 19th century). M., 1969.
Russian progressive art criticism of the second half of the 19th - early 20th centuries. M., 1977. S.44-53, 60-65, 85-87.
Lectures on the history of aesthetics. Book. 3. part 1 lie, 1976. S. 114-135.
Rudnev V.P. Realism - in the book. Dictionary of culture of the XX century. M., "Agraf". 1997.
Dmitrieva N.A. Brief history of arts. Issue. 3. M., 1993. S. 28-55, 230-260.
Lesson 10. The phenomenon of socialist realism (2 hours).
What are the historical and cultural roots of socialist realism?
The role of "Fundamentals of Positive Aesthetics" by A.V. Lunacharsky in the formation of the phenomenon of socialist realism.
Additional questions:
Socialist realism - myth or reality?
Socialist realism - an ideological phantom or a creative method?
What are the works written within the framework of socialist realism?
Literature:
Gangnus A. On the ruins of positive aesthetics. New World, 1988, No. 9.
Zolotussky I. The collapse of abstractions. New world. 1989, no. 1.
Lesson 11. Aesthetics of modernism (2 hours).
Main questions:
Artistic and cultural origins of modernism.
Modernism is about the purpose of the artist.
Additional questions:
1. Forms of fine arts discovered by cubism (multidimensional perspective, image of an object in the form of many intersecting planes, etc.).
What is Suprematism?
The main features of expressionism.
Philosophical basis of expressionism.
Creativity of expressionists as a protest against the imperfection of the world.
Expressionism in various art forms (painting, music, cinema).
Philosophical basis of surrealism.
Surrealism in various art forms (painting, cinema).
What are the two main branches of abstractionism?
Literature:
Golomshtok M., Sinyavsky A. Picasso. M., 1960.
Andreev L.G. Surrealism. M., 1972.
Expressionism. Dramaturgy. Painting. Graphics. Music. Cinematography. M., 1966.
Art of the twentieth century. Budapest, 1979.
Kulikova I.S. Expressionism in art. M., 1978.
Modernism. Analysis and criticism of the main directions. Digest of articles. M., 1987.
Small history of arts. M., 1991.
Topic 3. The specifics of art
Lesson 12. The specifics of the artistic image (2 hours).
Main questions:
The specificity of the artistic image in various artistic directions. Ways of artistic generalization.
Degrees of artistic generalization.
Additional questions:
What is symbolization? In what directions is this method of artistic generalization present?
What is idealization? In what directions is this method of artistic generalization present?
What is typing? In what directions is this method of artistic generalization present?
What is image scale?
What are the degrees of artistic generalization?
"Self-expression" and "catharsis" in art.
Experience as a necessary way of perceiving an artistic image.
Literature:
Hegel G.E.F. Aesthetics. M., 1968. T.1. pp.253-289.
Hegel G.W.F. Phenomenology of the Spirit. Soch., M., 1958. T.4. pp. 374-399.
Marx K., Engels F. about art. In 2 vols. Vol. 2. pp. 128-133, 115-122, 173-183.
Ilyenkov E.V. On the aesthetic nature of fantasy. // Art and the communist ideal. M., 1984. S. 231-242.
Losev A.F. The problem of the symbol and realistic art. M., 1976. S.135-181.
Korzhavin N. Anna Akhmatova and the "silver" age. New world. 1989, No. 7
Lesson 13. Artistic image as a process of artistic creation (2 hours).
Main questions:
Formation of an idea.
Inspiration.
Objectification of a work of art.
Additional questions:
Multivariate reasons for the idea.
Various historical and aesthetic approaches to the analysis of inspiration (Plato, Kant).
The role of artistic intuition in the process of inspiration (intuitionism, Marxism).
The main stages of inspiration.
What is the objectification of a work of art?
Literature:
Plato. And he. // Plato. Op. in 3 volumes. T.1. M., 1968.
Kant i. Criticism of the faculty of judgment. // Kant I. Op. in 6 volumes. V.5, 1966. S. 163-167, 186-188, 203-210, 322-336.
Ilyenkov E.V. On the aesthetic nature of fantasy. // Art and the communist ideal. M., 1984. pp. 231-242.
Jung K.G. On the attitude of analytical psychology to poetic and artistic creativity. // Jung K.G. Archetype and symbol. M., 1991.
Unknown E. Synthesis of arts. Questions of Philosophy, 1989, No. 7.
Berdyaev N.A. The meaning of creativity. // Berdyaev N.A. Philosophy of freedom. The meaning of creativity. M., 1989. S.437-459.
Mamardashvili M. Literary criticism as an act of reading. // Mamardashvili M. As I understand philosophy. M., 1990.
Tarkovsky A. About the film image. // Art of Cinema, 1979, No. 3.
Vygotsky A.S. Psychology of art. M., 1987.
Iliadi A. The nature of artistic talent. M., 1965.
Lesson 14. Space and time
artistic image (4 hours).
Main questions:
The problem of art classification in the history of aesthetics.
Features of the artistic image in the spatial arts.
Features of the artistic image in temporary art forms.
Features of the spatio-temporal continuum of the artistic image in cinema art as a spatio-temporal form of creativity.
Additional questions:
Determining the expressive possibilities of a particular type of creativity is the first approach to classifying the arts.
Determination of the specifics of art through the selection of ontological parameters.
What is an art space?
What is artistic time?
The concept of the spatial-artistic continuum of the artistic image?
Literature:
Christostom Dio. “27th Olympic speech // Monuments of late antique oratory and epistolary art. M., 1964.
Dubot J.B. Critical Reflections on Poetry and Painting. M., Art, 1976.
Lessing G.-E. Laocoön, or on the limits of painting and poetry. M., 1957
Kagan M.S. Space and time in art as a problem of aesthetic science. // Rhythm, space and time in literature and art. L., 1974.
Kagan M.S. Morphology of the arts. L., 1974.
Topics offered to students for self-study:
Basic principles of the aesthetics of the German Enlightenment.
Basic principles of Marxist aesthetics.
The concept of the structure and levels of aesthetic consciousness.
Beautiful.
Sublime.
Tragic.
Comic.
Artistic perception as a process of creating a secondary artistic image.
Design as an aesthetic activity.
The concept of mass culture.
Aesthetics Questions Suggested for the State Exam
1. The subject of aesthetics.
Features of the development of ancient culture and their influence on the formation of the aesthetic problems of this era.
The role of the emotional and aesthetic sphere in the culture of Byzantium.
The role of artistic creativity in the formation of the aesthetic problems of the Italian Renaissance.
The concept of an artistic image.
The main stages of artistic creativity.
The specificity of the artistic image in various types of art.
The problem of the morphology of art.
Elite and mass art.
Abstract topics:
antique aesthetics. Plato on beauty.
Plato's theory of artistic creation.
Aristotelian analysis of tragedy.
Features of the art of Byzantium.
The peculiarity of the aesthetics of the Italian Renaissance.
Philosophical basis of the aesthetics of the Italian Renaissance.
Art of the Italian Renaissance.
The originality of the aesthetics of the Northern Renaissance.
The main features of baroque aesthetics.
The main features of the aesthetics of classicism.
The main features of the aesthetics of romanticism.
The main features of the aesthetics of realism.
The main directions of modernism. Cubism.
The main directions of modernism. Expressionism.
The main directions of modernism. Surrealism.
The main directions of modernism. Abstractionism.
The main tragic collisions.
The basic techniques of the comic.
Shades of comic.
The specificity of the artistic image in various types of art.
Basic principles of classification of art forms.
Spatial arts.
Temporal arts.
Spatio-temporal art forms.
Questions to determine current knowledge
The subject of aesthetics.
The role of art in the formation of human sensibility.
Factors influencing the formation of the subject of aesthetics.
Periodization of ancient aesthetics.
Basic concepts of ancient Greek aesthetics.
Artistic Achievements of Ancient Greek Civilization.
Characteristics of beauty in the Sophists.
Plato on beauty.
Aristotle on Art.
The role of the aesthetic sphere in the culture of Byzantium.
Basic concepts of Byzantine aesthetics.
General list of basic literature
Akimova L. Ancient Greek art. - Encyclopedia for children. T. 7. Art. Part 1. M., 1997.
Alpatov M. Unfading heritage. M., 1990.
Alpatov M. Artistic problems of the art of Ancient Greece. M., 1987.
4. Anisimov A.I. On ancient Russian art. M., 1983.
5. Barskaya N.A. Plots and images of ancient Russian painting. M., 1993.
6. Benois A. Baroque. // New Encyclopedic Dictionary, edited by K.K. Arseniev, ed. Brockhaus F.A. and Efron I.A. v.5, 1911.
7. Berdyaev N.A. Philosophy of freedom. The meaning of creativity. M., 1989.
8. Berdyaev N.A. The meaning of history. M., 1990.
9. Borev Yu.B. Comic. M., 1970.
10. Borev Yu. Aesthetics. "Rusic". Smolensk, in 2 vols., v. 1, 1997.
11. Aesthetics. Dictionary. M., 1989.
12. Boileau. N. Poetic art. M., 1957.
13. Bulgakov S. Orthodoxy. Essays on the teachings of the Orthodox Church. M., 1991.
14. Bychkov V.V. Russian medieval aesthetics. XI - XVII centuries. M., 1995.
15. Hegel G.E.F. Aesthetics. M., 1968. T.1.
16. Hegel G.W.F. Phenomenology of the Spirit. Soch., M., 1958. T.4.
17. Gangnus A. On the ruins of positive aesthetics. New World, 1988, No. 9.
18. Golenishchev-Kutuzov I.N. Baroque and its theorists. // XVIII century in the world literary development. M., 1969.
19. Gurevich A.Ya. Kharitonovich D.E. History of the Middle Ages. M., 1995.
20. John of Damascus. Exact presentation of the Orthodox faith. M., 1992.
21. Dionysius the Areopagite. mystical theology.
22. Dmitrieva N.A. Brief history of arts. Issue. 1. M., 1987.
23. Dmitrieva N.A. Brief history of arts. Issue 2. M., 1989.
24. Dmitrieva N.A. Brief history of arts. Issue. 3. M., 1993.
25. Duby Georges. Europe in the Middle Ages. Smolensk, 1994.
26. Dubos J.-B. Critical Reflections on Poetry and Painting. M., Art, 1976.
27. Jean-Paul. Preparatory School of Aesthetics. M., 1981.
28. Zolotussky I. The collapse of abstractions. New world. 1989, no. 1.
29. Ivanov K.A. Troubadours, Trouvers and Minnesingers. M., 1997.
30. Ilyenkov E.V. On the aesthetic nature of fantasy. // Art and the communist ideal. M., 1984. S. 231-242.
31. Ilyin I. About darkness and enlightenment. M., 1991.
32. History of aesthetics. Monuments of world aesthetic thought. In 5 t.
33. History of aesthetic thought. In 6 volumes. T.1. M., 1985.
34. Kant I. Criticism of the ability of judgment. S-P., 1995.
35. Kaptereva T. Renaissance Art in Italy. // Encyclopedia for children. T.7. Art. part 1. M., 1997.
36. Karasev V. Paradox about laughter. Questions of Philosophy. 1989, No. 5.
37. Kondrashov V.A. Chichina E.A. Aesthetics. "Phoenix" Rostov-on-Don, 1998.
38. Culture of Byzantium. IV - the first half of the VII century. M., 1984.
39. Culture of Byzantium. Second half of the 7th - 12th centuries M., 1989.
40. Culture of Byzantium. XIII - first half of the XV century. M., 1991.
41. Kogan P. Classicism // New Encyclopedic Dictionary, ed. K.K. Arsenyeva, ed. Joint-stock company "Publishing business of the former Brockhaus-Efron". Volume 21.
42. Kuchinskaya A. and Golenishchev-Kutuzov I.N. Baroque. // History of aesthetic thought in 6 volumes. T.2, M., 1985.
43. Kagan M.S. Space and time in art as a problem of aesthetic science. // Rhythm, space and time in literature and art. L., 1974.
44. Kagan M.S. Morphology of the arts. L., 1974.
46. Lectures on the history of aesthetics. Book. 3. part 1 Leningrad State University, 1976.
47. Lessing G.-E. Laocoön, or on the limits of painting and poetry. M., 1957.
48. Literary manifestos of Western European romantics. Moscow State University, 1980.
49. Likhachev D.S. Laughter as a mindset. // Laughter in Ancient Rus'. M., 1984.
50. Losev A.F. History of ancient aesthetics. Sophists. Socrates. Plato. M., 1969.
51. Losev A.F. The problem of the symbol and realistic art. M., 1976.
52. Losev A.F. Aesthetics of the Renaissance. M., 1978.
53. Marx K., Engels F. about art. In 2 tons.
54. Material in the category "beautiful": The history of aesthetics. Monuments of world aesthetic thought. In 5 volumes. T.1. pp. 89-92 (Socrates), 94-100 (Plato), 224-226 (Plotinus), 519-521 (Alberti); v.2. pp. 303-313 (Didero); v.3. Kant.
58. Menendez Pidal R. Selected works. M., 1961.
59. Modernism. Analysis and criticism of the main directions. Digest of articles. M., 1987.
60. Small history of arts. M., 1991.
61. Mamardashvili M. Literary criticism as an act of reading. // Mamardashvili M. As I understand philosophy. M., 1990.
62. Nietzsche F. Human, too human. // Nietzsche F. Op. In 2 vol. T.1.
63. Nietzsche F. The birth of tragedy from the spirit of music // Nietzsche F. Works. in 2 vols. T. 1.
64. Unknown E. Synthesis of arts. Questions of Philosophy, 1989, No. 7.
65. Ovsyannikov M. F. History of aesthetic thought. M., 1978.
66. Ostrovsky G. How the icon was created. //. Ostrovsky G. A story about Russian painting. M., 1989.
67. Palamas Gregory. In defense of the silent saints.
68. Plato. Hippias the Greater. // Plato, op. in 3 volumes. T.1. M., 1968.
69. Plato. And he. There.
70. Plato. Feast. Ibid., v.2.
71. Rua J.J. History of chivalry. M., 1996.
72. Rudnev V.P. Realism //. Dictionary of culture of the XX century. M., "Agraf". 1997.
73. Russian progressive art criticism of the second half of the 19th - early 20th centuries. M., 1977.
74. Tarkovsky A. About the film image. // Art of Cinema, 1979, No. 3.
75. Tatarkevich V. Antique aesthetics. M., 1977.
76. Trubetskoy E. Speculation in colors. Perm, 1991.
77. Uspensky F. Byzantium. // New Encyclopedic Dictionary, ed. K.K. Arsenyeva, ed. Brockhaus F.A. and Efron I.A. T. 10.
78. Philosophy of Russian religious art. M., 1993.
79. Frank S.L. Spiritual foundations of society. M., 1992.
80. Khoruzhy S.S. After the break. Ways of Russian Philosophy. S-P., 1994.
81. Christostom Dio. 27th Olympic speech // Monuments of late antique oratory and epistolary art. M., 1964.
82. Schlegel F. Aesthetics. Philosophy. Criticism. In 2 vols. T.1. M., 1983.
83. Schopenhauer A. Basic ideas of aesthetics. // Schopenhauer A. Selected works. M., 1992.
84. Aesthetics. Dictionary. M., 1989.
85. Jung K.G. Archetype and symbol. M., 1991.
86. Yakovlev E.G. Problems of artistic creativity. M., 1991.
Suggested topics for term papers and dissertations:
The specifics of ancient aesthetics.
Features of ancient culture and the formation of aesthetic problems.
The problem of art morphology in ancient aesthetics.
Aesthetics of Byzantium: the aesthetic sphere and Orthodox mysticism.
Self-affirmation of a person as the main trend of the culture of the Italian Renaissance.
The role of antiquity in the culture of the Italian Renaissance.
The origins of the tragedy of the art of the Italian Renaissance.
Place of art in the culture of the Italian Renaissance.
A method of artistic generalization of the aesthetics of the Renaissance.
Organization of artistic space in the fine arts of the Italian Renaissance.
Organization of artistic space in the fine arts of the Northern Renaissance.
Women's world in the culture of romanticism.
Types of artistic realistic image.
Artistic intuition and inspiration.
Inspiration as the highest creative activity.
The phenomenon of the "revolution of the masses" (based on the works of J. Ortega y Gasset).
Eclecticism as the basis of modern mass art.
Opera theater as a cultural phenomenon.
