Fine arts as one of the subjects of the general education school occupies an important place in the education of students. A careful analysis and generalization of the best pedagogical experience indicates that the fine arts are an important means of developing the student's personality. Fine arts, which are especially close to younger schoolchildren with their visibility, occupies one of the leading places in the process of developing children's creative abilities, creative thinking, familiarizing them with the beauty of their native nature, the surrounding reality, and the spiritual values ​​of art. In addition, visual art classes help children master a range of skills in the field of visual, constructive and decorative activities.

aim writing this term paper is to consider the features of the methodology of teaching fine arts in elementary school, namely in grades I-IV.

The work put the following tasks:

The study of the methodology of teaching fine arts in elementary school, to consider its features,

To identify the pedagogical conditions for the successful teaching of fine arts to children of primary school age, as well as the preparation of a thematic annual plan and a lesson plan for elementary school students

Chapter 1. Features of the methodology of teaching fine arts in elementary school

1.1. Pedagogical conditions for teaching fine arts in elementary school

In the development of children's artistic creativity, including fine art, it is necessary to observe the principle of freedom, which is generally an indispensable condition for any creativity. This means that the creative pursuits of children can be neither obligatory nor compulsory, and can arise only from children's interests. Therefore, drawing cannot be a mass and universal phenomenon, but for gifted children, and even for children who are not going to later become professional artists, drawing has a huge cultivating value; when paint and drawing begin to speak to a child, he masters a new language that expands his horizons, deepens his feelings and conveys to him in the language of images that which cannot be brought to his consciousness in any other way.

One of the problems in drawing is that for elementary school children, one activity of creative imagination is no longer enough, he is not satisfied with a drawing made somehow, in order to embody his creative imagination, he needs to acquire special professional, artistic skills and abilities.

The success of training depends on the correct definition of its goals and content, as well as on the ways to achieve the goals, that is, teaching methods. There has been controversy among scholars about this since the very beginning of the school. We adhere to the classification of teaching methods developed by I.Ya. Lerner, M.N. Skatkin, Yu.K. Babansky and M.I. Pakhmutov. According to the studies of these authors, the following general didactic methods can be distinguished: explanatory-illustrative, reproductive and research.

1.2. Methods of teaching fine arts in I- IVclasses

Education, as a rule, begins with an explanatory-illustrative method, which consists in presenting information to children in various ways - visual, auditory, speech, etc. Possible forms of this method are communication of information (story, lectures), demonstration of a variety of visual material, including with the help of technical means. The teacher organizes perception, children try to comprehend new content, build accessible connections between concepts, remember information for further operation with it.

The explanatory and illustrative method is aimed at the assimilation of knowledge, and for the formation of skills and abilities, it is necessary to use the reproductive method, that is, repeatedly reproduce (reproduce) actions. Its forms are diverse: exercises, solving stereotyped problems, conversation, repetition of the description of a visual image of an object, repeated reading and memorization of texts, re-telling of an event according to a predetermined scheme, etc. Both independent work of preschoolers and joint activities with a teacher are expected. The reproductive method allows the use of the same means as the explanatory and illustrative method: the word, visual aids, practical work.

Explanatory-illustrative and reproductive methods do not provide the necessary level of development of children's creative abilities and abilities. The method of teaching, aimed at the independent solution of creative problems by preschoolers, is called research. In the course of solving each problem, it involves the manifestation of one or more aspects of creative activity. At the same time, it is necessary to ensure the availability of creative tasks, their differentiation depending on the preparedness of a particular child.

The research method has certain forms: text problem tasks, experiments, etc. Tasks can be inductive or deductive, depending on the nature of the activity. The essence of this method is the creative acquisition of knowledge and the search for ways of activity. Once again, I would like to emphasize that this method is entirely based on independent work.

Particular attention should be paid to the importance of problem-based learning for the development of children. It is organized with the help of methods: research, heuristic, problem presentation. We have already considered the research.

Another method that helps creative development is the heuristic method: children solve a problematic problem with the help of a teacher, his question contains a partial solution to the problem or its stages. He can tell you how to take the first step. This method is best implemented through heuristic conversation, which, unfortunately, is rarely used in teaching. When using this method, the word, text, practice, visual aids, etc. are also important.

At present, the method of problem presentation has become widespread, the educator poses problems, revealing all the inconsistency of the solution, its logic and the available system of evidence. Children follow the logic of the presentation, control it, participating in the decision process. In the course of the problem statement, both the image and the practical demonstration of the action are used.

Methods of research, heuristic and problem presentation - methods of problem-based learning. Their implementation in the educational process stimulates preschoolers to creative acquisition and application of knowledge and skills, helps to master the methods of scientific knowledge. Modern education must necessarily include the considered general didactic methods. Their use in the classroom of fine arts is carried out taking into account its specifics, tasks, content. The effectiveness of the methods depends on the pedagogical conditions of their application.

As the experience of practical work shows, for the successful organization of fine arts lessons, it is necessary to create a special system of pedagogical conditions. In line with different conceptual approaches, they are defined differently. We have developed a system of conditions that directly affect the development of the artistic creativity of preschoolers, and we propose to consider it. We believe that this group of conditions consists of:

An important condition for the development of artistic creativity of preschoolers in the visual arts is the use by teachers of technical teaching aids, especially video and audio equipment, and special visual aids. The role of visualization in teaching was theoretically substantiated as early as the 17th century. Ya.A. Comenius, later the ideas of its use as the most important didactic tool were developed in the works of many outstanding teachers - I.G. Pestalozzi, K.D. Ushinsky and others. The importance of visualization in teaching was emphasized by the great Leonardo da Vinci, artists A.P. Sapozhnikov, P.P. Chistyakov and others.

Successful implementation of the principle of visibility in teaching is possible with the active mental activity of children, especially when there is a "movement" of thought from the concrete to the abstract or, conversely, from the abstract to the concrete.