New themes of the artistic and intellectual space of the 20th century: madness, fear, sex, violence, etc.
The main genres of comic
Foolishness as a Comic Phenomenon.
Sophia foundations of ancient Russian art.
The predominance of mass culture as a path to the destruction of the individual.
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Municipal state educational institution
"Special (correctional) boarding school of the VIII type"
Program
artistic and aesthetic education
children of primary school age.
Educator Soldatova T.A.
Explanatory note
Artistic and aesthetic education occupies one of the leading places in the content of the educational process of children of primary school age. The basis of artistic education and development of the child is art. The development of this area of knowledge is part of the formation of the aesthetic culture of the individual. Visual activity helps the assimilation of art criticism knowledge, skills, develops the ability to fine art. Without visual activity, it is impossible to imagine the full sensory development of a maturing personality. As a result of mastering the necessary age-appropriate skills, the ability to differentiate color, shape, size is automated, which in turn is a harmonious addition to the complex work with primary school age.
For primary school age, the development of creative imagination is relevant, which is problematic when it comes to children with intellectual decline. A fairly common problem in the development of fine motor skills is corrected by improving visual skills.
As is known, visual activity has a powerful corrective effect in the development of speech centers and, in general, the intellectual activity of a younger student.
It is impossible to ignore the role of visual activity in the development and correction of the emotional sphere of a younger student. The special significance of this direction in the work should be noted, referring to emotionally deprived children. The psychological aspect is very important, which implies a decrease in psychomotor tension, a positive attitude to the outside world, the formation of emotional susceptibility, and stabilization of the emotional background.
This program represents a cycle of classes on the visual activity of children of primary school age and is developed taking into account the updating of the content for partial programs.
The program is compiled taking into account the implementation of interdisciplinary links in sections.
Tetralized activity. Drawing based on the impressions of viewed fairy tales, performances, drawing invitation cards, modeling theatrical costumes, masks.
Physical education. The use of physical minutes in the classroom.
Musical education. The use of drawings in decoration for the holidays, musical accompaniment to create a mood and a better understanding of the image, expressing one's own feelings.
Getting to know the environment. Expansion of horizons in the process in the process of viewing paintings, various observations, excursions, classes to get acquainted with the environment (people, nature, the world), as well as acquaintance with the structure of objects, objects.
The development of speech. The use of the artistic word in the classroom, drawing illustrations for nursery rhymes, fairy tales, poems, the development of monologue speech when describing reproductions of paintings by artists, their own works and the works of their comrades.
Program goal: the formation of children's skills in drawing, the development of their creative abilities, fantasy, imagination.
Tasks:
To acquaint children with the fine arts of various types (painting, graphics, sculpture, arts and crafts, design) and genres, to learn to understand the expressive means of art, to teach various ways of depicting objects and phenomena.
Develop visual skills, cognitive activity, creative abilities of children.
To instill in children an interest in fine arts,
culture of activity, to form the skills of cooperation.
Destination: children of primary school age.
Frequency: The program involves one lesson per week in the afternoon by a teacher. The duration of the lesson is 40 minutes at primary school age. The total number of classes per year is 36.
Expected result: mastering, improving the skills of visual activity, age-appropriate.
Efficiency criteria: a pedagogical analysis of the knowledge of the abilities and skills of children (diagnostics) is carried out 2 times a year (introductory - in September, final - in May).
The program includes 6 independent blocks, which, being interconnected in terms of the content of the program material, represent independent blocks that can be used as additional ones as a project activity.
Structure of program blocks
| programs | Quantity |
||||
| Junior school age | indicative | Determining the level of mastery of skills in drawing; | To acquaint children with the fine arts of different types (painting, graphics, sculpture, arts and crafts, design) and genres, to learn to understand the expressive means of art. To teach children to see and understand the beauty in life and art, to enjoy the beauty of nature, works of classical art, surrounding objects, buildings, structures. To lead children to create an expressive image when depicting objects and phenomena of the surrounding reality. | ||
| Junior school age | Structural-forming | Teach techniques and image methods using various materials | To form sensory abilities, purposeful analytical and synthetic perception of the depicted object, a generalized idea of homogeneous objects and similar ways of depicting them. Develop emotional responsiveness when perceiving pictures, illustrations, works of arts and crafts, folk toys, express simple judgments about paintings and objects of arts and crafts. Learn to notice color combinations, the location of pattern elements. | ||
| Junior school age | Generalizing-reinforcing | Determining the level of dynamics in mastering skills in drawing; | Consolidation of the formed visual skills and abilities. To form the ability to evaluate the created images |
Program content.
| Program section | Junior students. |
| 1. Plants, natural phenomena. | 1.Know new terms of fine art: painting, architecture, landscape, portrait, original, reproduction, interior, illustration, etc. 2. Feel and convey "cold" and "warm" colors, contrast, convergence of colors, use the mixing of colors on the palette. 3. Learn to convey the characteristic features of bushes, trees of different species. 4. To feel the harmonious combination of colors in the coloring of objects, the elegance of their shapes and outlines. 5. Learn to divide the color wheel into a group of "cold" and "warm" colors, intermediate green, into chromatic and achromatic colors. 6. Apply brush drawing techniques, use a palette, apply the artistic expressiveness of watercolors, gouache, be able to evenly and accurately paint over the surface within the intended contour. 7. To develop the creative abilities of children, to teach how to make additions to the drawings, to independently choose the content of the drawing on the proposed topic. |
| 2. Animals. | 1. Analyze the shape, design, spatial arrangement, tonal relationships, color of the depicted objects, compare the characteristic features of one object with the features of another. 2. Observe the sequence of execution of the drawing. 3. Give an idea about the work of the artist-sculptor. 4. Observe the sequence of execution of the drawing (construction, drawing, clarification of general outlines and forms). 5. Teach to be embodied in the image of the form. 6. Influence the content of children's drawings and their ideas about animals and fairy-tale characters by introducing them to the illustrations by Yu. Vasnetsov, E. Charushin, E. Rachev, V. Lebedev. 7. Comparison of the anatomy of different birds: general, individual, unlike. The transfer in the drawings of the beauty of lines, the shape of objects, the coloring of objects, their color harmony, the definition of proportions. |
| 3. Man. | 1. Give an idea of the modular image of a person. 2. To acquaint with the portrait genre, its varieties, the work of individual portrait painters. 3. Show the reflection of the proportions and facial expressions in the portrait. 4. Familiarize yourself with the image of a person in genre and historical paintings. 5. Show the relationship of characters through their location relative to each other and the transmission of movements; 6. Transfer the time of year and day through a certain color; |
| 4. Architecture. | 1 To introduce children to architecture, Russian architecture, the basic materials of this type of fine art and forms (volumetric and flat). To introduce architecture in the immediate environment. 2. Learn to draw according to the idea. 3. To form the skills of designing from paper, cardboard, possession of graphic materials. 4. Systematize children's knowledge about architecture, open-air museums of architecture, protected areas of culture. Give the concepts of "harmony" and "aggressiveness" of architecture. 5. To form the ability to draw according to the idea, analyze and transform the form. |
| 5. Transport | 1. Familiarize with urban transport, cars, learn to analyze the form of a complex object (technology) to the simplest forms that make it up. 2. To form the ability to draw or design a complex object according to a reduced model. 3. Learn the compositions in the plot drawing, the location of characters and objects on the entire sheet, one line, a wide strip. Familiarize yourself with the concept of "bionics". 4. Give the concept of the synthesis of buildings, images, decorations in the work of an artist-designer. |
| 1 Give an idea about the elements of the ornament, its types. To acquaint with art crafts: Gzhel, Zhostovo, Gorodets, carpet weaving. 2. Continue to teach children to draw patterns based on murals: build a pattern composition on different products, taking into account their shape; know and depict elements of paintings, use color combinations characteristic of patterns. 3. Develop a sense of color, rhythm when drawing up patterns. |
|
| 7. Lessons of emancipation. | 1 Develop abstract-figurative thinking, creative imagination 2. Learn to convey your mood, character and mood of animals, natural phenomena in the emotional characteristic drawing of lines, spots on a sheet. 3. Learn to perceive the sounds of music and express them in colors, drawings. |
| Name of topics | |||||
| Basic program | National-regional component | School component |
|||
| September | "Flowers tell me goodbye" "Funny toys are the heroes of our fairy tales" "The beauty of the native land" "Leaves Fly" | Making bouquets Making crafts from natural materials Image of a simple plot Composition of dried leaves and flowers | Flowers growing in the region. Trees growing in the region (oak, pine) Leaves and flowers of autumn trees of the region | Develop creativity and imagination (Feel the harmonious combination of colors in the color of plants) Determination of the character, mood of the characters of the heroes of fairy tales (Analyze the shape, characteristic features of the object) (Feel and convey "cold" and "warm" colors Compilation of a composition with the transfer of mood. Acquaintance with the concept of local colors. Acquaintance with the genre of "still life" (Know the new fine art term) |
|
| "Birth of Music" Excursion to the forest Drawing "Autumn" The artist told us a lot | Emotional liberation, avoiding stereotypes, gaining self-confidence Celebrate the seasonal changes associated with the arrival of autumn Perspective. Filling the entire sheet with an image. The image of the crown of a tree, the earth by applying strokes to each other Conversation-dialogue with the artist | Autumn nature of the region Photos of the nature of the region Illustrations, photos of the nature of the region | Describing your feelings and emotions Feel the harmonious combination of colors in the coloring of objects, the elegance of their shapes and outlines. To teach to convey in the drawings the color of the landscape of different seasons, to convey the characteristic features of trees of different species. (Feel the harmonious combination of colors in the color of the foliage) (Introduction to new terms in the visual arts. Give an idea of different genres in art) Acquaintance with the work of the artist, his workshop. |
||
| "Sculpture" Sculpting "We sculpt animals" (athlete) “What is the biggest holiday in autumn. Day of the city" "How to save the environment?" | Examining sculptures Develop a sense of form through touch Combination of felt-tip pens, pencils, wax crayons Transmission of a simple plot | A set of postcards about the city, books about Miass | Give an idea of the work of the artist-sculptor Learn to give expressiveness to images of animals through the image of simple movements and their posture (Analyze the form, compare the characteristic features of one object with another) Strengthening the skills of creating complex compositions. (Transmission of the color of festivity: revitalizing accent in a passive combination) Creation of a fantastic image by means of graphics. (Knowledge of new terms. Compositional association of objects with a single content) |
||
| Production of the application "Joy" Drawing: "Snowstorms" Christmas toys Ural gatherings | Transmission of a simple winter story Designing New Year's toys Evening gatherings | Reproductions by Ural artists V. Shamkin. Traditions and customs in the Urals | Teaching the skills of mixing paints with the transfer of subtle nuances. Mastering the skills of working in a raw way. Acquaintance with traditional winter decorations, the history of their occurrence. (Mastering the skills of working with random materials) Acquaintance with the traditions and customs of folk etiquette |
||
| Christmas meetings Excursion to the winter forest Our winter fun Artist's craft | christmas gift decoration Mark seasonal changes Compositions on themes related to winter fun Applied arts | Christmas Eve Traditions Winter forest nature | Acquaintance with the traditions of the people of Russia. The ratio of decor, form and content surprises. To develop emotional responsiveness when perceiving the nature of the winter forest, to express the simplest judgments about what they saw Training in methods of transferring movement and partial obstruction of objects. Consolidation of skills in graphic materials. To give children an idea of arts and crafts, its significance in people's lives. (To acquaint with art crafts: Khokhloma, Dymkovo, carpet weaving) |
||
| The Birth of Music (continued) We will sing a song with you Museum of Decorative and Applied Arts of the Urals Shrovetide - national customs | Expression of the sounds of music, moods in colors (color, lines) Expressing your feelings in colors and shapes Excursion to the museum Self-composition of the composition | Songs about the native land Products of Zlatoust masters | Learn to perceive the sounds of music, express them in colors, drawings. (Develop abstract-figurative thinking, creative imagination) Learn to convey your mood, character and mood of animals and natural phenomena in the emotional characteristic drawing of lines, spots on a sheet. Acquaintance with the art of the Urals and the museum of arts and crafts Consolidation of children's knowledge about folk traditions. (The ability to generalize the accumulated experience, transfer it in the picture) |
||
| Pattern in stripe Application: "Rainbow on the floor" Legs themselves are torn to dance | Making a small canvas Weaving a rug from strips of colored paper Emotional liberation, gaining self-confidence | Lace products of employees of the house Home rugs | Mastering the basic techniques of weaving. Drawing up simple geometric patterns (Development of observation, fantasy) Continue to teach children to draw patterns based on murals: build a composition of a pattern, know and depict elements of murals Mastering the techniques of weaving based on the Russian rug. Choice of contrasting and similar colors. Using a Simple Rhythm Continue exploring the arts. Learn to convey your mood through movements that match the tempo and rhythm of the music melody |
||
| Theater magic (2 lessons) fairy bird Let's talk about literature | Making dolls Image of a fabulous bird Image of outlandish birds and animals (claxography) | Illustrations for the tales of the Ural storytellers | Acquaintance with theatrical terms. Creating an image in plane and volume, mastering the skills of working with fabric and threads To form a generalized idea of the appearance of birds and the ability to convey characteristic features in a drawing. (Comparison of the anatomy of different birds, determination of proportions) Formation of the ability to create fantastic images. Transmission of movements in the composition |
||
| Portraits of my friends Fairytale city We draw illustrations for a fairy tale Service cars | Graphic portrait of a friend Building a fairytale city out of paper Create a picture book Drawing fire, police cars, bus. Highlighting small details, transferring them to the drawing | Postcards and illustrations about Miass Observation of transport on the streets of his native city | Image of likeness in a portrait. Use of the entire palette of colors. Work across the board. (Show the reflection of the proportions and facial expressions in the portrait) Acquaintance with the architecture of Russian cities. Mastering the skills of working in the technique of "paper plastic" Influence the content of children's drawings by introducing them to the illustrations of Yu. Vasnetsov, E. Charushin, E. Rachev To form the ability to depict various types of transport, to learn compositions in a plot drawing. (To form the ability to draw a complex object according to a reduced model) |
||
Appendix No. 1
Monitoring.
Activity product analysis.
Form: 3 points - accurately conveyed, parts of the subject are located correctly, proportions are respected, movement is clearly conveyed; 2 points - there are minor distortions, the movement is transmitted indefinitely; 1 point - significant distortion, the form failed, the parts of the object are located incorrectly, the proportions are transferred incorrectly, the image is static.
Composition: 3 points - arrangement throughout the sheet, proportionality is observed in the image of different objects; 2 points - on the strip of the sheet, there are slight distortions in the ratio in magnitude; 1 point - the composition is not thought out, is of a random nature, the proportionality of objects is conveyed incorrectly.
Color: 3 points - the real color of the object is transmitted, the color scheme is diverse; 2 points - there are deviations from the real color, the predominance of several colors or shades; 1 point - the color is transferred incorrectly, indifference to color, the image is made in one color.
Associative perception of the spot: 3 points - independently processes the spot, line into real and fantastic images; 2 points - copes with the help of an adult; 1 point - does not see images in spots and lines.
Activity process analysis
Visual skills: 3 points - easily learns new techniques, has the skills to act with visual materials; 2 points - has difficulty with actions with visual materials; 1 point - draws the same type, uses the material unconsciously.
Regulation of activities: 3 points - adequately responds to the comments of an adult and critically evaluates his work, is interested in the proposed task; 2 points - emotionally reacts to the assessment of an adult, inadequate in self-assessment, interested in the process of activity; 1 point - indifferent to the assessment of an adult, no self-esteem, interested (indifferent) in the product of one's own activity.
Level of independence, creativity: 3 points - performs the task independently, if necessary, asks questions, independence of the idea, originality of the image; 2 points - little help is required, questions are rarely asked, the originality of the image, the desire for the most complete disclosure of the idea; 1 point - support and stimulation from an adult is needed, he himself does not turn to an adult with questions, is not proactive, does not strive for the full disclosure of the idea.
Level scale: 0-8 - low level; 9-16 - average level; 17-21 - high level.