At all stages of the lesson, if possible, creative, improvised and problematic tasks should be introduced. One of the main requirements in this case is to provide children with the greatest possible pedagogically expedient independence, which does not exclude the provision of pedagogical assistance to them, as necessary. So, for example, in the primary grades, especially in the first, the teacher, offering this or that plot, in many cases can draw the attention of preschoolers to the main thing that must be depicted first and foremost, can show on the sheet the approximate location of the objects of the composition. This help is natural and necessary and does not lead to the passivity of kids in fine art. From restrictions in the choice of theme and plot, the child is gradually brought to their independent choice.

Chapter 2

Here is the world - and in this world I am.

Here is the world - and in this world we are.

Each of us has our own path.

But according to the same laws we create.

May the path be long and the creator's bread difficult.

And sometimes I want to give slack.

But keep your hands off your face.

And again you give a heart. And again.

Love and knowledge are like good friends.

We are welcome to come to class.

And the light illuminates the children.

All of us until the bell rings.

We create. We are not doing in vain.

We give a piece of knowledge to those

Who acts as a "consumer" so far,

To grow as a "creator" then.

The program "Fine Arts and Artistic Work" is a holistic integrated course that includes all the main types: painting, graphics, sculpture, folk decorative arts, architecture, design, spectacular and screen arts. They are studied in the context of interaction with other types of arts and their specific connections with the life of society and the individual.

The systematizing method is the allocation of three main types of artistic activity for visual spatial arts: constructive, pictorial, decorative.

These three artistic activities are the basis for the division of visual-spatial arts into types: fine - painting, graphics, sculpture; constructive - architecture, design; various arts and crafts. But at the same time, each of these forms of activity is inherent in the creation of any work of art and therefore is a necessary basis for integrating the entire diversity of art forms into a single system, not according to the principle of listing types, but according to the principle of the type of artistic activity. Identification of the principle of artistic activity focuses on the transfer of attention not only to works of art, but also to human activity, to identifying its links with art in the process of daily life.

The connections of art with human life, the role of art in its daily existence, the role of art in the life of society, the importance of art in the development of each child is the main semantic core of the program. Therefore, when highlighting the types of artistic activity, it is very important to show the difference in their social functions.

The program is designed to give students a clear understanding of the system of interaction between art and life. A wide involvement of children's life experience, examples from the surrounding reality is envisaged. Work based on observation and aesthetic experience of the surrounding reality is an important condition for children to master the program material. The desire to express one's attitude to reality should serve as a source of development of figurative thinking.

One of the main goals of teaching art is the task of developing a child's interest in the inner world of a person, the ability to "deep into oneself", awareness of one's inner experiences. This is the key to developing empathy.

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

The lessons introduce game dramaturgy on the topic being studied, links with music, literature, history, and labor are traced. In order to experience creative communication, collective tasks are introduced into the program. It is very important that the collective artistic creativity of students find application in the design of school interiors.

The systematic development of the artistic heritage helps to realize art as a spiritual chronicle of mankind, as a person's knowledge of the relationship to nature, society, the search for truth. Throughout the course of study, students get acquainted with outstanding works of architecture, sculpture, painting, graphics, arts and crafts, study classical and folk art from different countries and eras. Knowledge of the artistic culture of one's people is of great importance.

The thematic integrity and consistency of the development of the program helps to ensure strong emotional contacts with art at each stage of education, avoiding mechanical repetitions, rising year after year, from lesson to lesson, along the steps of the child's knowledge of personal human connections with the whole world of artistic and emotional culture.

Artistic knowledge, skills and abilities are the main means of introduction to artistic culture. Form, proportions, space, tonality, color, line, volume, texture of material, rhythm, composition are grouped around the general patterns of artistic figurative languages ​​of fine, decorative, and constructive arts. Students master these means of artistic expression throughout the course of their studies.

Three ways of artistic development of reality - pictorial, decorative and constructive - in elementary school act for children as well-understood, interesting and accessible types of artistic activity: images, decorations, buildings. The constant practical participation of schoolchildren in these three activities allows them to systematically introduce them to the world of art. It must be borne in mind that, being presented in elementary school in a playful way as "Brothers-Masters" of images, decorations, buildings, these three types of artistic activity should accompany students throughout the years of study. They first help to structurally divide, and therefore understand the activity of arts in the surrounding life, and then help in a more complex understanding of art.

With all the assumed freedom of pedagogical creativity, it is necessary to constantly keep in mind the clear structural integrity of this program, the main goals and objectives of each year and quarter, which ensure the continuity of the progressive development of students.

2.1. Fundamentals of artistic representations (elementary school curriculum)

1st class (30-60 hours)

You depict, decorate and build

Three types of artistic activity, which determine the whole variety of visual spatial arts, form the basis of the first, introductory class.

To help the children (and the teacher) comes a playful, figurative form of initiation: "Three brothers-masters - the Master of the Image, the Master of Decoration and the Master of Construction." The discovery for children should be that many of their everyday everyday games are artistic activities - the same as adult artists do (not yet art). To see the work of one or another master brother in the surrounding life is an interesting game. This is where the knowledge of the links between art and life begins. Here the teacher lays the foundation in the knowledge of the vast, complex world of plastic arts. The task of this year also includes the realization that the "Masters" work with certain materials, and also includes the initial development of these materials.

But the "Masters" do not appear before the children all at once. At first they are under the "cap of invisibility". In the first quarter, he takes off his “hat” and begins to openly play with the children “Master of the Image”. In the second quarter, he will help remove the "invisibility cap" from the "Master of Decoration", in the third - from the "Master of Construction". And in the fourth, they show the children that they cannot live without each other and always work together. It is also necessary to keep in mind the special meaning of generalizing lessons: in them, through the work of each "Master", children's art work is connected with adult art, with the surrounding reality.

Topic 1. You portray.
Acquaintance with the "Image Master" (8-16 hours)

"Image Master" teaches to see and depict.
And all subsequent years of study will help children in this - help them see, consider the world. To see, one must not only look, but also draw oneself. This must be learned. Here, only the foundations of understanding the enormous role of the activity of the image in people's lives are laid, in the coming years the teacher will develop this understanding. The discovery of the quarter also includes the fact that in art there is not only an Artist, but also a Spectator. Being a good viewer also needs to be learned, and Image Master teaches us that.

The task of the "Master" is also to teach children the primary experience of owning materials available to elementary school. This experience will be deepened and expanded in all further work.

"Image Master" helps to see, teaches to consider

Development of observation and analytical capabilities of the eye. Fragments of nature. Animals - how they are similar and how they differ from each other.

materials: paper, felt-tip pens or colored pencils, or crayons.

visual range: slides depicting drawings of animals or live animals.

Literary series: poems about animals, about noses and tails.

musical series: C.Saint-Saens, suite "Carnival of the Animals".

You can depict a spot

Take a closer look at different spots - moss on a stone, scree on a wall, patterns on marble in the subway and try to see any images in them. Turn the spot into an image of an animal. The spot, pasted or painted, is prepared by the teacher.

materials: pencil, crayons, black ink, black felt-tip pen.

visual range: illustrations for books about animals by E. Charushin, V. Lebedev, T. Mavrina, M. Miturich and other artists working as a stain.

Can be depicted in volume

Let's turn a lump of plasticine into a bird. Modeling. Look and think about what voluminous objects are similar to something, for example, potatoes and other vegetables, driftwood in a forest or park.

materials: plasticine, stacks, plank.

visual range: slides of natural volumes of expressive forms or real stones, the shape of which resembles something.

Can be shown as a line

The line can tell. "Tell us about yourself" - a drawing or series of consecutive drawings.

materials: paper, black felt-tip pen or pencil.

visual range: linear illustrations of children's books, drawings on the themes of poems by S. Marshak, A. Barto, D. Kharms with a cheerful, mischievous development of the plot.

Literary series: funny poems about life at home.

musical series: children's songs about life in the family.

You can depict what is invisible (mood)

Show joy and show sadness. We draw music - the task is to express in the image images of musical pieces that are contrasting in mood.

materials: white paper, colored markers, colored pencils or crayons.

musical series: happy and sad melodies.

Our paints

Color test. Joy of communication with paints. Mastering the skills of organizing a workplace and using paints. Color name. That in life resembles every color. A playful image of a colorful multicolor rug.

materials: paints, gouache, large and thin brushes, white paper.

Artists and audience (generalization of the topic)

Being a spectator is interesting and not easy. This must be learned. Introduction to the concept of "work of art". Painting. Sculpture. Color and paint in the paintings of artists. Development of perception skills. Conversation.

visual range: V. Van Gogh "Sunflowers", N. Roerich "Overseas guests", V. Vasnetsov "Three heroes", S. Konchalovsky "Lilac", M. Vrubel "The Swan Princess".

Theme 2. You decorate.
Acquaintance with the "Master of Decoration" (7-14 hours)

The "Master of Image", whom the children met in the first quarter, is the "Master of Knowledge", a careful look into life. The "Master of Decoration" does something completely different in life - this is the "Master of Communication". It organizes the communication of people, helping them to openly identify their roles. Today we go on a hike, tomorrow we go to work, then to a ball - and with our clothes we talk about these roles of ours, about who we are today, what we will do. More clearly, of course, this work of the "Master of Decoration" is manifested at balls, carnivals, in theatrical performances.

Yes, and in nature, we distinguish some birds or butterflies from others by their decorations.

The natural world is full of decorations

The development of observation. Aesthetic experience. Butterfly wings decoration. The butterfly is decorated according to the blank cut out by the teacher or can be drawn (large, on the whole sheet) by the children in the lesson. The variety and beauty of patterns in nature.

materials: gouache, large and thin brushes, colored or white paper.

visual range: slides "Butterflies", collections of butterflies, books with their image.

The image of an elegant bird in the technique of volume application, collage. Development of a decorative sense of combining materials, their colors and textures.

materials: multi-colored and diversified paper, scissors, glue.

visual range: slides and books depicting various birds.

musical series: children's or folk songs with a pronounced playful, decorative moment (bell ringing, imitation of bird singing).

Beauty must be seen

Discreet and "unexpected" beauty in nature. Examination of various surfaces: tree bark, wave foam, drops on branches, etc. Development of a decorative sense of texture. Experience of visual poetic impressions.

Image of the back of a lizard or tree bark. The beauty of texture and pattern. Acquaintance with the technique of one-color monotype.

materials: for the teacher - a knurling roller, gouache diluted with water or printing ink; for children - a board made of plastic, linoleum or tiles, pieces of paper, a pencil.

visual range: slides of various surfaces: bark, moss, ripples on the water, as well as slides showing lizards, snakes, frogs. If possible - genuine bark, saw cuts of wood, stones.

How, when, why does a person adorn himself

All human jewelry tells something about its owner. What jewelry can tell. We consider the characters of fairy tales - what kind of decorations they have. How do they help us recognize the characters. Images of selected fairy tale characters and their decorations.

materials: colored paper, gouache, brush.

visual range: slides or illustrations with characters from famous fairy tales.

Literary series: fragments of fairy tales with a description of the appearance of the hero.

musical series: songs of fairy-tale heroes.

"Master of Decoration" helps to make a holiday

Room decoration. Making festive New Year's garlands and stars. Decoration of the classroom and your home for the New Year holidays. Collective panel "Christmas tree".

materials: colored paper, scissors, glue, foil, serpentine.

visual range: children's work completed in a quarter.

Literary series: poems about the holiday of the New Year.

musical series: Christmas and New Year holiday songs, P. Tchaikovsky fragments of the ballet "The Nutcracker".

Topic 3. You build.
Acquaintance with the "Master of Construction" (10-20 hours)

"Master of Image" - "Master of Knowledge", "Master of Decoration" - "Master of Communication", "Master of Construction" - this is the "Master of Creation" of the objective environment of life.