Used Books:
Bushkova L.Yu. Pourochnye development in fine arts. Grade 1. Moscow. "WACO". 2008
Bushkova L.Yu. Pourochnye development in fine arts. Grade 2. Moscow. "WACO". 2008
Bushkova L.Yu. Pourochnye development in fine arts. Grade 3. Moscow. "WACO". 2008
Baimatova V.A. How to teach to draw flowers, berries, insects. Moscow. 2007
Kozhokhina S.K. Journey into the world of art. Creative center. Moscow. 2002
Groshenkov I. A. Drawing lessons in grades 1-4 of an auxiliary school. Publishing house Enlightenment. Moscow. 1966
Golovina T.N. Aesthetic education in the auxiliary school. Publishing house Enlightenment. Moscow. 1972
Groshenkov I. A. Visual activity in a special (correctional) school of the 8th type. Moscow. ACADEMA. 2002
Golovina T. N. Visual activity of students in an auxiliary school. Moscow. Pedagogy. 1974
Sekachev V. Fine art classes in a special correctional school. Institute for Humanitarian Studies. 2001
Read also:
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"Jack of Diamonds"- originally this name was given to an exhibition of artists (December 1910 - January 1911), later included in the creative association of the same name, since 1911 - the Jack of Diamonds Society of Artists. At first, the association included mainly Moscow painters - later it included St. Petersburg artists and representatives of other cities, many artists from Western Europe (French and German) participated in exhibitions. Existed until December 1917.
Title: until 1917, "jacks of diamonds" were called convicts,
old French card jargon, according to which the jack (fr. valet- servant, footman) denomination in combination with a diamond suit (fr. carreau- squares) was considered and called - "a swindler", "a rogue".
They relied on the style of popular print, folk primitive, signboards. The artists of the "Jack of Diamonds" denied the traditions of both academicism and realism of the 19th century. Their work is characterized by pictorial and plastic solutions in the style of P. Cezanne (Post-Impressionism), Fauvism and Cubism.
The manner is rough, pasty colors are applied, proportions and perspectives are violated, asymmetric compositions, coarsened forms, only oil and local paints.
Konchalovsky
Osmerkin
Larionov
Goncharova
Rozhdestvensky and others
Larionov Goncharova's husband. Depicts soldiers and soldiers on vacation, writes as if not trained from. Art, depicts the primitive existence of man.
"Soldier on Vacation"
“self-portrait” Larionov, the work seems to be carved from wood, as if it were the work of an artisan
Goncharova
"Whitening of the Canvas" simplified composition, mask-like faces, heavy painting. 
"Spanish Woman" A semi-abstract picture, there is no direct perspective, the colors are conditional. Much is devoted to the image of the peasants. The jack of diamonds was often written by mentally ill children. Many depicted naked bodies, but they painted it as barbarians or savages.
Konchalovsky and Mashkov pair portrait. Traveled to Italy, and wrote this portrait during the trip. They depicted what they were fond of, created the energy of themselves and what they created, roughly, straightforwardly. They depicted notes, weights, musical instruments and painting. Sami athletic form
Mashkov - mostly painted still lifes rougher than those of Cezanne
In 1912, a number of artists gravitating towards primitivism, cubo-futurism and abstractionism broke away (brothers Vladimir and David Burliuk, Natalia Goncharova, Mikhail Larionov, Kazimir Malevich and others), who organized an exhibition called donkey tail.
The association broke up in 1917, shortly after Pyotr Konchalovsky and Ilya Mashkov left the Jack of Diamonds in 1916.
On the initiative of the former members of the "Jack of Diamonds" in 1925, an association was formed "Moscow painters", later converted to Society of Moscow Artists(OMH).
32) Art Nouveau in Russian art.
three main stages: early - 80s, mature - 90s and late - the beginning of the 20th century. In Russia, the prehistory of modernity coincided with the initial stage of its history. before modernity in the 80s, critical realism dominated in painting, early impressionism was formed, modernity in Russia was formed in line with national concepts, for the artists of the emerging modernity, national tradition was more important.
New humanism, It is based on the awareness of the dignity of the individual, first of all, sympathy for the people because of their serfdom. His freedom and education have been the guiding star of the Russian intelligentsia since the Decembrist uprising. The development of social life, which was suppressed in every possible way by feudal-church reaction, is increasingly taking on the character of a liberation movement, in which, in addition to the peasantry, by the end of the 19th century, the working class is also involved, which in the countries of Europe has already given rise to a broad social democratic movement.
Art Nouveau in Russia is not only the aesthetics of nouveau riche mansions and tenement houses, here money made money in line with capitalist development; modernity - and the aesthetics of the theater, with a revolution in the theater (Moscow Art Theater), with theater (Komissarzhevskaya) and drama (Chekhov, Gorky, Andreev), which became the mouthpiece of liberating ideas.
The vast majority of artists openly took the side of the people, even from the circle of the World of Art, not to mention Valentin Serov, who saw through the windows of the Academy of Arts the attack of the cavalry and the shooting of soldiers at the crowd of workers with their families. The graphics of the 1910s clearly testify to the emergence of democratic art in Russia with aesthetic and moral parameters, which will soon be perceived as Soviet.
The World of Art, breaking with the wandering movement, represents modernity in its most poetic period.
"Jack of Diamonds" rejected the style of the "World of Art", any mysticism in moods and the symbolism of the "Blue Rose". The task was to overcome impressionism in all its modifications and return painting to the subject, as in folk art. the artists of the "Jack of Diamonds" "searched for inspiration in folklore, in popular prints, in Arkhangelsk gingerbread products ...
"Union of Russian Artists"
"Blue Rose"
Representatives: Serov, Levitan, Serebryakova (peasant theme and feminine and childish purity and beauty), Vrubel, K.F. Yuon
in architecture - Shekhtel (built private mansions, Yaroslavsky railway station)
We remember that the work of Mikhail Vrubel was rejected by his contemporaries as decadence, which generally applied to young artists, including even Valentin Serov. Vrubel's style, which was an organic part of the Russian version of the Art Nouveau style.
Vrubel was not fond of plein air, like Vasnetsov, he was also far from the realism of the Wanderers, who, in his opinion, neglected formal tasks. At the same time, Vrubel has noticeable academic features - in the a priori beauty, but Vrubel consistently overcomes academicism. Ornamentality becomes a distinctive quality of Vrubel's graphics and painting.
* "Girl on the background of a Persian carpet" - at the same time puts forward the ornamental principle as the principle of the composition of the picture as a whole. Sketches of ornaments made by Vrubel were realized in ornamental panels located along the ships of the vaults of the Vladimir Cathedral. The artist completed the ornaments in a new style, choosing images of peacocks, lily flowers and wickerwork from plant forms as initial forms. "Models" taken from the animal and plant world are stylized, schematized, one image is as if woven into another. Vrubel uses curved lines.
33) Characteristics of Russian domestic and foreign art of the 19th-early 20th century. Styles and directions. Chronology.
Russian art at the turn of the 19th-20th centuries. Genre painting 1890-1900 The controversy between individual artistic groups, the increased activity of artistic life are signs of the turn of the century. The task of bringing art closer to life, bringing art into life, transforming the beauty of the surrounding world. Modern style. Painting changes. The role of everyday genre in Russian art at the turn of the 19th-20th centuries. Lyrical landscape in the work of I.I. Levitan (1860-1900). Creativity of M. Vrubel and V. Serov.
Artists of the "World of Art" (1898-1924). Modern style.
Russian theme in the art of the late 19th and early 20th centuries. (M. Nesterov, A. Ryabushkin, B. Kustodiev).
Associations and trends in Russian art at the beginning of the 20th century. Russian avant-garde at the beginning of the 20th century. Associations "Blue Rose" (1907), "Jack of Diamonds" (1910), "Donkey Tail" (1912).
K.Malevich (1878-1935) and Suprematism. The creative program of V. Kandinsky (1866-1944) and The Blue Rider.
P. N. Filonov (1883-1941), the founder of analytical art. MAI group. Russian Art of the 1920s-1930s Socialist realism.
34) Directions of modernism. Chronology. Representatives.
(from French Moderne - the latest, modern) - an artistic and aesthetic system or a set of art movements that developed in the 1920s, looking for non-traditional ways of artistic exploration of reality.
The date of the birth of modernism is 1863 - the year of the opening in Paris of the "Salon of the Rejected." the main goal is original works based on inner freedom and a special vision of the world by the author and carrying new expressive means, often accompanied by a challenge to established canons.
In a narrow sense, modernism is seen as an early stage of avant-garde, the beginning of a revision of classical traditions. Decadence and avant-gardism are considered its early stages. In Russian aesthetics, "modern" means the artistic style of the late 19th - early 20th centuries that historically preceded modernism (Russian modern, art nouveau, art nouveau, secession, etc.), so it is necessary to distinguish between these two concepts in order to avoid confusion.
Modernist trends in art:
Abstract art
Abstract expressionism
avant-garde
· Acmeism
Dadaism
post-impressionism
Surrealism
Futurism
Expressionism
Symbolism
· Primitivism
Representatives:
· Painters
Vasarelli
Vlaminck
· Kandinsky
Kirchner
Lissitzky
Malevich
Mondrian
Picasso
35) Fauvism. Figurative-plastic language. Representatives. Fauvism (from French Fauves - wild) - the name of the direction that was assigned to the creative group of young Parisian artists A. Matisse, A. Derain, M. Vlaminck, A. Marquet, R. Dufy, K. van Dongen, who jointly participate in exhibitions 1905-1907 The group did not have a clear program. The artists were united by the desire to create images with the help of bright, open color. Nature is an occasion to create expressive compositions. The works of these artists were distinguished by the absence of light and shade modeling, the desire to harmonize color spots. The Fauvists were one step away from abstractionism.
Henri Matisse (1869-1954), a member of the Parisian group of painters who called themselves "Fauves", abandoned the modulation of colors in order to again create impressive, simple and clear color surfaces, located in a subjective-felt balance in relation to one another. Together with Braque, Derain, Vlaminck, he belonged to the Parisian group "Wild". As a result of many years of intensive work, Matisse is gradually moving away from light-shadow modulation. His motto was: "The more flat, the more artistic." He gradually moves to a flat-decorative manner of painting, turning the picture into a decorative pattern.
36) A. Matisse
Matisse was the son of hereditary artisans. His mother used to paint plates in her free time. Henri Matisse receives a law degree and becomes a clerk. During his illness, he reads a beginner's guide to painting. His father sends him with letters of recommendation to study at the artist's studio Bouguereau (1891), but he is looking for something else. Matisse enters the School of Fine Arts in the workshop of Gustave Moreau. Moreau respects the gift of the other. An atmosphere of creativity and experiment reigns in his workshop. Matisse turns to the experience of the Impressionists in 1897 (still life "Blue Pot and Lemon"). Matisse painted kilometers of bay leaves, was a watchman in the theater. He paid huge sums of money for Cezanne's Bathers. The painting inspired him to create masterpieces. In 1905 Matisse went to the Mediterranean. His "View of Collidr" is the flight of a liberated man. The dam collapsed, and an avalanche of the brightest pure colors fell upon the world. Unthinkable, crazy, colors forbidden by all the art academies of the world found their place on the canvases of the master. In 1905, an exhibition was held in which Matisse, Derain, Vlaminck, Rouault and other artists participated. Matisse showed the painting "Open Window" on it. The critic Louis Vauxcelles called the painting wild, and their authors wild or fauvists. There was nothing shocking in Matisse, which is also characteristic of Russian avant-garde artists. From his youth, he loved to dress elegantly, adored stylish things. He did not aim to impress and puzzle. His findings and discoveries are the result of honest work. Since 1907, Matisse began collaborating with the famous Russian art collector Sergei Ivanovich Shchukin, who provided the master with a normal, uninterrupted work until 1912. major ("Dance", "Music", "Still life with a carpet", "Red Room").
37) Cubism. Figurative-plastic language. Representatives.
Picasso is considered to be the inventor of cubism with his painting “Avenyon Girls” (1907), but this is most likely an expression of the search of many artists. The theorists of cubism are the painters J. Metzinger and A. Gleizes. The Cubists tried to understand the internal structure of objects, they tried to expand the limits of optical vision. To the three dimensions of the space of the Renaissance, the Cubists added the 4th - time. In 1911 they exhibited their works in the Salon of the Rejected. Cubists - Pablo Picosso, Georges Braque, Juan Gris, M. Duchamp - used color for their combinations of light and shadow. They were primarily interested in form, transforming objects. They achieved the impression of convexity with the help of tonal gradations. First of all, they reduced the variety of forms to the elements of the rectangle, triangle and circle. The polychrome richness of Cezanne, which covered the entire spectrum, they reduced mainly to black, white, gray, ocher, brown and blue. The contrast of light and shadow was used by them in all the possibilities of its multi-tonality. Paintings began to resemble relief, and their content was reduced to a few household items. Musical instruments, due to their refinement and functional beauty of form, inspired painters and became subjects of still lifes. As a contrast to the linear forms and solid surfaces, pieces of fabric, imitations of pieces of wood and wooden lattices were used. Later, real objects began to be added to the painted geometric shapes, such as: plywood, glass, sheet metals, fabrics, pieces of wallpaper and newspapers, and individual typographic letters. The forms of objects were separated from their natural, organic environment and harmonized with abstract geometric forms. The Cubists developed new forms of shallow multidimensional perspective, which made it possible to present an object as a set of intersecting and translucent planes, concentrated along the axis of the composition. The object was depicted simultaneously from many points of view as a combination of geometric shapes. According to the Cubists, the painting represented not only the appearance of the object, but also knowledge about it. The constructive similarity and interconnection of all objects - this is what the cubists pay attention to. The first stage in the development of cubism is associated with analytical compositions, the second stage is characterized by abstract still lifes.
Picasso paints the paintings "Dance with Veils", "Woman with a Fan", "Three Women". In 1908, the Bato-Lavoir association was created. In 1911, a new group of Cubists was formed in Villon's workshop, which was joined by Duchamp, Gleizes, Metzinger, Le Fauconnier, Léger, Picabia, Kupka.
Cubism was most consistently manifested in the work of J. Braque (1882-1963) ("Bach's Arias", "Portuguese").
38) P. Picasso
"blue period" -1903-1904
"pink period" - 1904-1907
"Neoclassic Picasso"
* Portrait of Gertrude Stein.
* Guernica
"Blue" and "pink" periods
In 1900, Picasso went to Paris, where he visited the World Exhibition. It was there that Pablo Picasso got acquainted with the work of the Impressionists.
blue period. Barcelona in 1903-1904 was called "blue". In the works of this time, the themes of old age and death are clearly expressed, images of poverty, melancholy and sadness are characteristic (“Woman with a Bun of Hair”, 1903; Picasso believed: “who is sad is sincere”); people's movements are slowed down, they seem to listen to themselves ("Absinthe drinker" Beggar old man with a boy", 1903; "Tragedy", 1903). Blue shades in the palette. Displaying human suffering, Picasso during this period painted the blind, beggars, alcoholics and prostitutes. Their pale, somewhat elongated bodies in the paintings are reminiscent of the work of the Spanish artist El Greco.
* The work of the transitional period - from "blue" to "pink" - "Girl on the ball" (1905
pink period
In 1904, Picasso settled in Paris, the so-called "pink period" begins, in which the sadness and poverty of the "blue period" was replaced by images from the more lively world of theater and circus. The artist preferred pink-gold and pink-gray tones, and the characters were mostly wandering artists - clowns, dancers and acrobats; the paintings of this period are imbued with the spirit of the tragic loneliness of the destitute, the romantic life of wandering comedians (“The Family of an Acrobat with a Monkey”, 1905).
From experimenting with color and conveying mood, Picasso turned to the analysis of form: the conscious deformation and destruction of nature (The Maidens of Avignon, 1907), the one-sided interpretation of Cezanne's system and the fascination with African sculpture lead him to a completely new genre. Together with Georges Braque, whom he met in 1907, Picasso became the founder of cubism, an artistic movement that rejected the traditions of naturalism and the pictorial and cognitive function of art.
enlarges and breaks volumes cuts them into planes and faces continuing in space, perspective disappears, the palette gravitates towards monochrome, and although the original goal of cubism was to reproduce a sense of space and the heaviness of the masses more convincingly than with the help of traditional techniques, the paintings Picasso is often reduced to incomprehensible puzzles. In order to get back in touch with reality, Picasso and Georges Braque introduce typographic type, elements of “decoy” and rough materials into their paintings: wallpaper, pieces of newspapers, matchboxes. Still life paintings begin to dominate, mainly with musical instruments, pipes and tobacco boxes, notes, bottles of wine, etc. - attributes inherent in the lifestyle of artistic bohemia at the beginning of the century. The collage technique connects the faces of the cubist prism into large planes (“Guitar and Violin”, 1913) or conveys in a calm and humorous manner the discoveries made in 1910-1913 (“Portrait of a Girl”, 1914). In the "synthetic" period, there is also a desire to harmonize color, balanced by compositions that sometimes fit into an oval. Actually the cubist period in the work of Picasso ends shortly after the outbreak of the First World War
39) Expressionism. (expression)
- it was considered impossible through realism to make the viewer shudder. Some call it “new materiality”. This is a dissonance of colors and shapes, but with recognizable elements. It was believed that art was no longer needed, therefore - the colors - are minimal, the painting is coming to naught.