In this quarter, his brothers take off his "cap of invisibility" and hand over the reins of government to him. People can learn about the world and communicate only if they have a humanly organized environment. Every nation has been building since primitive times. Children also build in their games from sand, cubes, chairs - any material at hand. Before the beginning of the term, the teacher (with the help of the children) must collect as much "building material" as possible: milk cartons, yoghurts, shoes, etc.

home for yourself

An image of a home made for myself. The development of the imagination. Think of a home. Different houses for different fairy-tale characters. How can you guess who lives in the house. Different houses for different things.

materials: colored paper, gouache, brushes; or felt-tip pens, or colored pencils.

visual range: illustrations of children's books depicting dwellings.

musical series: children's songs about builders-dreamers.

What can you think of at home

Modeling fabulous houses in the form of vegetables and fruits. Construction of boxes and paper comfortable houses for elephant, giraffe and crocodile. The elephant is large and almost square, the giraffe has a long neck, and the crocodile is very long. Children learn to understand the expressiveness of proportions and the construction of form.

materials: plasticine, stacks, rag, plank.

visual range: illustrations for the fairy tales of A. Milne "Winnie the Pooh", N. Nosova "Dunno in the Flower City", J. Rodari "Cipollino", A. Volkov "The Wizard of the Emerald City".

Literary series: descriptions of fabulous towns.

musical series: music for the cartoon and the ballet "Cipollino".

"Master of Building" helps to create a city

"Fairytale City". An image of an image of a city for a particular fairy tale. Construction of a game city. Game of architects.

materials: gouache, colored or white paper, wide and thin brushes, boxes of various shapes, thick paper, scissors, glue.

visual range: illustrations of children's books.

Literary series: descriptions of a fabulous city from a literary work.

Everything we see has a structure

Make images of different animals - a zoo-design from boxes. Make boxes of funny dogs of different breeds. The material can be replaced with an application: various images of dogs are made by gluing pre-prepared single-color paper scraps of various geometric shapes onto a sheet.

materials: various boxes, colored and white thick paper, glue, scissors.

visual range: photographs of animals or reproductions of paintings depicting animals.

All items can be built

Construction from paper, packaging, coasters, flowers and toys.

materials: colored or white paper, scissors, glue.

visual range: slides from various subjects relevant to the task.

Literary series: poems about cheerful hardworking masters.

House outside and inside

The house "looks" at the street, but they live inside the house. "Inside" and "outside" are very interconnected. The image of the house in the form of letters of the alphabet as if they have transparent walls. How could little alphabetic people live in houses-letters, how rooms, stairs, windows are located there.

materials: paper (white or colored), pencils or crayons.

visual range: illustrations of children's books.

City where we live

Assignment: "I draw my favorite city." Image "by impression" after the tour.

materials: paper, gouache, brushes or crayons (at the choice of the teacher).

Literary series: Poems about your city.

musical series: songs about your city.

Generalization of the topic of the quarter

Exercise: exhibition of works made in a quarter. Children learn to look at and discuss each other's work. Playing artists and spectators. You can make a generalizing panel "Our city" or "Moscow".

Topic 4. "Masters of the Image, decorations, buildings" always work together (5-10 hours)

We recognize the joint work of the "Masters" in our works of the past quarters and in works of art.

The generalization here is the 1st lesson. Its purpose is to show children that our three "Masters" are in fact inseparable. They constantly help each other. But each "Master" has its own work, its own purpose. And in a specific work, one of the "Masters" is always the main one. Here, for example, are our drawings-images: where is the work of the "Master of Construction" here? And now these works adorn the classroom. And in the works where the “Master of Decoration” was the main thing, how did the “Master of the Image”, the “Master of Construction” help him? The main thing is to remember with the guys what exactly the role of each "Master" is and what he helped to learn. The best work of children for the whole year should be exhibited in the classroom. A kind of reporting exhibition. It is desirable that each child has some exhibited work. Children learn to talk about their works and about the drawings of their comrades. At the end of the lesson, slides of works of adult art are shown, and the children should highlight the "participation" of each "Master" in these works: a vase with a figurative drawing; a vase whose shape depicts something; a picture with an architectural building; fountain with sculpture; palace interior with bright decor, sculpture and paintings; interior of a modern building with monumental painting.

"Masters" will help us see the world of a fairy tale and draw it

Collective panel and individual images of the fairy tale.

materials: paper, gouache, brushes, scissors, glue, colored paper, foil.

visual range: music from cartoons, film or ballet based on this fairy tale.

Literary series: a fairy tale chosen by the teacher.

A lesson in love. The ability to see

Observation of wildlife from the point of view of the "Three Masters". Composition "Hello, summer!" by impressions of nature.

2nd class (34-68 hours)

you and art

The theme "You and Art" is the most important for this concept, it contains the fundamental sub-themes necessary for the initial familiarization with art as a culture. Here are the primary elements of the language (figurative structure) of the plastic arts and the basis for understanding their connections with the surrounding life of the child. Understanding the language and connections with life are built in a clear methodological sequence. Violation of it is undesirable.

The task of all these topics is to introduce children to the world of art, emotionally connected with the world of their personal observations, experiences, and thoughts.

Topic 1. What and how artists work (8-16 hours)

Here the main task is to get acquainted with the expressive possibilities of artistic materials. Discovery of their originality, beauty and character of the material.

Three basic colors that build the multicolor of the world

Primary and secondary colors. The ability to mix paints right at work is a living connection of colors. Depict flowers, filling in large images the entire sheet (without a preliminary drawing) from memory and impression.

materials: gouache (three colors), large brushes, large sheets of white paper.

visual range: fresh flowers, slides of flowers, flowering meadow; visual aids showing the three primary colors and their mixing (composite colors); practical demonstration of mixing gouache paints.