Representatives:
Associations: "Blue Rider" - formed by Kirchner and Helkel.
Composition: Schmidt Rottler, Mark Franz, Max Pechstein. James Ensor, Edvard Munch.
one of the trends of avant-gardism. The first generation of expressionists correlates with the activities of the German group "Most" (1905-1912). Their juicy and multicolored painting is replaced by a flat and graphic style of writing. The Bridge group was organized in Dresden by students of the Faculty of Architecture of the Higher Technical School. The expressionists considered the Belgian James Enser with his masks and Edvard Munch, whose paintings are called "cries of the times", to be their predecessors. From 1906 to 1912 exhibitions of the "Bridge" are arranged either in Dresden or in Cologne. Expressionism is characterized by broken lines, contrasting colors, and deformed space. In 1910, V. Kandinsky and F. Marquet organized an almanac called The Blue Rider, and the following year, an exhibition with the same name. This exhibition marked the beginning of the second association of expressionists (1911-1914). Makke, Kampendong, Klee, Kubin, Kokoschka joined this association. Expressionists - Munch, Kiechner, Haeckel, Nolde and the artists of the Blue Riders group - Kandinsky, Mark, Macke, Klee - again tried to return to painting its psychological and spiritual content. The purpose of their work was to present the inner spiritual experience with the help of shapes and colors, to convey to the viewer the inner tension experienced by the author. The work of Paul Klee is distinguished by an extraordinary scope for the use of color possibilities. He composed harsh, cheerful and gloomy melodies of color. Deren's work reflected a sense of the cruelty of the environment and sympathy for man.
Exhibition "Document"
Abstraction - lyrical (Kandinsky) and geometric (Malevich and Destail) This is the time of the appearance of the airplane, the artist can now see the world from above, from the heights of flight:
*Highways and lanes
*Inner Requiem
Piet Mondrian and his compositions.
40) Futurism. the general name for the artistic avant-garde movements of the early 20th century in poetry and painting, mainly in Italy and Russia.
In 1908, the mathematician Hermann Minkowski formulated a change in worldview: “From now on, the concepts of “time” in itself and “space” in itself are condemned to oblivion.
In the visual arts, Futurism repelled from Fauvism, borrowing color finds from it, and from Cubism, from which it adopted artistic forms, but rejected cubic analysis (decomposition) as an expression of the essence of the phenomenon and strove for a direct emotional expression of the dynamics of the modern world.
o
Giacomo Balla
Umberto Boccioni
David Burliuk
· Julius Evola
· Carlo Carra
Mayakovsky
The main artistic principles are speed, movement, energy, which some futurists tried to convey with fairly simple techniques. Their painting is characterized by energetic compositions, where the figures are fragmented into fragments and intersect with sharp corners, where flickering forms, zigzags, spirals, beveled cones prevail, where movement is transmitted by superimposing successive phases on one image - the so-called principle of simultaneity.
The basis of the works of futuristic painting, sculpture and architecture is the expression of movement in two forms: "penetration" and "simultaneity"
*(sculptor Umberto Boccioni "Bottle deployed in space")
Futurism - a style in fine art and its features
Futurism Let's get acquainted this time with an exalted artistic style called futurism. I think everyone is talking about the combination "futuristic future", "futuristic landscape". I associated these phrases with the technology of the future, with some kind of extraterrestrial technology. But in fact, it turned out that this is not so. Undoubtedly, the futurists bowed to the coming technological civilization and its values. But this is not a utopian world of the future - this is the world of the present with new artistic means of self-expression introduced into it and such concepts as energy fields, movement, technogenic sounds. But first things first.
The Futurists were revolutionaries in art. Some of them considered themselves supporters of the social revolution, and they saw their role in modern art in updating it in the same way that true revolutionaries update public life. Unlike representatives of other avant-garde movements, who were terrified of the impending industrial era, the futurists accepted the future with exalted optimism, absolutized the external signs of technical civilization as new values that signify the model of the future world order. Futurism
A racing car rushing like shrapnel seemed to them more beautiful than any ancient statute. Futurists dedicate their poems and paintings to the automobile, train, electricity, railway station. In socio-political terms, they saw the cleansing of the world from the old junk in wars and revolutions. War is the only hygiene of the world. They greeted the First World War with enthusiasm, many of them volunteered to fight and died.
Another important feature of the aesthetics of futurism was the desire to introduce sound into visual art by purely visual means. The noises that burst into the world along with new technology fascinated the futurists so much that they strive to convey it in their works. The first exhibition of Italian futurists was held in Paris in Russia. In Russia, futurism was most clearly expressed in literature, for example, the work of Mayakovsky and some other poets. In fine arts Russian Futurism did not result in a coherent artistic system.
| 40. FUTURISM. FIGURATIVE-PLASTIC LANGUAGE. REPRESENTATIVES. Futurism - 1910-20 artistic avant-garde movement in poetry and painting, mainly in Italy and Russia. Futurists were not interested in content, but in form. They invented new words, used jargon, the language of posters and posters. task: rejection of traditions, break with the ideology and ethical views of predecessors. Futurists accepted the future with enthusiasm and optimism, absolutized the external signs of technical civilization as new values. Intoxicated with the latest advances in technology, they sought to cut out traditional culture with the knife of technism, urbanism, and new science. In the visual arts, Futurism repelled from Fauvism, borrowing color finds from it, and from Cubism, from which it adopted artistic forms. The main artistic principles are speed, movement, energy, which some futurists tried to convey with fairly simple techniques. Their paintings are characterized by energetic compositions, where the figures are fragmented and intersect with sharp corners. They seek to activate the viewer, as if to place him at the center of their works and transfer their dynamism to the viewer's psyche. Acquaintance with the achievements of physics and psychology leads the futurists to the desire to depict not the objects themselves, but the energy, magnetic, mental fields that form them. the desire to introduce sound into art. The first exhibition of Italian futurists was held in Paris in 1912 and then traveled through the art centers of Europe (London, Berlin, Brussels, etc.). The exhibition did not reach Russia, but the Russians themselves picked up the ideas of futurism. In Russia, futurism, after painting, was especially reflected in literature (Khlebnikov, then Mayakovsky). In the visual arts, Russian futurism did not develop into an integral artistic system. This term rather denoted the most diverse tendencies of Russian avant-garde - post-Cezannism, a decorative version of cubism, neo-primitivism, searches consonant with expressionism, fauvism, Dadaism, experiments in abstract shaping. Futurism as an artistic and aesthetic movement ended with the outbreak of the First World War. Balla, Giacomo. ITALY. Balla is a representative of the first wave of futuristic art, on whose work U. Boccioni and A. Severini studied. the artist joins the thin. group of Marinetti, the founder of futurism. He is co-editor of The Futurist Artists Manifesto, bringing futurism to other areas of art: sculpture and applied arts - theater design and costume. Boccioni, Umberto. Italian painter, student of Balla. co-author of the "Technical Manifesto of Futurist Painting". Boccioni is passionate about the idea of conveying movement in an environment. In Paris, Boccioni became close to the Cubists, this was reflected in his work. Especially sculpture. was the author of the Manifesto of Futurist Sculpture. Boccioni was the brightest and most gifted person in the future movement. In 1915 he went to the First World War and died. In Russia, the first futurists were the artists brothers Burliuks. David Burliuk is the founder of the futurist colony "Gilea" on his estate. He rallied around himself Mayakovsky, Khlebnikov, Kruchenykh, Benedict Livshits, Elena Guro. In the first manifesto, “Slapping the Face of Public Taste,” the call: “Give up Pushkin, Dostoevsky, Tolstoy, and so on. and so on. from the steamer of modern times. Terentiev is an artist. Kamensky is a poet, one of the first Russian aviators. cubo-futurism is a direction in which such artists as Malevich, Burliuk, Goncharova, Rozanova, and others worked at different times. | |
| 41. ABSTRACT ART. LANGUAGE, REPRESENTATIVES. The direction of non-figurative art, which abandoned the image of realistic forms. The symbol of modernism, abstract art, emerged in the 1910s, establishing a new tradition unrelated to the image. The rejection of mimesis freed art from the need to imitate reality and opened up opportunities for experimentation with form and color, which was carried out by numerous representatives of the avant-garde. The birth of abstraction dates back to the time of Kandinsky's creation - "The First Abstract Watercolor", dated 1910, possibly retroactively, since the publication of his article "On the Spiritual in Art" should be considered the real date of the appearance of abstraction. Consistent transformation of reality - which the Impressionists and Post-Impressionists first began to do - naturally led to the emergence of abstract art. From the very beginning, abstract art developed in two directions. The first direction is geometric abstraction, it is characterized by regular, clearly defined configurations. The Russian artist Kazimir Malevich, the Dutchman Piet Mondrian, and the Frenchman Robert Delaunay worked in this direction. The second direction is lyrical abstraction. Artists working in this direction preferred a free-flowing form filled with shimmering, pulsating colors. Artists: V. Kandinsky, K. Malevich, P. Mondrian, D. Balla, P. Klee, F. Leger, A. Rodchenko. | |
| 42. Creativity of Wassily Kandinsky. Wassily Kandinsky came from a family of merchants, descendants of Siberian convicts. In his high school years, he began to study music and painting. At the age of 30, Kandinsky gave up his career as a lawyer and left Moscow for Munich to study art. The capital of Bavaria was then considered one of the centers of European art. There, Kandinsky became an active participant in the local art scene, the organizer (together with F. Mark) of the Blue Rider association (1911), the main stronghold of early German expressionism, and one of the pioneers of abstract art. The artist worked all his life in Europe, with the exception of the period from 1914 to 1921. After the revolution, Kandinsky could not get along in Russia, he was invited to teach at the new art school "Bauhaus", he agreed. This helped him become a world famous artist of Russian origin. The significance of Kandinsky's work goes beyond the discovery of an abstract "manner": he, along with Malevich, is the creator of the foundations of modern art. His book On the Spiritual in Art (1911) is, without exaggeration, the most influential artistic theory of the century. The artist is a hand which by means of this or that key expediently brings the human soul into vibration. In avant-garde art, the artist acquires unlimited power over the viewer, and Kandinsky was the first to take this power. Kandinsky's path to abstraction lay through symbolism and expressionism: he was one of the few Russian artists who neglected the spectacular cubist technique. Since 1909, Kandinsky has divided his works into “impressions” (expressing impressions from nature), “improvisations” (expressing impressions of “inner nature”) and “compositions” (the peak of conscious creative ambitions). Composition, for Kandinsky, is synonymous with creativity. Its highest embodiment was abstraction, although the artist did not come to it immediately. Abstraction for Kandinsky was not once a decision to build a new world, as a little later for Malevich and his followers. Kandinsky's paintings up to the 1920s retain hints of images even in the most radical works. Kandinsky always wanted "not to look at the picture from the outside, but to rotate in the picture himself, to live in it." The artist demands the same "rotation" from the viewer. When the Fascists closed the Bauhaus, he moved to France. He was engaged in creativity until his death. | |
| 43. CREATIVITY OF KAZIMIR MALEVICH Russian and Soviet avant-garde artist of Polish origin, teacher, art theorist, philosopher. The founder of Suprematism - one of the earliest manifestations of modern abstract art. primarily known for his controversial and controversial work Black Square. In the Soviet Union for many years the name of the artist was under an unspoken ban. Malevich himself during his life also contributed a lot to confusing the facts of his personal and creative biography as much as possible. In 1910, he took part in the first Jack of Diamonds exhibition. Then "Donkey Tail" and others. Malevich designed a number of publications of Russian futurists. His painting of these years demonstrated a domestic version of futurism, called "cubo-futurism": the cubist change of form, designed to affirm the self-worth and independence of painting, was combined with the principle of dynamism cultivated by futurism ["Grinder (Flashing Principle)" 1913 futuristic opera "Victory over the Sun" was interpreted by Malevich as the formation of Suprematism. In painting at that time, the artist developed the themes and plots of "abstruse realism", which used alogism, the irrationality of images as a tool for the destruction of traditional art; illogical painting, expressing abstruse reality, was built on a shocking montage of heterogeneous plastic and figurative elements "Lady at the Tram Stop" "Aviator" "Comp. with Mona Lisa”, “An Englishman in Moscow” Malevich wrote the first pamphlet “From Cubism to Suprematism”. New pictorial realism. This little book-manifesto Malevich was not entirely worried about his invention in vain. His comrades vehemently opposed declaring Suprematism the successor of Futurism and uniting under its banner. They explained their rejection by the fact that they were not yet ready to unconditionally accept a new direction. The black square seems to have absorbed all the forms and all the colors of the world, reducing them to a plastic formula dominated by the poles of black (complete absence of color and light) and white (simultaneous presence of all colors and light). Emphasized simple geometric form-sign, not linked either associatively, or plastically, or ideologically with any image, object, concept that already existed in the world before it, testified to the absolute freedom of its creator. The black square marked the pure act of creation carried out by the demiurge artist. Malevich called his art "new realism", which he considered a step in the history of world artistic creativity. | |
| 44. Russian avant-garde. Cubofuturism. The Russian avant-garde is a complex, heterogeneous and contradictory trend that developed in Russia from 1910 to 1932. and included many currents of abstract, non-figurative and non-objective art. It arose under the influence of French cubism and fauvism, Italian futurism and German expressionism, then having, in turn, a huge, in many respects defining influence on all the art of Western modernism and avant-garde. The evolution of the Russian avant-garde allows us to conditionally distinguish three periods in it. The first falls on 1910-1915. and is known under the name of cubo-futurism. The second lasts from the end of 1915 to 1924 and means the heyday, the highest rise of the avant-garde. In these years, Suprematism, Constructivism, and other trends were added to Cubo-Futurism. The third period covers 1925-1932, when the avant-garde spread to all types of art. however, on the whole, it is gradually fading away, and in 1932, in connection with the dissolution of all independent associations, it ceases to exist. The formation of the Russian avant-garde takes place against the backdrop of an exceptionally intense artistic life - both internal and external - that Russia has been leading since the end of the last century. During these years, numerous exhibitions of the latest trends in foreign art are organized. Many Russian artists make pilgrimages to Paris and other Western centers. The Blue Rider group (1911) appeared in Munich, in which Russian artists (V. Kandinsky, M. Verevkina, A. Yavlensky) played an active role. In Russia itself there is a great variety of artistic movements. The main centers for the formation of the Russian avant-garde were the St. Petersburg Union of Youth (1909-1917) and the Moscow Jack of Diamonds (1910-1916), which included many future avant-garde artists: N.I. Altman, V.D. and D.D. Burliuks, K.S. Malevich, V.E. Tatlin, P.N. Filonov, M.Z. Chagall, A.A. Exter. The first proper avant-garde association was the Gileya, founded in 1912 by D. Burdyuk, which included some of the above-mentioned, as well as the poets V.V. Mayakovsky. V. Khlebnikov. A.E. Twisted. Unlike the Western, the Russian avant-garde was able to combine cubism and futurism into cubo-futurism, and within it - painters, poets and critics, among whom the poets set the tone. Their common ideological and aesthetic basis was a premonition of imminent and inevitable upheavals. the result of which will be the birth of a new world and a new humanity. Hence - the destruction or bizarre mixing of traditional genres and styles, the denial of aesthetic taste, the desire of the futurists to single out the poetic language in its purest form, freeing it from generally accepted meanings and meanings, from everything that connects it with the old world, or to create a completely new, "abstruse » language - with new words, grammar and syntax. The main figures of cubo-futurism in poetry were V.V. Mayakovsky (1893-1930) and V. Khlebnikov (1885-1922). The first brought down his "attack" on traditional classical art, as well as on contemporary trends of modernism - symbolism and acmeism. His new language is distinguished by vivid expressiveness, it is filled with deep drama, powerful energy and sharp dynamism, has an original graphic construction thanks to the use of the "column" and "ladder" V. Khlebnikov became one of the most radical reformers of the poetic language. In equal measure, he showed an irresistible passion for the experiment. He was also an ardent champion of the maximum convergence of science and poetry, seeing in this the way to create a "new mythology" and "super-language" of the future man. V. Kandinsky develops a version of non-figurative painting that is different from cubo-futurism, being inspired by expressionism and calling it abstract. He outlined his understanding of such painting in the work “On Spirituality in Art” by M. Chagall also does not break with traditional painting, combining it with neo-primitivism and expressionism, being influenced by cubism, futurism and surrealism. Its bright, colorful, fantastic, bordering on | |
| absurdity of the picture - "I and the village", "Above the city", etc. - are often inspired by biblical themes and plots, poeticize everyday life. P. Filonov in his "analytical art" develops an original theory of "organic form". Feeling the influence of expressionism and cubo-futurism and using the language of geometric forms, he also does not refuse figurativeness. The novelty of his method lies in the fact that the elements and forms that make up his paintings are organically dependent on each other. |
ARTISTIC AND AESTHETIC DEVELOPMENT PROGRAM
Non-traditional drawing techniques
"MAGIC BRUSH"
The program is designed: for children of middle and senior preschool age
Implementation period: 2 years
Year of development: 2015 - 2017
MDOU "Kindergarten" with. Dobrovolskoe
Explanatory note
In accordance with the basic requirements for the content of preschool education, taking into account the age characteristics of children, the requirements of Sanpin, as well as the "Convention on the Rights of the Child", which affirms the right of every child to choose an interesting activity for self-expression, a program of additional education for artistic development was created « Magic brush » by non-traditional drawing techniques. The program I developed was compiled in accordance with the conditions for modernizing the modern system of preschool education, as well as taking into account the psychological aspects of the development of a preschool child.
Its content is aimed at the development and formation of artistic and creative abilities, and also provides and covers the comprehensive development of the child and the pedagogical education of parents. All classes in the program I developed are aimed at developing artistic and creative abilities in preschoolers through teaching non-traditional drawing techniques. And the complex content of the program ensures the integrity of the pedagogical process and covers various aspects of the upbringing and development of the child and represents a generalized long-term experience in art activities.
The program is directed on the development of artistic and creative abilities of children through teaching non-traditional drawing techniques.
The developed program for the development of creative abilities through teaching non-traditional drawing techniques is designed for two years of study and represents a generalized experience in visual activity in the educational field "Artistic Creativity" on non-traditional drawing techniques, for children of middle and older preschool age.
The relevance of this program in the fact that visual productive activity using non-traditional drawing techniques is the most favorable for the creative development of children's abilities. The problem of the development of children's creativity is currently one of the most relevant both in theoretical and practical terms: after all, we are talking about the most important condition for the formation of an individual identity of a person already at the first stages of its formation.
Artistic and creative activity is the leading method of aesthetic education, the main means of artistic development of children. The program embodies a new approach to the artistic and creative development of preschoolers through teaching non-traditional drawing techniques. An important period for the development of artistic and creative abilities of children is preschool age. It is at this age that the child expresses all his experiences, fantasies, impressions about the world around him through drawing. Formation of a creative personality - one of the important tasks of pedagogical theory and practice at the present stage, visual productive activity using non-traditional visual technologies is the most favorable for the creative development of children's abilities, because in it, different aspects of the development of the child are especially manifested.
Practical significance of the program
An unconventional approach to the implementation of the image gives impetus to the development of children's intellect, encourages the creative activity of the child, teaches to think outside the box. New ideas arise related to combinations of different materials, the child begins to experiment, to create.
Drawing in non-traditional ways is a fascinating, mesmerizing activity. This is a great opportunity for children to think, try, search, experiment, and most importantly, express themselves.
Non-traditional drawing techniques are a real flame of creativity, it is an impetus for the development of imagination, the manifestation of independence, initiative, and expression of individuality.
The path to creativity has many roads for them, known and still unknown. Creativity for children is a reflection of mental work. Feelings, mind, eyes and hands are the instruments of the soul. The creative process is a real miracle. "In creativity there is no right way, there is no wrong way, there is only your own way"
Pedagogical expediency
From many years of experience working with children to develop artistic and creative abilities in drawing, it became clear that standard sets of visual materials and ways of transmitting information are not enough for modern children, since the level of mental development and the potential of the new generation has become much higher. In this regard, non-traditional drawing techniques give impetus to the development of children's intellect, activate the creative activity of children, teach them to think outside the box.
An important condition for the development of a child is not only an original task, but also the use of non-traditional waste material and non-standard isotechnologies.
All classes in the program developed by me are creative in nature.
Conducting classes using non-traditional techniques for this program:
Develops self-confidence. Helps relieve children's fears. Teaches children to express themselves freely. Encourages children to be creative and find solutions. Teaches children to work with a variety of artistic, natural and waste materials. Develops fine motor skills of hands. Develops creativity, imagination and flight of fancy. While working, children get aesthetic pleasure. Confidence in one's creative abilities is brought up through the use of various isotechnics.
The novelty and distinctive feature of the program « Magic brush" on non-traditional drawing techniques is that it has an innovative character. The system of work uses non-traditional methods and ways of developing children's artistic creativity. Homemade tools are used, natural and junk for non-traditional drawing. Non-traditional drawing gives children a lot of positive emotions, reveals the possibility of using household items familiar to them, relies on construction principles general didactics:
- The principle of seasonality: the construction of the cognitive as original artistic materials surprises with its unpredictability.
A program to introduce a child to a variety of non-traditional drawing techniques and isomaterials
- The principle of systematic and consistent: setting goals. "From the simple to the complex", from the "Unknown to the known".
- The principle of developing character art education.
- The principle of natural conformity: setting goals for the artistic and creative development of children, taking into account age characteristics and individual abilities.
-Principle of interest: construction based on the interests of children.
- Learner-Centered approach to each child;
- Activity, controllability, individual approach in teaching and artistic development of children, availability of material, its repetition, building program material from simple to complex, visibility.
Program goal: Development of artistic and creative abilities of children through teaching non-traditional drawing techniques.
Tasks:
Expand ideas about the variety of non-traditional drawing techniques.
To teach the techniques of non-traditional drawing techniques and ways of depicting using various materials.
Develop the artistic and creative abilities of children.
To form an aesthetic attitude to the surrounding reality on the basis of familiarization with non-traditional drawing techniques.
To create conditions for free experimentation with non-traditional art materials and tools. - To increase the experience of creative activity, to form a culture of a creative person (self-expression of a child).
To develop creative imagination, fantasy, thinking of preschoolers through classes on mastering non-traditional drawing techniques;
Develop color perception and visual-motor coordination, a sense of composition and color.
Lead children to create an expressive image when depicting objects and phenomena of the surrounding activity.
Distinctive features of this additional educational program from existing ones.
All classes in the program I developed are aimed at developing preschoolers artistic and creative abilities through teaching non-traditional drawing techniques.
First of all, the pedagogical experience of applying these non-traditional techniques has not yet been systematized, generalized and not presented (to the right extent) in modern educational programs.
Secondly, these techniques are not widespread enough and not "rooted", they are rather experimental.
Thirdly, non-traditional artistic techniques are just beginning their history in the Pedagogy of Art, although they have been known for many years.
Fourth, in the methods of image (rather simple in technology) there is no rigid assignment and strict control, but there is creative freedom and genuine joy, the result is usually very spectacular.
Unusual Techniques reminiscent of a game in which the enormous potentialities of children are revealed. Even the most traditional technique can turn into an original one if it is used on the basis of non-traditional materials.
The program is oriented for children of middle and older preschool age. The duration of the program is 2 years.
Main form of work are group lessons and individual work.
Middle group - number of classes per week 1 , per month 4 classes. A year is held 36 classes. Duration of classes in the middle group - 20 minutes
Senior group - number of classes per week 1, per month 4 classes. Conducted annually 36 classes. The duration of the lesson in the senior group -25 min.
In the learning process are used game technologies, problem-based learning, student-centered approach, health-saving technologies.
Areas of work:
1. Acquaintance of children with a variety of non-traditional drawing techniques.
2. Independent productive activity (non-traditional drawing).
Program Sections
middle group
-Drawing with fingers- 4 lessons per month
For various topics -
September
- plasticineography - 4 lessons per month
For various topics -
October
- finger painting- 4 lessons per month
On various topics -
November
- jet of air - 4 lessons per month on different topics -
December
-protruding pattern-
January
- Cotton buds - 4 lessons per month on different topics –
February
- palm - 4 lessons per month on different topics –
March
4 classes per month on various topics -
April
-blotography
Senior group
- finger painting- 4 lessons per month
For various topics -
September
- plasticineography - 4 lessons per month
For various topics -
October
- palm - 4 lessons per month on different topics –
November
jet of air 4 lessons per month on different topics –
December
-protruding pattern- 4 lessons per month on different topics –
January
- crumpled paper - 4 lessons per month on different topics –
February
- monotype (subject, plot) - 4 classes per month
March
- printing with vegetable seals (potatoes, carrots) - 4 classes in
A month on various topics -
April
-blotography- 4 lessons per month on different topics -
Individual work with children in the classroom on non-traditional drawing techniques to be carried out in order to:
To identify the approximate level of development of the visual activity of children, the child's attitude to the activity and mastery of non-traditional techniques. Taking into account the individual abilities of children.
Identify possible promising robots with the child (tasks, content, forms, methods).
Plan work aimed at developing artistic and creative abilities.
Individual work is carried out systematically. The performance of the task, the quality of children's work, attitude to activity are analyzed.
Educational material is selected taking into account the age, individual characteristics of children and the topic of classes. It gradually becomes more difficult. For the development of creative abilities, non-traditional drawing techniques, experimentation of various artistic materials, didactic games, silhouette image, physical minutes, finger gymnastics, looking at illustrations, visual aids, the use of artistic words, etc. are used.
Stages of work:
Stage 1 - reproductive active work is being carried out with children to teach children non-traditional drawing techniques, to familiarize themselves with various means of expression.
At stage 2 - constructive active work is being carried out on the joint activities of children with each other, co-creation of the educator and children in the use of non-traditional techniques, in the ability to convey an expressive image.
At stage 3 - creative children independently use non-traditional techniques to form an expressive image in the drawings.
Facilities:
Joint activities of the educator with children;
Independent activity of children;
Subject-developing environment.
The program uses various
methods and techniques: simultaneity (provides an independent creative search for children by means of expressiveness);
method of examination, visualization (consideration of illustrations, albums, postcards, tables, videos and other visual aids);
verbal (conversation, use of a literary word, instructions, explanations);
practical (self-fulfillment of drawings by children in non-traditional techniques, the use of various tools and materials for the image);
heuristic (development of resourcefulness and activity);
partial search; problem-motivational (stimulates the activity of children by including a problem situation in the course of the lesson);
"apprentice" method (interaction between a teacher and a child in a single creative process);
co-creation;
motivational (persuasion, encouragement);
hand gesture .
The structure of the program lessons: - Motivation of children.
Taking into account the age characteristics of preschoolers, the fairy-tale-playing form of presenting the material dominates. The main game character of the fairy tale program tassel having disenchanted which with the help of a comic spell, the guys go with her to an amazing Wonderland Unconventional drawing. Fairy tale narration, game situations, elements of pantomime, travel games, didactic games, immersion of the child either in the situation of the listener, or in the situation of the actor, the interlocutor give the lessons dynamism, intriguing mystery. The teacher acts as Artists, beautiful sorceresses, which creates the world visible to man according to the laws of beauty and harmony.
- Finger gymnastics.
It is known that the lack of elementary visual skills makes it difficult to display artistic creativity. One of the effective ways to solve this problem is to conduct special finger gymnastics before starting the creative process using literary texts. Warming up the joints of the hand and fingers helps to prepare fragile hands for the movements necessary in artistic creativity. Allows children to confidently use a variety of art and junk materials for their creativity.
- Artistic and visual activity .
It is related to the content of a particular lesson and includes tasks related to the use of the expressive possibilities of materials, performance techniques. Provides for the use of a synthesis of arts and artistic activities. Literary works help to develop in children the ability to compare, contrast the various emotional and figurative content of works of fine art, the mood of wildlife. Musical accompaniment encourages preschoolers through plastic sketches, improvisations to convey emotions, feelings in practical activities: non-traditional drawing, design creativity.
- Exhibition - presentation of children's works.
The combination of individual and collective forms of work contributes to the solution of creative problems. Exhibitions of children's fine arts, individual opening days, joint discussion of works are a good incentive for further activities. A positive analysis of the results of all pupils from the standpoint of originality, expressiveness, and depth of intention helps children to feel the joy of success, to feel the significance of their work.
For the successful implementation of the tasks set, the program involves close interaction with teachers and parents. Such cooperation determines the creative and cognitive nature of the process, the development of children's creative abilities, and determines its effectiveness.
Working with teachers provides for: conversations, consultations on the development of creative abilities and the use of non-traditional drawing techniques, holding master classes, workshops, showing open classes on non-traditional drawing techniques, making home-made tools for art.
Working with parents involves: individual consultations, conversations, recommendations, layout folders, slide folders, information stands, demonstration of open classes, workshops, master classes in non-traditional drawing techniques, exhibitions of children's creativity, exhibitions of joint creativity (parents, children) and questionnaires on the artistic development of children.
The program makes extensive use of technical teaching aids: TV, music center, camera, video camera, DVD, etc.
Conditions for the implementation of the program
The program can be successfully implemented with the following materials and equipment:
Sets of textured paper.
Additional material (natural, domestic, waste).
Artistic and visual material.
Non-traditional tools for artistic creation.
Samples of drawings on various non-traditional techniques;
Demonstration visual material.
Expected Result:
A significant increase in the level of development of creative abilities.
Expansion and enrichment of artistic experience.
Formation of the prerequisites for learning activities (self-control, self-assessment, generalized methods of action) and the ability to interact with each other.
Development of creative activity in the classroom, independence.
- The ability to freely experiment (exploratory action) with artistic and non-traditional materials.
- The development of creativity.
- Individual "handwriting" of children's products.
- The ability to actively assimilate artistic experience.
- The development of general manual skill.
- Finding adequate expressive and visual means to create an artistic image.
- A tendency to experiment with different art materials and tools.
- Independence in choosing a plot, theme, composition, artistic materials and tools.
- Originality and variance in solving a creative problem and a product (result) of children's creativity.
Diagnostics
By the end of the year, children's skills should expand and improve. There are many tests that allow you to evaluate the creative abilities of the child. Diagnostic tables allow us to trace the development of artistic perception in children, to analyze the level of formation of visual skills and abilities. The final diagnostics is carried out in the form of a creative task. The main criterion in evaluating drawings is new, original, invented, invented and artistically designed.
Evaluation of results consists in the analysis of children's work by the teacher together with the children in the learning process. In the process of work analysis, special attention is paid to positive dynamics. Criticism of work is not allowed. The child is encouraged to write a story about the work done. Children can take their work home if they wish.
Drawings made by children serve as the reporting material of the work, they can be exhibited at the exhibition at the end of the lesson, the reporting period, at the end of the academic year.
The program I developed uses the following diagnostics
Research topic:"Development of artistic and creative abilities of preschool children in the process of drawing with non-traditional techniques."
The purpose of the research work is:
- study of the mechanisms of formation and development of artistic and creative abilities of children of senior preschool age;
- revealing the level of artistic development in visual activity
Research methods:
- observation - the oldest method of cognition, a scientific method of research, not limited to simple registration of facts, but scientifically explaining the causes of this or that phenomenon;
- experiment - the main method of research work, the intervention of the researcher in the activities of the subject in order to create conditions for the performance of actions;
- diagnostics and testing - selection of tasks and questions that serve to conduct relatively short-term one-time tests, as well as to correct creative deviations;
- product analysis - one of the methods of a psychologist who studies children's drawings, poems, applications, design, and other products of a child's activity;
- personality research method - a set of methods and techniques for studying the psychological manifestations of a person's personality.
Research tasks:
Carrying out research work to identify the artistic and creative abilities of children at senior preschool age in the technique of painting;
Development of ways to develop creative abilities in the field of drawing with non-traditional techniques;
Approbation of innovative techniques in painting for the development of artistic and creative abilities of senior preschool age.
The criteria for evaluating the levels of development of artistic and creative abilities in the field of painting with paints are selected.