Five colors - all the richness of color and tone

Dark and light. Shades of color. The ability to mix colored paints with white and black. The image of natural elements on large sheets of paper with large brushes without a preliminary drawing: thunderstorm, storm, volcanic eruption, rain, fog, sunny day.

materials: gouache (five colors), large brush, large sheets of any paper.

visual range: slides of nature in pronounced states: thunderstorm, storm, etc. in the works of artists (N. Roerich, I. Levitan, A. Kuindzhi, etc.); practical demonstration of color mixing.

Pastel and crayons, watercolor - expressive possibilities

Soft velvety pastels, fluidity of transparent watercolors - we learn to understand the beauty and expressiveness of these materials.

The image of the autumn forest (from memory and impression) in pastel or watercolor.

materials: pastel or crayons, watercolor, white paper, harsh (wrapping).

visual range: observation of nature, slides of the autumn forest and works of artists on this topic.

Literary series: A. Pushkin poems, S. Yesenin poems.

musical series: P. Tchaikovsky "Autumn" (from the cycle "The Seasons").

Expressive application possibilities

An idea of ​​the rhythm of spots A rug on the theme of autumn earth with fallen leaves. Group work (1-3 panels), according to memory and impression.

materials: colored paper, pieces of fabric, thread, scissors, glue, paper or canvas.

visual range: living leaves, slides of autumn forest, ground, asphalt with fallen leaves.

Literary series: F. Tyutchev "Leaves".

musical series: F. Chopin nocturnes, P. Tchaikovsky "September" (from the cycle "The Seasons").

Expressive possibilities of graphic materials

The beauty and expressiveness of the line. Thin and thick, moving and viscous lines. Image of a winter forest on white sheets of paper (from impression and from memory).

materials: ink (black gouache, ink), pen, wand, fine brush or charcoal.

visual range: nature observations or winter forest tree slides.

Literary series: M. Prishvin "Stories about nature".

musical series: P. Tchaikovsky "December" (from the cycle "The Seasons").

Expressiveness of materials for work in volume

The image of the animals of the native land by impression and from memory.

materials: plasticine, stacks, plank.

visual range: observation of expressive volumes in nature: roots, stones, slides of animals and sculptures, slides and small plastic from different materials in the original; reproductions of works by sculptor V. Vatagin.

Literary series: V.Bianki "Stories about animals".

The expressive power of paper

Mastering the work with bending, cutting, gluing paper. Translation of a flat sheet into a variety of three-dimensional forms. Gluing simple three-dimensional forms (cone, cylinder, "ladder", "accordion"). Construction of a playground for sculpted animals (individually, in groups, collectively). Imagination work; if there is an additional lesson, you can give an origami task.

materials: paper, scissors, glue.

visual range: slides of works of architecture, layouts of past years made by students, showing techniques for working with paper.

For an artist, any material can become expressive. (generalization of the topic of the quarter)

Understanding the beauty of art materials and their differences: gouache, watercolor, crayons, pastels, graphic materials, plasticine and paper, "unexpected" materials.

Image of a festive city at night using "unexpected" materials: serpentine, confetti, seeds, threads, grass, etc. against the background of dark paper.

Topic 2. Reality and fantasy (7-14 hours)

Image and reality

The ability to peer, to see, to be observant. Image Master teaches us to see the world around us. Images of animals or animals seen in the zoo, in the village.

materials: gouache (one or two colors), colored paper, brush.

visual range: works of art, photographs depicting animals.

Image and fantasy

The ability to fantasize. Fantasy in people's lives. The image of fabulous, non-existent animals and birds, combining elements of different animals and even plants. Fairy-tale characters: dragons, centaurs, etc.

materials: gouache, brushes, a large sheet of paper, preferably colored, tinted.

visual range: slides of real and fantastic animals in Russian wood and stone carvings, in European and Oriental art.

musical series: fantastic images from musical works.

Decoration and reality

The development of observation. The ability to see beauty in nature. "Master of Decoration" learns from nature. Image of cobwebs with dew and branches of trees, snowflakes and other prototypes of decorations using lines (individually, from memory).

materials: charcoal, chalk, fine brush, ink or gouache (one color), paper.

visual range: slides of fragments of nature, seen through the eyes of the artist.

Decoration and fantasy

Without imagination, it is impossible to create a single piece of jewelry. Decoration of a given form (collar, valance, kokoshnik, bookmark).

materials: any graphic material (one or two colors).

visual range: slides of lace, bijouterie, beadwork, embroidery, etc.

musical series: rhythmic combinations with a predominance of a repeating rhythm.

Construction and reality

"Master of Construction" learns from nature. The beauty and meaning of natural structures - honeycombs of bees, poppy heads and forms of the underwater world - jellyfish, algae. Individual-collective work. Paper construction "Underwater world".

materials: paper, scissors, glue.

visual range: slides of a wide variety of buildings (houses, things), natural structures and forms.

Construction and fantasy

"Master of Construction" shows the possibilities of a person's imagination in creating objects.

Creation of models of fantastic buildings, structures: a fantastic city. Individual, group work on the imagination.

materials: paper, scissors, glue.

visual range: slides of buildings that can awaken children's imagination, works and projects of architects (L. Corbusier, A. Gaudi), student work of past years.

"Brothers-Masters of Images, Decorations and Buildings" always work together (generalization of the topic)

Interaction of three types of artistic activity. Design (modeling) in the decoration of Christmas toys depicting people, animals, plants. Collective panel.

materials: paper, scissors, glue, gouache, thin brushes.

visual range: children's work for the quarter, slides and original works.

Topic 3. What art says (11-22 hours)

This is the central and most important theme of the year. The previous two lead to her. The main task is to master the fact that nothing in art is ever depicted, decorated, built just like that, just for the sake of skill. "Brothers - Masters", that is, art, expresses human feelings and thoughts, understanding, that is, attitude to what people depict, to who or what they decorate, by construction they express attitude to who and for what they build. Prior to this, the issue of expression had to be felt by children in their works only on an emotional level. Now for the children all this should move to the level of awareness, become the next and most important discovery. All subsequent quarters and years of study under the program, this topic should be constantly accentuated, fixed through the process of perception and the process of creation, in each quarter, each task. Each task should have an emotional focus, develop the ability to perceive shades of feelings and express them in practical work.