The main directions of the study of artistic and creative abilities:
1) the ability to create an artistic image based on the involvement of the accumulated sensory experience and transform it with the help of imagination;
2) the ability to color perception of the surrounding world, reflection with the help of color images, impressions;
3) the ability to rationally apply various non-traditional techniques
and paint with pictorial materials using color.
The priority direction in diagnosing the development of abilities in painting is the ability to create an artistic image with the help of color and the use of various non-traditional painting techniques.
Research work consists of three stages:
1) ascertaining;
2) formative;
3) final.
Methods for assessing the effectiveness of the program:
Quantitative analysis:
attendance; static data; fixing classes in the work journal; result tracking (observation, diagnostics); practical materials.
Qualitative analysis:
formation of new skills and abilities; analysis of the success of activities in achieving goals; analysis of diagnostic material; comparative analysis of the initial and current state of the problem.
Summing up form implementation of this program are: participation of children in KVNakh on fine arts, children's exhibitions in kindergarten and beyond, participation of children in municipal drawing competitions, demonstration of open classes for teachers of the district, creation of a magazine of samples - non-traditional drawing techniques "What we just don't draw ».
The proposed program is variable, that is, if necessary, it is allowed to adjust the content and forms of classes, the time of passing the material.
The program can be used in the work of art activity circles of creative workshops, as a specialized one, for additional education of children in artistic and creative development, as well as within the framework of educational programs in the section "Artistic and aesthetic education" in order to familiarize children of middle and senior preschool age with non-traditional drawing techniques. The program was successfully tested in our MDOU "Kindergarten" with. Dobrovolskoe
Activities:
Non-traditional drawing techniques
Finger painting
Plasticineography
Air jet painting (paint blowing)
A drawing that shows through
Drawing with cotton swabs
hand drawing
Printing with vegetable seals (potatoes, carrots)
Blotography
crumpled paper drawing
Monotype
Lesson grid
| Number of lessons per week | Number of lessons per month | Duration |
|||
| middle group | |||||
Perspective-thematic planning for fine arts activities (non-traditional drawing techniques) Senior group
Approximate set of art materials, tools and equipment
Paper, basis for compositions.
Sheets of white and tinted paper in A4 size, ½ A4 size
Albums for children's art
Colored paper sets
Art materials, tools and their "deputies"
Sample drawings
Demonstration material.
Plasticine
Brushes of different sizes
Gouache paints
Watercolor paints
Colored wax pencils
Cotton buds
Foam sponges
Fabric, cotton rags
Vegetable stamps (potatoes, carrots)
Caps from felt-tip pens, stoppers
cocktail straws
Pieces of crumpled paper
Woolen threads
felt-tip pens
coarse salt
Leaves of trees of different species
Toothbrushes, combs
Non-drip
Stands for brushes
Equipment
easels
flannelgraph
Paper napkins and cloth aprons
Methodological support
Ashikov. C. Make friends with the pencil! // Preschool education. - 2002. - No. 10. - P. 72.
D.N.Koldina Drawing with children 5-6 years old. Summaries of classes M.: Mosaic-Synthesis 2013
Vorobyov. I. How to organize classes in drawing and modeling. // Preschool education-1995 - No. 8. - P. 115
Queen. T., Dmitrieva V. We draw fairy tales. Preschool education. - 2002. - No. 2. - 34.
Panteleev. P. Children's design Preschool education. - 2006. - No. 5. - P. 26.
Simernitskaya. E. G. Human brain and mental processes in ontogeny M., 1995.
Trokhimchuk. L. F., Shkvirina O. I., Babenko T. I. Physiological and pedagogical correction of motor skills of the leading hand of the child. Rostov n / a, 1994.
Tsvyntarny. VV We play with fingers and develop speech. SPb., 1996.
Tsutsumi. J. Simplified methodology for maintaining health with finger exercises M, 1991.
T.S. Komarova Visual activity in kindergarten M.: Mosaic Synthesis 2010
Application
Finger gymnastics
1. "Beetle".
Squeeze your fist. Spread the index finger and little finger to the sides - this is a “mustache”. Move them around a few times
I am a cheerful Maybug. I fly all around.
2. "Helicopter". Squeeze four fingers into a fist, leaving the thumb free. Perform rotational movements with your thumb. - Helicopter, fly, fly, spin the blades quickly.
3. "Helpers" Hands forward, fingers straighten and unclench. Turn your palms down. Squeeze and unclench your fingers to the beat of the verse.
Here are my helpers, turn them as you wish. You want it like that, you want it like this─Don't be offended in any way.
4. "Puppy". Extend your index finger and rotate it. Perform alternately with each hand. There was a lock on the door. There was a puppy sitting on the floor. He wagged his tail, the hosts were waiting.
5. "Bunny" Extend your index and middle fingers apart. The rest squeeze into a fist. Move the "ears". A gray bunny sits, He moves his ears. Like this, like this. He moves his ears.
6. Squeeze into fists and unclench the fingers of two hands, while reciting a rhyme. You have two hands, there are 10 fingers. Fingers will work, It is not fitting for them to be lazy.
7. "Duck". Perform smooth movements with the hands of both hands from right to left, and then the movements of the legs of a duck in the water. Duck, duck, floating on the river. Swims, dives, rows with paws.
eight . "Cat" With the relaxed fingers of one hand, stroke the palm of the other hand. The cat's coat is soft, you stroke it a little.
9. "Fan" Relax your hands from the elbow, open your fingers and “fan” your face with them, like a fan. We bought a new fan, It works like the wind.
10 . "Squirrel". Clench your fingers into a fist. Unbend your fingers alternately, starting with the thumb. A squirrel sits in a cart, She sells nuts: Chanterelle-sister, Sparrow, titmouse, Mishka thick-skinned, Hare mustachioed.
A complex of physical minutes
1. First I will be small,sit down, I'll get on my knees.hug your knees, Then I will grow upget up, I'll reach for the sky.put your hands up, get up
2. The wind blows in our faces.(Waving hands in front of face. The tree swayed.Swinging from side to side. The wind is quieter, quieter, quieter.Squat, wave your arms up and down. The tree is getting higher and higher. Pull up.
3. We went out to the forest lawn, Raising our legs higher, Through bushes and hummocks, Through branches and stumps. Who walked so high ─I didn't stumble, I didn't fall.
4. Birds sit in a nestAnd they look out into the street. They want to take a walkAnd quietly all fly.
5. One, two, three, four, five, the hare began to jump. Jump hare much, He jumped ten times.
6. Grisha walked-walked-walked, White mushroom found. One - a fungus, Two - a fungus, Three - a fungus, Put them in a container.
Didactic activity games for older preschoolers
1. "Paint a warm picture"
Target: clarify with children the concepts of "warm and cold colors"; continue to learn how to draw a picture from memory, using a warm range when coloring.
Material: 4 pictures depicting simple plots, geometric shapes found in these pictures, colored pencils, felt-tip pens, sheets of white paper.
Rules of the game: after carefully examining an unpainted sample picture, at the signal of the teacher, turn it over, depict the plot seen on your sheet, color it, adhering to a warm range.
Game actions: depicting a plot from memory, drawing small details, using non-traditional drawing methods to give individuality to your work.
Creative tasks:
A) draw a "warm" still life;
B) tell me what is orange (pink, red, yellow);
B ) paint the clothes in warm colors. What vegetables and fruits are the same color?
2. "Who plays hide and seek with us"
Target: to teach children to compare the color, the background of the picture with the coloring of animals, which allows these animals to be invisible against this background.
Material: cards with a background of different colors (green, yellow, striped, brown, white), animal figures (frog, jaguar, tiger, polar bear, white hare and hare, etc.) to check the correctness of the completed task, help with images of animals.
Rules of the game: take two cards of different colors, name animals with a similar color; Having received a figure, circle it on the desired background. The winner is the one who receives more figures, and also draws suitable animals that the teacher did not have.
Game actions: guessing "cunning" animals, drawing them on cards with the appropriate background.
3. "Portraits"
Target: teach children to draw a head using templates.
Materials: a sheet of paper with a traced oval face; cardboard templates for eyebrows, eyes, nose, lips, ears, hairstyles.
Children's actions: on a sheet they lay out the head with templates, circle, paint the resulting portrait.
4. "Warm-cold"
Target: reinforce the concept of the color wheel.
Game tasks:
1 . Building with ribbons:
AND) children come out with ribbons of the main color (red, blue, yellow) and stand in a circle;
B) children with ribbons of an additional color approach the children with ribbons of the main color and take them by the hand, making up a color circle: red, orange, yellow, green, blue, indigo, violet;
AT) between them are children with ribbons of various shades: raspberry, burgundy, light green, brown, etc.
Equipment: color wheel, multi-colored ribbons, audio recording "Mill".
5. "Find pictures painted with warm and cold colors"
Target: reinforce children's ideas about warm and cold colors.
Material: reproductions of still lifes painted in warm and cold colors.
Game description: Find paintings painted only in warm colors (or cold ones) or sort into groups pictures painted in warm and cold colors.
6 .“Pick up the colors that the artist used in his painting”
Target:
Material: landscape pictures, colored stripes.
Game description: each player receives a picture depicting a landscape. Applying colored stripes to the image, the child selects the colors that are in his picture.
7 .“Define and find the genre of the portrait (still life, landscape)”
Target: clarify children's ideas about different genres of painting: landscape, portrait, still life.
Material: reproductions of paintings.
Game description: 1 option. The teacher suggests looking carefully at the pictures and putting pictures depicting only a still life (or only a portrait, landscape) in the center of the table, putting the others aside.
Option 2. Each child has a reproduction of a painting, who depicts a landscape, who has a portrait or still life. The teacher makes riddles, and the children must show answers using reproductions of paintings.
8 ."Exhibition of paintings"
Target: to teach children to recognize genres of painting: landscape, portrait, still life, to write a story about a picture.
Material: reproductions of paintings.
Game description: the teacher instructs two children from reproductions that differ in content and genre to arrange an exhibition
9 ."Compose a still life"
Target: consolidate knowledge about the genre of still life, teach how to compose a composition according to your own plan, according to a given plot (festive, with fruits and flowers, with dishes and vegetables, etc.)
Material: various pictures depicting flowers, dishes, vegetables, fruits, berries, mushrooms or real objects (dishes, fabrics, flowers, models of fruits, vegetables, decorative objects)
Game description: the teacher offers the children to compose a composition from the proposed pictures, or compose a composition on the table from real objects, using various fabrics for the background.
10 "Magic Colors"
Target: during the game, develop children's attention and interest in various colors and shades, a sense of joy when perceiving the beauty of nature.
Material: cards with different colors.
Game description: give the children cards with squares of different colors. Then the teacher says a word, for example: birch. Those of the children who have black, white and green squares raise them up.
Then the teacher says the next word, for example: rainbow, and those children whose colors correspond to the colors of the rainbow raise the squares. The task of children is to respond as quickly as possible to the words uttered by the teacher.
| A comprehensive lesson on the development of speech, experimentation and manual labor for children of senior preschool age on the topic "Sorceress-Water" Program content: 1. Clarify the signs of winter, form an aesthetic attitude to winter phenomena. 2. Show the children in what form water exists - experiments with water, steam, ice. 3. Exercise in the formation of single-root words. 4. Develop creative imagination and consolidate the skills of working with waste material. 5. To cultivate a sense of empathy, responsiveness and the ability to work in a team. Preliminary work: Observation of winter phenomena on a walk, reading poems, riddles, composing dances, looking at pictures about winter, making a snowman on the site. Making snowmen from waste material, winter forest layout. Lesson material: Demonstration material: table for the development of visual perception; mood cards. For experiments - bowls, ice cubes, a thermos with boiled water. Waste material for making snowmen. Lesson progress: The teacher introduces a table into the group, which shows 3 seasons, except for winter. Educator: What season do you think is missing from the pictures? Children's answers. An exercise is conducted to develop logical thinking. Educator: What season do you think we're talking about? List the signs of winter. Children's answers. Conducted didactic game "Prompt a word." Educator: I will read a riddle poem, and you will add the appropriate word: Quiet, quiet, as in a dream Falls to the ground: (snow) From the sky all the fluffs slide Silver: (snowflakes) To the meadow, to the meadow Everything is going down: (snowball) Here's some fun for the kids Getting stronger: (snowfall) Everyone is running. Everyone wants to play: (snowballs) Like a white down jacket Dressed up: (snowman) Next to the snow figurine, This is a girl: (snow maiden) In the snow, look With red breast: (bullfinches) Like in a fairy tale, like in a dream Decorated the whole earth: (snow) Educator: What words did you guess in these riddles? Repeat. How are all these words similar? Children's answers. Educator: Indeed, all these words are similar to one word - snow. What can you say about snow? What is he? Children's answers. Educator: What are the benefits of snow? Children's answers. Educator: And now let's turn into wizards and experiment with snow. 1. Snow is water. Snow is brought into the room. Children put snow on their palms and watch what happens to it. 2. Ice is solid water. Draw the children's attention to how the ice gradually decreases and what they turn into. Draw the children's attention to the time it takes for snow and ice to melt (snow is faster, ice is slower). They find out what is easier - ice or water, after conducting experiments - to lower ice and snow into the water. 3. Steam is also water. Open a thermos of boiling water so that the children can see the steam. Place a mirror over the steam, on which droplets of water form. Educator: Snow, ice and steam are water. Look how much snow is on the street. How do you think snowdrifts formed? Children's answers. Educator: Now imagine that you are snowflakes. It's snowing outside. Snowflakes soar in the air, dance and, spinning, slowly fall to the ground. Here they go down lower and lower and quietly lie down on the ground next to each other, on top of each other. So many snowflakes fell that a snowdrift formed. Children dance and spin to soothing classical music. Gather together and form a "snowdrift". Educator: I'll take some snow, make a snowball and make a snowball. (Imitates with movements how she does it.) And what can be molded from a snowball? Children's answers. Educator: Now imagine that you are snowflakes and through the open window you got into the room and fell on the carpet. What happened to you? Children's answers. Educator: But not all snowflakes have melted. I will collect them and make a snowball. And how can I "blind" a snowman indoors? Children's answers. There is a knock on the door. Educator: This bullfinch (toy) brought the snowmen an invitation to the New Year's carnival. But the invitation says that everyone should come to the holiday in pairs and our snowmen are sad. How can we help them? Children's answers. Educator: Yes, let's make a snowman for our snowmen. They make snowmen from Aktimel jars, paint skirts with felt-tip pens, hats are made from measuring cups, eyes, nose and mouth are glued from colored paper. After making the Snow Maidens, they are placed next to their snowmen against the background of a winter forest layout. Educator: What do you think, what is the mood of our snowmen now? What is your mood? Children's answers. Educator: If our snowmen have fun with us, then we are magicians. See how good it is to help someone, to do good deeds. |
"Colorful blot"
Target:
to introduce children to the monotype technique, to show the possibilities of creating unusual textures on paper; continue to introduce the properties of gouache and consolidate the ability to mix paints to obtain the desired color.
Tasks:
- to develop the creative abilities of children, imagination, fantasy, observation;
- arouse interest in creative activity, eye, coordination and strength of movement
Material: paper, brushes, palette, jars of water, gouache of different colors, "Color Wheel" table, computer, files with images of paintings, music (recorded), fairy-tale hero - Klyaksa.
Lesson progress:
Teacher. Announces that children from today are accepted into the school of wizards, which means that extraordinary miracles will occur in the lesson.
Teacher. At the beginning of our journey, we will remember how you can get new colors and shades by mixing colors on the palette.
Children talk about the composition of various colors, the method of mixing paints)
Teacher. And now, in order to become wizards, I propose to listen to the fairy tale about Blot.
She lived - there was a Blob in a dark hollow, she really did not like to appear in public.
Why? Yes, because when she appeared, everyone shouted: “What a horror! What a terrible and ugly Blob!
And in fact, Klyaksa's clothes were so dirty that they became almost black. The inkblot became very angry and angry, she quarreled with everyone and did not go anywhere. But one day she still decided to go to visit.
(At this time, the group includes a fairy-tale hero - Klyaksa).
Blot: What's going on here? What do you do? And why without me? Am I in charge here?
Teacher. Who are you?
Blot:
I'm black as wax, I'm called Miracle Blob!
I'll jump on the drawing, I'll leave a mark on it.
Where there were people, flowers, trees,
Black blots will have fun.
It will be full of us, everything will be black-black.