Expression of the nature of the depicted animals

The image of animals is cheerful, swift, threatening. The ability to feel and express the character of the animal in the image.

materials: gouache (two or three colors or one color).

Literary series: R. Kipling fairy tale "Mowgli".

visual range: V.Vatagin's illustrations for "Mowgli" and other books.

musical series: C. Saint-Saens "Carnival of the Animals".

Expression of a person's character in the image; male image

At the request of the teacher, for all further tasks, you can use the plot of a fairy tale. For example, "The Tale of Tsar Saltan" by A. Pushkin provides rich opportunities for connecting figurative solutions for all subsequent topics.

Image of a good and evil warrior.

materials: gouache (limited palette), wallpaper, wrapping paper (rough), colored paper.

visual range: slides of works by V. Vasnetsov, M. Vrubel, I. Bilibin and others.

Literary series: "The Tale of Tsar Saltan" by A. Pushkin, excerpts from epics.

musical series: music by N. Rimsky-Korsakov for the opera "The Tale of Tsar Saltan".

Expression of a person's character in the image; female image

Depiction of fairy-tale images opposite in character (the Swan Princess and Baba Babarikha, Cinderella and the Stepmother, etc.). The class is divided into two parts: one depicts the good, the other - the evil.

materials: gouache or pastel (crayons) on a colored paper background.

visual range: slides of works by V. Vasnetsov, M. Vrubel, I. Bilibin.

Literary series: "The Tale of Tsar Saltan" by A. Pushkin.

The image of a person and his character, expressed in volume

Creation in volume of images with a pronounced character: the Swan Princess, Baba Babarikha, Baba Yaga, Bogatyr, Koschei the Immortal, etc.

materials: plasticine, stacks, boards.

visual range: slides of sculptural images of works by S. Konenkov, A. Golubkina, ceramics by M. Vrubel, medieval European sculpture.

Image of nature in different states

Image of contrasting states of nature (the sea is gentle, affectionate, stormy, disturbing, joyful, etc.); individually.

materials

visual range: slides depicting the contrasting moods of nature, or slides of paintings by artists depicting different states of the sea.

Literary series: fairy tales by A. Pushkin "About Tsar Saltan", "About the fisherman and the fish".

musical series: opera "Sadko", "Scheherazade" by N. Rimsky-Korsakov or "The Sea" by M. Churlionis.

Expression of a person's character through decoration

Decorating himself, any person thereby tells about himself: who he is, what he or she is: a brave warrior - a protector or he threatens. The decorations of the Princess Swan and Baba Babarikha will be different. Decoration of heroic armor cut out of paper, kokoshniks of a given shape, collars (individually).

materials: gouache, brushes (large and thin), blanks from large sheets of paper.

visual range: slides of ancient Russian weapons, lace, women's costumes.

Expression of intent through decoration

Decoration of two fabulous fleets opposite in intentions (good, festive and evil, pirate). The work is collective-individual. Application.

materials: gouache, large and thin brushes, glue, pins, glued sheets or wallpaper.

visual range: slides of works by artists (N. Roerich), illustrations of children's books (I. Bilibin), works of folk art.

Together "Masters of Images, Decorations, Buildings" create houses for fairy-tale characters (generalization of the topic)

Three "Brothers-Masters" together with children (groups) perform several panels, where, with the help of appliqué and painting, they create the world of several fairy-tale characters - good and evil (for example: the tower of the Swan Princess, the house for Baba Yaga, the Bogatyr's hut, etc. ).

A house is created on the panel (with stickers), the background is a landscape as a figurative environment of this house and a figure is an image of the owner of the house, expressing these images by the nature of the building, clothing, shape of the figure, the nature of the trees against which the house stands.

Generalization can be completed with an exhibition of works based on the results of the quarter, its discussion with parents. Groups of "tour guides" should be prepared for the discussion. The teacher can use additional hours for this. An exhibition prepared by a teacher and presented to parents (viewers) should become an event for students and their loved ones and help to consolidate the critical importance of this topic in the minds of children.

Topic 4. As art says (8-16 hours)

Starting from this quarter, you need to pay attention to the expressiveness of the means constantly. Do you want to express it? But how, what?

Color as a means of expression: warm and cold colors. The fight between warm and cold

The image of a fading fire is a "struggle" of heat and cold. Filling the entire sheet, freely mix paints with each other. The fire is depicted as if from above, dying out (work from memory and impression). "Feather of the Firebird". Paints are mixed right on the sheet. Black and white paints are not used.

materials: gouache without black and white paints, large brushes, large sheets of paper.

visual range: slides of a fading fire; methodical manual on color science.

musical series: N. Rimsky-Korsakov fragments from the opera "The Snow Maiden".

Color as a means of expression: quiet (deaf)and vibrant colors. Mixing with black, gray, white paints(dark, delicate shades of color)

The ability to observe the struggle of color in life. Image of the spring earth (individually from memory and impression). If there are additional lessons, they can be given on the plots of creating a "warm kingdom" (Sunny City), a "cold kingdom" (Snow Queen), achieving color richness within one color scheme.

materials: gouache, large brushes, large sheets of paper.

visual range: slides of the spring earth, stormy sky, fog, teaching aids on color science.

musical series: E. Grieg. "Morning" (fragment from the suite "Peer Gynt").

Literary series: M. Prishvin stories, S. Yesenin poems about spring.

Line as a means of expression: the rhythm of lines

Image of spring streams.

materials: pastel or colored crayons.

musical series: A. Arsensky "Forest Stream", "Prelude"; E. Grieg "Spring".

Literary series: M. Prishvin "Forest Stream".

Line as a means of expression: the nature of lines

An image of a branch with a certain character and mood (individually or by two people, according to impression and memory): gentle and powerful branches, while it is necessary to emphasize the ability to create different textures with charcoal, sanguine.

materials: gouache, brush, stick, charcoal, sanguine and large sheets of paper.

visual range: large, large spring branches (birch, oak, pine), slides depicting branches.

Literary series: Japanese verses (tanks).

The rhythm of spots as a means of expression

Basic knowledge of composition. From a change in the position on the sheet, even identical spots, the content of the composition also changes. The rhythmic arrangement of flying birds (individual or collective work).

materials

visual range: visual aids.

musical series: fragments with a pronounced rhythmic organization.

Proportions express character

Designing or sculpting birds with different character proportions - a large tail - a small head - a large beak.

materials: white paper, colored paper, scissors, glue or plasticine, stacks, cardboard.

visual range: real and fabulous birds (slides of book illustrations, toy).

Rhythm of lines and spots, color, proportions - means of expression (generalization of the topic)

Creation of a collective panel on the theme "Spring. Noise of birds".

materials: large sheets for panels, gouache, paper, scissors, glue.

visual range: children's works made on the theme "Spring", slides of branches, spring motives.

General lesson of the year

The class is made up of children's work completed during the year. The opening of the exhibition should be a joyful holiday, an event in school life. The lessons are held in the form of a conversation, consistently reminding the children of all the topics of the training quarters. Three "Brother-Masters" help the teacher in the game-conversation. Parents and other teachers are invited to the lessons (if possible).

visual range: children's work expressing the tasks of each quarter, slides, reproductions of works by artists and folk art, helping to reveal the topics.

3rd class (34-68 hours)

Art around us

One of the main ideas of the program: "From the native threshold - to the world of the culture of the Earth", that is, from familiarization with the culture of one's people, even from the culture of one's "small motherland" - without this there is no way to a universal culture.

Education in this class is based on introducing children to the world of art through the knowledge of the surrounding objective world, its artistic meaning. Children are brought to the understanding that objects have not only a utilitarian purpose, but are also carriers of spiritual culture, and this has always been the case - from ancient times to the present day. It is necessary to help the child to see the beauty of the things around him, objects, objects, works of art, paying special attention to the role of artists - "Masters of Images, Decorations, Buildings" - in creating the environment for human life.

At the end of the year, children should feel that their life, the life of every person, is daily connected with the activities of the arts. The final lessons of each quarter should contain the question: "What would happen if the "Brothers-Masters" did not participate in the creation of the world around you - at home, on the street, etc.?" Understanding the huge role of the arts in real everyday life should be a discovery for children and their parents.

Topic 1. Art in your home (8-16 hours)

Here, the "Masters" take the child to his apartment and find out what each of them "did" in the immediate environment of the child, and in the end it turns out that without their participation not a single object of the house was created, there would not be a house itself.

your toys

Toys - what they should be - the artist came up with. Children's toys, folk toys, homemade toys. Modeling toys from plasticine or clay.

materials: plasticine or clay, straw, wood blanks, paper, gouache, water-based paint for soil; small brushes, swabs.

visual range: folk toy (slides): haze, gorodets, filimonovo, carved toy from Bogorodsk, toys from improvised material: packaging, fabric, fur.

Literary series: proverbs, sayings, folklore, Russian folk tales.

musical series: Russian folk music, P. Tchaikovsky "Children's Album".

Dishes at home

Everyday and holiday utensils. Design, shape of objects and painting and decoration of dishes. The work of "Masters of Construction, Decoration and Imagery" in the manufacture of utensils. Image on paper. Modeling of dishes from plasticine with painting on a white primer.

At the same time, the purpose of the dishes is necessarily emphasized: for whom it is, for what occasion.

materials: tinted paper, gouache, plasticine, clay, water-based paint.

visual range: samples of utensils from natural fund, slides of folk utensils, utensils from different materials (metal, wood, plastic).

Mom's handkerchief

A sketch of a scarf: for a girl, for a grandmother, that is, different in content, pattern rhythm, color, as a means of expression.

materials: gouache, brushes, white and colored paper.

visual range: slides of natural motifs for scarves, scarves and fabrics, samples of children's work on this topic.

musical series: Russian folk music (as a background).

Wallpaper and curtains in your house

Sketches of wallpaper or curtains for a room with a clear purpose: bedroom, living room, nursery. It can also be done in the technique of heeling.

materials: gouache, brushes, cliches, paper or fabric.

visual range: excerpts from some fairy tale, which provides a verbal description of the rooms of a fairy-tale palace.

musical series: musical excerpts characterizing different states: stormy (F. Chopin "Polonaise" in A flat major, op. 53), calm, lyrically tender (F. Chopin "Mazurka" in A minor, op. 17).

your books

The artist and the book. Illustrations. book form. Font. Initial letter. Illustrating the chosen fairy tale or designing a toy book.

materials: gouache, brushes, white or colored paper, crayons.

visual range: covers and illustrations for well-known fairy tales (illustrations by different authors for the same fairy tale), slides, toy books, children's books.

Literary series: The text of the selected story.

greeting card

Sketch for a postcard or decorative bookmark (based on plant motifs). Execution in the technique of scratching, engraving with stickers or graphic monotype is possible.

materials: small paper, ink, pen, wand.

visual range: slides from woodcuts, linoleum, etchings, lithographs, samples of children's work in various techniques.

What did the artist do in our house (generalization of the topic). The artist took part in the creation of all the items in the house. He was assisted by our "Masters of Image, Decoration and Construction". Understanding the role of each. The shape of the object and its decoration. At a generalizing lesson, you can organize a game of artists and spectators or a game of guides at an exhibition of works completed during the quarter. Three "Masters" are talking. They tell and show what objects surround people at home in everyday life. Are there objects at home that the artists did not work on? Understanding that everything related to our life would not exist without the work of artists, without the fine, decorative and applied arts, architecture, design, this should be the result and at the same time a discovery.

Topic 2. Art on the streets of your city (7-14 hours)

It all starts at the doorstep of your own home. This quarter is devoted to this "threshold". And there is no Motherland without him. Not just Moscow or Tula - but exactly the native street that runs "near the face" of your house, well-trodden by feet.