There will be crybabies to put only blots.
Teacher. Our children are not crybabies at all, and they can draw well. But where, I wonder, did you come from and why are you so angry and angry?
Blot:
Some wicked boy, naughty rascal,
I mixed all the paints at once and, ... I came from a fairy tale.
All the time I go and no one needs me
Children do not like me, and I am alone in the world. (Crying)
Teacher. Listen, Klyaksa, the guys and I want to help you.
We know how to properly mix paints and we can make you fun, beautiful and pretty, and we can even dress you up. Agree?
Blot: Of course!
(Blot goes to change into a bright outfit).
Teacher. And to turn the guys Blot into a wonderful picture, we will be helped by a powerful sorceress - Monotype.
This sorceress appeared in time immemorial. We can get acquainted with its first wonders in the museums of natural sciences. Have you heard about the stones on which scientists find the imprints of the leaves of prehistoric plants and animal tracks? These prints are wonders of Monotype. Millennia passed, and the sorceress Monotype decided to reveal her secrets to artists. With her help, they began to create amazing paintings. To make prints (as artists call prints), masters working in the monotype technique use a wide variety of materials: gouache and watercolor, oil and printing paints, and many other pictorial materials. Look at the reproductions of the paintings.
(The teacher shows on the computer picture files)
Teacher. All of them are made with the help of amazing techniques that Monotype introduced to artists. Would you like to know the secrets of this sorceress? (Yes.)
(Further, the teacher accompanies the story with a demonstration of drawing techniques.)
For this you need:
-
fold a sheet of paper in half;
-
unfold it again and apply multi-colored spots of paint on one of the halves;
- then the paper must be folded again, iron the folded sheet with your hands and cast the spell: Red, yellow, blue -
We love blot with you!
The fairy tale begins
The blob turns
In a heron, a clown, a flower - a velvet petal,
She turns into a cup, a butterfly, an elephant.
(Symmetrical colorful spots will appear on both halves of the sheet, then you need to carefully consider the image and, if necessary, supplement it with details).
Teacher. look (shows his drawing) what does it look like?
(Children make guesses.)
Teacher. What details do you think can be added to make the drawing more expressive and understandable?
(After listening to the children's answers, the teacher completes the missing details.)
4. Independent work.
Teacher. Did you like the wonders of the sorceress Monotype? Now try to create your magical paintings.
(Sounds like an audio recording of calm music. Children get to work using monotype techniques.)
Children themselves put spots on a sheet of paper and say a spell together with the teacher.
Physical education "Respite"
During practical work, the teacher offers the children to perform several exercises to relieve fatigue.
It's time for us to take a break
Stretch and breathe.
(Deep breath in and out.)
Turned their heads
And all the tiredness is gone!
One, two, three, four, five,
The neck needs to be stretched.
(Rotation of the head in one direction and the other.)
They reveal the image, if necessary, draw small details with felt-tip pens and tell what their blots have turned into.
Teacher. Dear wizards, how many bright and mysterious images you got! What drawings guys do you think are the most interesting, bright?
(Children share their opinions.
Blot: Thank you so much! I realized that you need me, and you love me. I promise that I will never mess up drawings and I will learn to draw like you. After Klyaksa leaves, the teacher invites the children to make a magic book out of drawings - Klyaksa and send it to her by mail, as a gift, so that she remembers the guys and does not forget them.
(The teacher with the children sew the drawings together and make a magic book of drawings).
Farewell to autumn
Target: to develop creativity, imagination and aesthetic taste in children.
Tasks: - to form the ability to independently choose the content of your drawing, display your own impressions and ideas about different periods of autumn;
- to form the need to draw up a general drawing from individual works, the ability to evaluate their work;
- to fix the techniques of drawing with paints with the whole brush and its tip, the use of lateral and vertical strokes;
- educate love for various types of art.
Development environment: landscape sheets of various shapes (tinted blue and gray), brushes, gouache paints (red, orange, yellow, white, brown, black), napkins, jars of water.
Audio recording "Voice of Autumn", "Sounds of Nature". Musical work by Vivaldi, P.I. Tchaikovsky "The Seasons - Autumn" Screen or panel for hanging works (dry).
preliminary work: reading poetry: A. Tolstoy "Autumn", I. Bunin "Autumn", A.S. Pushkin "A sad time!", M. Alimbaev "Will take autumn"; learning songs: "Leaf fall", "Autumn Song". Looking at pictures and illustrations about autumn. Examination of children's works drawn during the autumn period on the topics: "Joyful Autumn", "Autumn Forest", "Gifts of Autumn", "Falling Leaves". Observations on a walk, collection of herbarium. Ecological activities and games on the theme "Autumn".
Lesson progress:
Hello guys! Look how beautiful we are! (the group is decorated with autumn leaves, in vases there are bouquets with dried leaves, kibanas, etc.). (There is a knock on the door, the teacher's assistant says: "Sorry, I was dusting the window in the waiting room and found a basket, I don't know who left it").
-I wonder who could have left her. Let's see what's in it?
(Children find an audio cassette in it)
The teacher offers to listen to what is written on it.
(Children sit on chairs)
Recording sounds:
"Guys, guess my riddle and then you will know who I am?
I bring the harvest
I re-sow the fields.
Sending birds to the south
Trees undress
But I don't touch the pines
Who am I: (children's answers). Well done boys! You have solved the riddle. (sadly) The thing is, I came to say goodbye to you. Today is my last day, and tomorrow winter comes into its own."
(Recording off)
With what mood did autumn speak to us? (children's answers)
- Let's make her happy. After all, we can make a gift for her, especially since we already know a lot about autumn.
How can we please her? (sing a song, read poetry, etc.)
Guys, let's sing a song in autumn, let her listen and her mood will rise. (The teacher turns on the audio recording of the music for the song)
Performing the song "Autumn Song"
Guys, what autumn do we know? (children's answers)
What do we call early autumn? (gold)
What is late autumn called? (silver)
-That's right guys. Today is the last day of autumn, and snow has been lying on the street for a long time, the leaves have fallen from the trees, the animals have hidden in their "homes".
"A sad time! Eyes charm!
Your parting beauty is pleasant to me. "(excerpt by A.S. Pushkin)
(the teacher invites the children to read poems about autumn, learned in the classroom in art. Literature)
-Autumn is a wonderful time. She inspires artists to paint, poets compose poetry, and musicians compose music. Let's listen to one of these pieces. Musical work by Vivaldi "The Seasons - Autumn".
(The teacher includes an excerpt of the work for listening)
- Did you like the work? (children's answers)
-What is her mood like? (children's answers)
- Can this music inspire an artist to paint a picture?
-Come on, we are now with you, we will turn into little artists, draw pictures, and this will be our gift for the fall.
The teacher invites the children to decide for themselves which picture they will paint: early autumn or late. Consequently, children independently choose sheets of paper of the tone and shape they need (the paper is laid out in advance on a separate table)
Children go with their leaflets to the prepared places, at the tables.
(includes recordings of "The Seasons - Autumn" by P.I. Tchaikovsky, Vivaldi)
The teacher reminds and shows how to hold the brush correctly, how to sit at the table. In the course of the lesson, he fixes the rules for using a napkin and water. Reminds children that we remove excess paint on the edge of the jar. It also encourages children to make interesting additions to the drawing. For example: "A. what if, in addition to trees, animals appear in the picture:" etc.
As the children finish their work, they, together with the teacher, place them on the table.
(While the work is drying, the teacher, together with the children, analyzes the work)
-Look at your work guys, how beautiful they turned out. In which pictures is autumn early, and where is late autumn?
- Do you think your autumn gifts will be liked?
(The teacher turns on the audio recording)
"Thank you guys so much for a wonderful gift. And now I'm not sad to leave at all. Goodbye guys! See you next year!"
Lesson summary
"For living water"
Target: to form in children an idea of an artistic image, to acquaint them with the sacrament of the birth of an image through the effect of participation in the creative process of its artistic creation. Encourage children to establish similarities between different geometric shapes and objects and, by drawing, get a solid image of the heroes of their favorite fairy tales using a variety of color shades.
Preliminary work: reading fairy tales, looking at illustrations in them, mixing colors to get all the shades, fixing the names of geometric shapes in the games “What is missing”, “Fold it yourself”, “Collect by color”.
Material for the lesson: magic wand, tape recording, 2 paintings: R. G. Uutmaa "Night Sea" and N. M. Romadina "Rose Water", 2 benches, sheets with geometric color shapes, simple pencils, gouache, 12 water cans, 2 each brushes (thin and thick) for each child, a palette for each, 12 cloths, 6 coasters.
Lesson progress:
Guys! Today with the help of this magic wand (show stick) let's look into the magical world of painting. The very word "painting" suggests that the artists who painted these pictures did it so vividly that we can disenchant them and make them seem alive for ourselves.
You and I can only become magicians - spectators and go on our voyage for "living water". How many of you know what fabulous living water is?
By the way, this is what our occupation for “living water” is called.
Now we will turn the benches - banquettes, standing in front of the picture, into a boat, sit in it and, like the heroes of the fishermen of the artist R. G. Uutmaa, we will sail to the unknown. Music sounds.
What time of day is this? (Night). And so the picture is called "Night Sea".
What colors are used to paint the picture? (They seem somehow dark and deaf).
Where does the light come from in this picture? (From the moon).
What makes it fabulous? (Silver track).
The path glows and, as it were, shimmers from the calm movement of the waves.
Now tell me, with what colors did Uutmaa paint the water? Indeed, the water seems dead.
Finger gymnastics "Pumping the boat"
The boat rocked for a long time.
The wind died down and the boat stood up.
Palm of the hand - up, fold the fingers in a "boat". Smoothly move the hand to the left - to the right
Will we sail with these people on the gloomy sea, or it will be better if we join the hero of another picture. This painting is called “Pink Water”, and it was painted by N. M. Romadin.
What does the color sound like in this picture? (loudly, loudly).
What season is in this picture? (Spring). Paintings depicting nature are called landscapes. The whole landscape is permeated with the pink light of the early morning. We do not see the sun, but the artist managed to choose colors in such a way that everything plays in its pink rays.
What is the water in this picture? (Transparent, cheerful, joyful). The fisherman's boat is clearly reflected in the water, as in a mirror. Does it remind you of a milky river from a fairy tale? And interestingly, the river on which we sail in the early morning is like a living one, in which there are many secrets and mysteries.
Now let's perform the main miracle. I approach the picture and, as it were, carefully scoop up the “living water”. Substitute your hands with a ladle, and I will pour out this wonderful “living water” to everyone.
You see it is transparent, cool, fresh. No, you don't have to drink it. Let’s think better: “Who needs living water more than anything in the world?” (Sick, weak, infirm, old).
But we are so tired! Let's wash ourselves with this "living water". (Imitate washing movements with palms).
Let's shake the drops of living water from our hands into paints, making them magical. Guys! Come all here to the clearing. I will now use a magic wand to turn you into flowers. The game "with a flower" is an imitation of movements.
Physical education minute.
| A tall flower grew in a clearing, | Hands in an upright position, palms facing each other, fingers apart and slightly rounded. |
| Opened the petals on a spring morning | Spread fingers |
| All petals beauty and nourishment | Rhythmic finger movement together - apart. |
| Together they give roots above the ground. | Lower your palms down and press the back side against each other, spread your fingers apart |
And now, let's perform a "miracle", disenchanting geometric shapes on these sheets into the heroes of your favorite fairy tales. (Children choose sheets at will). They sit down at the tables.
The teacher, with the help of a magic wand, and in the hands of children with simple pencils, perform movements to the text: “Wave your hand back and forth, do it once and do it twice!”
Disenchantment of geometric shapes on sheets - work done by children. Help those who find it difficult: how to properly position the sheet, etc.
Children's stories about the disenchanted heroes of fairy tales. Story.
"Go there without knowing where."
Vasilisa the Beautiful was brought to the mountains. Barin left her there. She wondered where she should go. She decided to hide in the mountains and never come out. Behind the mountains I saw the Castle. She knocked, no one opened it. She knocked louder, the door opened. There was a golden cage in the Castle. There was a fever in it - a bird. She took the cage along with the firebird and ran away. The doors closed and she walked away from the Castle. She came to the mountains and released the firebird to freedom. The bird thanked Vasilisa the Beautiful and said to her: “Here is my golden feather. It will come in handy when you need help to save yourself.
Mouse on the ship.
One day Pak the mouse was sailing on the sea. Suddenly a storm broke out at sea. The ship rocked from side to side. He shouted: "Help, save!" The mouse was saved by friends on the ship.
Penguins on ice.
There, in the north, where it is very, very cold, penguins live. They like to gather in flocks on ice floes, look around at the sea, in search of prey: fish, like “real fishermen”.
Today, each of you is awarded the "Wizard of the 2nd degree" badge,
Summary of work.
Now let's remember the way for "living water". We got acquainted with the artist R. T. Uutmaa "Night Sea", we found "living water" from the artist N. M. Romadin "Pink Water". To relieve the fatigue of a long journey, let's wash ourselves with the remnants of our "living water". But you probably guessed that "living water" is our imagination, which is so necessary when you look at a picture and just admire the surrounding nature. What picture would you like to leave in the group?
| "We play with our fingers." Abstract of the lesson from the cycle "The ABC of Health for Babies" for children of senior preschool age. Program content: Material: walnuts, massage balls for each child. Preliminary work: Lesson progress: Educator: Guys, we already know a lot of finger games with you, and we can also make different figures, fold fingers in different ways. Do you know why we are doing this? A mouse came running: "Let the starling be friends with you." Exercise "Mouse" An owl flew at night to hunt and heard that a wolf and a fox wanted to catch a hare. He warned his friends about the danger. After all, the eagle owl lived on the tree under which the bunny lived. Did you like my story? We will be doing finger exercises often. It helps the work of our internal organs and the whole organism. |
"Fish in the Aquarium"
Theme: Fish in the aquarium
Target: to learn to create an image of a fabulous fish, to convey in the drawing its shape, body parts;
Tasks:
To fix drawing techniques with different familiar materials, choosing them as you wish;
Carefully paint over the image (without leaving the contour) cotton swabs or fingers);
Improve fine motor skills of hands and hand-eye coordination;
Develop the ability to evaluate drawings;
To cultivate accuracy, the ability to find non-standard solutions to creative problems.
Preliminary work:
Excursion to the pet store (show various aquarium fish, pay attention to the structural features of the body);
Fish Conversation (where river, sea, aquarium fish live);
Recall fairy tales that mention fish.
Lesson progress:
Organizing time
What's in my hand? (fishing rod)
Gymnastics for the eyes (follow the rod with your eyes)
Didactic game "Rod"- the teacher invites the children to take any fish from the box. Children stand in a circle with fish in their hands. The teacher throws a fishing rod to the child and says: “Sasha, give me a fish”, the child answers: “I give you a yellow fish”, etc. (the color of the fish changes)
Conversation
Where do fish live?
Fish live in the river, in the pond, in the sea, in the aquarium.
Aquariums are different: large and small, round and square, rectangular, and can be fabulous. My grandfather also had an aquarium. The poem "Beautiful fish"
I already know:
Not for cats
And not for your own food
Grandpa breeds fish ...
Breeds them -
For beauty!
He sowed fish like seedlings,
Didn't water (grow in water).
And just a look, just a look
I touched their beauty.
Why did Grandpa breed fish?
For beauty.
Would you like to have a fabulous aquarium?
Who will live in the fabulous aquarium?
Fairy fish.
Practical part
I have different aquariums on my table, and you choose the one that you like best.
(Children take and carry their aquariums to the tables. The teacher draws attention to the means of drawing: cotton swabs, gouache for fingers).
Finger gymnastics
There lived and there was one burbot,
Two ruffs were friends with him.
Three ducks flew to them
Four times a day
One two three four five!
To the music, children color the finished images of fish in the aquarium with their fingers or cotton swabs.
Outcome
Examining the fish, paying attention to the brightness, colorfulness, unconventional image techniques and the accuracy of the work.
"Magic Vessel for Jin"
Drawing with prints. senior group.
Program content: To teach children to make patterns from geometric shapes using an unconventional technique - printing. To develop the desire to be original in creating a fabulous vessel. Arouse in children a sense of admiration for the beauty and variety of forms of vessels created by artists of different times.
Materials: landscape sheet; ½ sheet of brown paper; prints made from erasers; acrylic paint or gouache; audio recording by N. Rimsky - Korsakov (Scheherazade's theme in the symphonic suite of the same name)
Preliminary work: looking at the tables "Ancient Greek vases", "Oriental vessels", listening to the fairy tales "Old Man Hottabych", watching the cartoon "Aladdin's Magic Lamp".
Lesson progress:
Guys, I will tell you an amazing story that happened to me today when I was going to work. Early in the morning, as always, I hurried to work. And suddenly, I saw an unusual ceramic vessel on the road. The vessel was dirty, but had a very beautiful shape. I could not resist, picked it up and decided to clean it from dust and dirt. I rubbed it several times, and suddenly Jin flew out of it (I show the children a drawing that depicts a fabulous Jin). In surprise, I dropped the jug, it fell and broke.
- Where will I live now? Jin asked sadly.
I said that there are real craftsmen in our garden, and they will definitely help Jin and make him a new vessel.
I suggest that the children choose the shape of the vessel they like, draw its outlines on brown paper, and then decorate with prints. During practical work, I aim the activities of children so that each young artist composes his own form of a vessel for Jin and decorates it with his own ornament. After the magic vessel is drawn, I suggest cutting it out and sticking it on a large sheet of white paper, as well as thinking and depicting where the jug is (on the floor, table, on a beautiful tablecloth, etc.), what surrounds it (curtains, window, carpets, wallpaper, etc.)
After completion of the work, I put the drawings on the stand and organize a mini-exhibition. I ask the children questions: In what vessel can a tall and thin Jin fit? Which one is thick? Which vessel is the most elegant? What is the most unusual vessel shape? Etc.
Jin is pleased with the drawings, he liked all the vessels. Thanks guys for the work. The lesson is over.
Abstract of the lesson on environmental education
Theme: "Home for Tassel"
Goals: give children an idea of the forest as an ecosystem, show the interdependence of animal organisms in nature.
Dictionary Enrichment: squirrel, cones, nuts, acorns, mushrooms, oak, spruce, pine, fox, hare, elk, wolf, hollow, hazel.
Equipment: pictures depicting squirrels, foxes, hare, elk, wolf; trees, mushrooms; dry tree branches; flannelograph; sheets of paper and pencils.
Lesson progress:
The teacher spends with the children finger gymnastics.
Guys, let's play with fingers.
Fingers woke up
Curled into a fist
One two three four five!
Wanted to play
We woke up the neighbors house.
There woke up six and seven
Eight nine ten -
Everyone is having fun
But it's time to go back everyone:
Ten, nine, eight, seven
Curled up six,
Five yawned and turned away,
Four - three - two - one,
Again in the house we sleep.
Educator. Today this cute guy came to visit us squirrel(squirrel greets). His name is Kitty. Look at his warm gray fur, big fluffy tail, tenacious paws. Guys, why do you think the little squirrel was called Tassel? How do you think? (Four children are being interviewed.) Yes, he was named so for the tassels on the tips of his ears. Squirrels are very agile, mobile animals, they are not afraid of heights. Brush was born in the middle of summer and now, having become independent, he left the house of his parents. He doesn't have his own house yet.
Children, where do squirrels make their home? (On a tree, in a nest, in a hollow.) Well done, Petya, answered correctly. Do you know what houses squirrels make for themselves? Who knows? (3-4 children answer.) Yes, squirrels live in cozy nests made of dry grass, moss and thin twigs in the form of a large ball, in a hollow or on thick branches. A hollow is a depression in a tree trunk (an illustration is shown). What is a hole in a tree trunk called? In their house, squirrels are not afraid of any bad weather. But both the hollow and the nest must be on something. The flannelograph depicts a tree, soil. Why does a tree need soil? (There are tree roots in it.) And what do you think, Andrey? (The tree takes nutrients, water from the soil.) And what will the Tassel eat? (Children answer: cones, acorns, mushrooms, nuts, berries.) Well, good ones! What time of year is it now? Who can tell what happens in the life of squirrels in autumn? How do they prepare for winter? Roma? Masha? The squirrel takes one of its round nests in the trees under the pantry. Where is the squirrel's nest? (In the hollow.) Well, squirrel I'm glad you remembered the name of his house. In the hollow, the squirrel puts hazelnuts and cones. In addition, she collects mushrooms - boletus and boletus, strung them on broken knots of pine trees and dries. In winter, she will feast on dried mushrooms. Where did acorns and cones come from? (From oak, spruce, pine.) Nuts? Nuts grow on hazel. Hazel- it's a shrub. Where do nuts grow? (On a hazel, on a bush.) Does the brush live alone in the forest?
Run uphill
From the mountain somersault. (Hare.)
Touching the grass with hooves.
A handsome man walks through the forest
Walks boldly and easily
Horns spread wide. (Elk.)
He is a gray robber
He has no faith.
All fangs click.
Who is this? (Wolf.)
Which of all the animals
Tail fluffy and long? (A fox.)
The teacher continues the conversation-game: It turns out that Brush's house is a forest. The brush is tired of sitting in one place and wants to jump. Let's go out on the carpet and jump with him. Now let's show Brush how we rest:
One: got up - stretched,
Two: bent - straightened,
And three claps in the palms,
Three nods of the head
Four - arms wider
Five - wave your hand,
Six - sit quietly at the table.
Grab your chairs and sit down at the tables.
Can we put a giraffe or a hippopotamus in our forest? (No, why? (Our forest is not suitable for these animals.) Home to squirrel is the forest, because it has all the conditions for its normal life.
The teacher invites the children to draw a treat for squirrel, at the same time controls the posture of children, makes individual comments.
Summary of educational activities in drawing "Rain, rain, droplet"
Program content: To teach children to create an image of rain with an unconventional drawing method (using pipettes).
Tasks:
Educational: to evoke an emotional response, to cultivate a sensitive and careful attitude towards nature to the beauty of the surrounding world.
educational: learn to draw rain with a pipette, evenly distributing drops of water over the surface of the landscape sheet. Continue to teach to convey simple phenomena of reality in the drawing. Learn to combine actions with the words of a poem.
Developing: develop imagination, fine motor skills, aesthetic attitude to the world around.
Material: White album sheet, wax crayons, plastic glasses with water. Palette with paints, brushes, wet wipes. Brush stands, easel, umbrella.
Methodical methods:Verbal, practical, visual.
Preliminary work: Drawing with plasticine, fingers. Reading nursery rhymes and poems about rain.
Lesson progress:
I. Organizational moment
Educator: Hello guys! (An audio recording of the sound of rain is heard.) Children, listen, what do you think this sound is like? (To the sound of rain). And what is rain? (Water drops).
Setting the goal of the lesson:
Guys, let's draw raindrops with water. Please come to my table. (Children come to the demonstration table). II. Creative and search work of children Educator: Guys, please guess the riddle:
Riddle about a cloud Through the sky in a horde Leaky bags run, And it happens - sometimes Water flows from the bags. Let's hide better From the leaky ... (clouds). That's right, it's a cloud. See how I draw a cloud with wax crayons. (Showing the teacher how to draw clouds with wax crayons. While drawing, the teacher talks to the children about clouds and clouds). What color are the clouds? (Black, blue, and clouds are white). What falls from the cloud to the ground? (Rain, hail, snow). Where can it rain? (Outside).
Educator: It's going to rain from my cloud now. I will paint it with water. See what's in the glass? (Water). What color is the water? (Transparent). Do you think it is possible to draw raindrops with clear water? (No). Why? (The droplet will not be visible). So what do we have to do with the water to make it visible? (Paint the water with paint). Well done, you guessed it. (The teacher offers one of the children to paint over water in a glass with a gouache brush).
Educator: What color is the water in the glass? (Children call the color of water in a glass. The color can be different, at the discretion of the child, because gouache of different colors is laid out on the palette). Educator: See what I have in my hands? (Shows a pipette.) That's right, pipette. We will draw raindrops with a pipette.
Clarification of safety rules:
Look, the pipette is made of glass. Can you put glass in your mouth? (No). Throw a pipette on the floor? (No). Why? (May break and shards of glass can cut you). Educator: See how I draw rain with a pipette. (Showing the teacher how to draw rain with water from a pipette. In the course of the show, she tells and shows how to draw water into a pipette and distribute water droplets over the entire surface of the album sheet). Educator: And now, guys, let's prepare our fingers for drawing. Finger gymnastics "Rain"
Rain, rain, drop, Water saber, Cut a puddle, cut a puddle, Cut, cut, did not cut, And got tired, and stopped. (I. Tokmakova) (Children rhythmically tap the palm of the other hand with their index finger, gradually slowing down the pace, according to the text of the poem). Educator: Guys, close your eyes, listen to the sound of the rain and think what color your rain will be. (An audio recording of the sound of rain is heard.) Thought? Now sit down at your desks and get to work. (Independent work of children. Individual assistance of the educator if necessary. During the work of children, an audio recording of the sound of rain sounds). Good girls. That's where the rain ended. In the meantime, the raindrops from your clouds dry up, come out to me and let's play a game.
Dynamic game "Rain"
Rain, rain, lei da lei. (Children show raindrops on their palms with their fingers) Do not regret wet drops. We clap our hands (Perform movements according to the text of the poem) We stomp our feet. The sun came out again and the children all go for a walk. (Perform movements according to the text of the poem) (An audio recording of rain sounds is played, children run away under the teacher's umbrella).
III. Summary of the lesson
The game is over and your raindrops have dried up. Please take your work and bring it to my table. What a fabulous, unusual rain you got! (The teacher, together with the children, examine the drawings, discuss the color of the rain). Guys, what did you draw? How did you draw raindrops? Did you enjoy the activity? In memory of our lesson, I give you balloons. They are blue and look like raindrops.
Synopsis of the directly-educational field
"Artistic creativity" in the senior group
"Living clouds"
Theme: Living clouds (non-traditional drawing)
Target: To teach children to conceive the content of their drawing in a certain color scheme and maintain this condition to the end.
Tasks:
to fix drawing techniques with watercolors, colored pencils, wax crayons, gouache;
to consolidate the ability to dilute paints with white to obtain shades of color;
improve fine motor skills of hands and hand-eye coordination;
develop creative imagination, attention, observation;
cultivate accuracy in work.
Preliminary work:
Watching the clouds while walking;
e / game “What clouds look like” - enrichment of visual associations, i.e. giving meaning, recognizing various objects and phenomena in clouds, compiling descriptive stories;
memorizing poems about clouds and natural phenomena;
viewing photographs, postcards, calendars with the image of clouds.
Materials:
clouds of different colors and shapes, cut out of an A4 sheet;
brushes No. 2, No. 3, No. 4;
watercolor paints, gouache;
wax crayons, colored pencils;
wipes, water.
Lesson progress:
Organizing time
The teacher takes pieces of cotton wool out of the box and invites the children to take a piece.
What does cotton wool look like? (to the clouds)
How do clouds float? (children blow on pieces of cotton wool to the music of Shainsky "Clouds" - breathing exercises)
The teacher addresses the children: “I want to invite you on a journey to the clouds. We jump onto a white fluffy cloud that looks like a soft mountain of plump pillows. Feel: your legs, your back are comfortably located on this large cloud pillow. (Children close their eyes and try to imagine everything the teacher is talking about).
Now our journey begins. Your cloud is slowly rising into the blue sky. Feel the wind on your faces?
Here, high in the sky, everything is calm and quiet. Let the cloud take you now to a place where you will be happy.
Try to "see" this place as accurately as possible. Here you feel completely calm and happy. Something amazing and magical can happen here….”
And now we will draw on our clouds what you saw while traveling on the cloud. You can take whatever you want: gouache paints, watercolors, colored pencils, wax crayons and sketch your fantasies.
Children choose clouds and materials to draw with and take their places (you can draw on the table, on the floor, on the easel, etc.).
Directly drawing to the music. The teacher conducts individual work with children.
Review and discussion of works.
MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION
Information about textbooks | Number of copies in the library at the time of program approval |
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Name, neck | The year of publishing |
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Aesthetics |
Additional:
1. Bazin, A. What is cinema? / A. Bazin. – M.: Progress, 1972. – 200 p. 1 copy in the library of KemSU.
2. Berdyaev, creativity, culture and art /. - M.: Thought, 1994. - 400 p. 1 copy in the library of KemSU.
3. Bransky, and philosophy. The role of philosophy in the formation and perception of a work of art on the example of the history of painting / . - Kaliningrad, Amber Tale, 1999. - 674 p.
4. Borev. In 2 volumes - Smolensk: Rusich., 1997
5. Vlasov, encyclopedic dictionary of fine arts /. - Tt. 1-8. - St. Petersburg, ABC Classics, . 1 copy in the library of KemSU.
6. Voronova, O. The art of sculpture / O. Voronova. - M.: Art, 1981. - 164 p. 1 copy in the library of KemSU.
7. Gavryushin, Russian religious aesthetics / // Philosophy of Russian religious art. - Issue. 1. - M.: Progress, 1993. - p. 7-33.
9. Ziberquit, M. World of Music / M. Ziberquit. - M.: Music, 1988. - 194 p. 1 copy in the library of KemSU.
10. Illustrated history of the world theater. - M.: Art, 1999. - 370 p. 1 copy in the library of KemSU.
11. History of aesthetics. Ed. . - M.: Higher school, 1965. - 260 p. 1 copy in the library of KemSU.
12. Korzukhina, I. The art of dance / I. Korzukhina. - M.: Art, 1979. - 178 p. 1 copy in the library of KemSU.
13. Kostin, V. The language of fine arts / V. Kostin. - M.: Art, 1978. - 180 p.
14. Krivtsun, . / . - M.: Aspect Press, 19c. (132 copies in the library of the KemSU, 10 copies in the teaching and methodological room of the department).
15. Encyclopedic dictionary of painting. Ed. M. Laclotte, J.-P. Kuzen. – M.: Terra, 1997. – 890 p.
16. Aesthetics. / , ; Ed. . - M.: Center, 1998. - 240 p. (10 copies in the library of the KemGU, 5 copies in the teaching and methodological room of the department).
17. Aesthetics. Dictionary. Ed. – M.: Progress, 1987. – 300 p. 1 copy in the library of KemSU.
18. Yakovlev, . / . - M.: Gardariki, 19c. (5 copies in the library of the KemSU).
19. Yakovlev, / . - M.: Higher school, 2000. - 315 p. 1 copy in the library of KemSU.
Forms of current, intermediate and boundary controlQuestions for individual and independent work
1. Main schools and concepts in the aesthetics of Ancient Greece
2. Aesthetic views of the Middle Ages
3. Aesthetic views of the Renaissance
4. The main aesthetic concepts of the XIX - XX centuries
5. Formation of tragedy and comedy as a genre
6. Additional aesthetic categories: beautiful
graceful, terrible, holistic
7. Features of Eastern and European engravings
8. Icon painting as a special kind of painting
9. Relationship between architecture and sculpture
10. Architecture and landscape
11. The concept of "cultural viewer"
12. The relationship between the artist and society
13. The main genres of cinema and their development
14. Reasons for changing the worldview of a person in the XX century
15. Ways of realism in the 20th century
16. Formal search in art and its meaning
17. Aesthetics as a holistic view of the world
Sample questions for the exam:
1. Aesthetics as a science.
2. Variety of forms of aesthetic activity.
8. Polyfunctionality of art: educational and inspiring functions.
9. Polyfunctionality of art: socially transformative, compensatory and cognitive-heuristic functions.
10. Polyfunctionality of art: artistic-conceptual and informational-communicative functions.
11. Polyfunctionality of art: function of anticipation, aesthetic and hedonistic functions.
12. Art as a social phenomenon.
13. Artistic image as a form of artistic thinking.
14. Theory and psychology of artistic creativity.
15. Theory and psychology of artistic perception.
16. Morphology of art.
17. Historical dynamics of the arts.
18. Kalokagatiya as a principle of the artistic consciousness of the ancient Greek era.
19. The aesthetic concept of Aristotle.
20. Byzantine aesthetics.
21. Aesthetic system of Romanesque and Gothic.
22. Medieval literature. Principles of aesthetic development of the material.
23. Artistic ideals of the European Renaissance.
24. Aesthetic principles of the Baroque.
25. Aesthetic principles of classicism.
26. Aesthetics of the European Enlightenment.
27. The concept of the art of romanticism.
28. Aesthetic system of Hegel.
29. The origins of non-classical aesthetics.
30. Aesthetics of modernism and postmodernism of the twentieth century.