Monuments of architecture - heritage of centuries

The study and image of an architectural monument, their native places.

materials: tinted paper, wax crayons or gouache, white paper.

Literary series: Content related to the selected architectural monument.

Parks, squares, boulevards

Architecture, construction of parks. The image of the park. Leisure parks, museum parks, children's parks. Image of a park, square, a collage is possible.

materials: colored, white paper, gouache or wax crayons, scissors, glue.

visual range: view slides, reproductions of paintings.

Openwork fences

Cast-iron fences in St. Petersburg and in Moscow, in his native city, wooden architraves openwork. The project of an openwork lattice or gate, cutting out of folded colored paper and gluing them into a composition on the theme "Parks, squares, boulevards".

materials: colored paper, scissors, glue.

visual range: slides of ancient fences in Moscow and St. Petersburg. Modern decorative lattices and fences in our cities.

Lanterns in the streets and parks

What are lanterns? The shape of the lanterns is also created by the artist: a festive, solemn lantern, a lyrical lantern. Lanterns on city streets. Lanterns are the decoration of the city. The image or design of the shape of a paper lantern.

materials

Shop windows

If you have extra time, you can make group volumetric layouts.

materials: white and colored paper, scissors, glue.

visual range: slides with decorated showcases. Children's work of previous years.

Transport in the city

The artist also participates in creating the shape of the machines. Machines of different times. The ability to see the image in the form of machines. Invent, draw or build images of fantastic machines (land, water, air) out of paper.

materials: white and colored paper, scissors, glue, graphic materials.

visual range: photos of transport. Slides of old vehicles. Reproductions from magazines.

What did the artist do on the streets of my city (in my village)

Again, the question should arise: what would happen if our "Brothers-Masters" did not touch anything on the streets of our city? In this lesson, one or more collective panels are created from individual works. This may be a panorama of the street of the district from several drawings glued into a strip in the form of a diorama. Here you can place fences and lights, vehicles. The diorama is complemented by figures of people, flat cuttings of trees and bushes. You can play "tour guides" and "journalists". Tour guides talk about their city, about the role of artists who create the artistic image of the city.

Topic 3. The artist and the spectacle (10-20 hours)

The "Brothers-Masters" have been involved in the performing arts since ancient times. But even today their role is irreplaceable. At the discretion of the teacher, it is possible to combine most of the lessons of the topic with the idea of ​​​​creating a puppet show, for which a curtain, scenery, costumes, puppets, and a poster are sequentially performed. At the end of the generalizing lesson, you can arrange a theatrical performance.

Theatrical masks

Masks of different times and peoples. Masks in ancient images, in the theater, at the festival. Designing expressive sharp-character masks.

materials: colored paper, scissors, glue.

visual range: photographs of masks of different nations and theatrical masks.

Theater artist

Fiction and truth of the theater. Theater holiday. The scenery and costumes of the characters. Theater on the table. Creation of the layout of the scenery of the performance.

materials: cardboard box, multi-colored paper, paints, brushes, glue, scissors.

visual range: slides from sketches of theater artists.

Literary series: selected tale.

Puppet Theatre

Theatrical puppets. Petrushka Theatre. Glove puppets, stick puppets, puppets. The work of the artist on the doll. Characters. The image of the doll, its design and decoration. Making a puppet in class.

materials: plasticine, paper, scissors, glue, fabric, thread, small buttons.

visual range: slides depicting theater puppets, reproductions from books about puppet theater, filmstrip.

theater curtain

The role of the curtain in the theatre. The curtain and the image of the play. Curtain sketch for the performance (teamwork, 2-4 people).

materials: gouache, brushes, large paper (can be from wallpaper).

visual range: slides of theatrical curtains, reproductions from books about puppet theater.

Poster, poster

The meaning of the poster. The image of the performance, its expression in the poster. Font. Image.

Poster design for the performance.

materials: large format colored paper, gouache, brushes, glue.

visual range: theater and circus posters.

Artist and circus

The role of the artist in the circus. The image of a joyful and mysterious spectacle. Image of a circus performance and its characters.

materials: colored paper, crayons, gouache, brushes.

How artists help make a holiday. The artist and the spectacle (summary lesson)

Holiday in the city. "Masters of Image, Decoration and Buildings" help create the Holiday. Sketch of the decoration of the city for the holiday. Organization of an exhibition of all works on the topic in the class. It’s great if you manage to make a performance and invite guests and parents.

Topic 4. The artist and the museum (8-16 hours)

Having become acquainted with the role of the artist in our daily life, with various applied forms of art, we conclude the year with the theme of the art that is kept in museums. Every city can be proud of its museums. Museums of Moscow, St. Petersburg and other cities of Russia are the keepers of the greatest works of world and Russian art. And every child should touch these masterpieces and learn to be proud of the fact that it is his hometown that keeps such great works. They are kept in museums. In Moscow there is a museum - a shrine for Russian culture - the Tretyakov Gallery. She needs to be told first. Today the Hermitage and the Russian Museum play a huge role - centers of international artistic relations, there are many small, also interesting museums and exhibition halls.

However, the topic "Museums" is wider. Museums are not only art, but all aspects of human culture. There are also "home museums" in the form of family albums that tell about the history of the family, interesting stages of life. Maybe a home museum of toys, stamps, archaeological finds, just personal memorabilia. All this is part of our culture. "Brothers-Masters" help in the competent organization of such museums.

Museums in the life of the city

Various museums. The role of the artist in the organization of the exhibition. The largest art museums: the Tretyakov Gallery, the Museum of Fine Arts. A.S. Pushkin, the Hermitage, the Russian Museum, museums of the native city.

The art that is kept in these museums

What is a "picture". Still life painting. still life genre. Still life as a story about a person. The image of a still life on representation, expression of mood.

materials: gouache, paper, brushes.

visual range: slides of still lifes with a pronounced mood (J. B. Chardin, K. Petrov-Vodkin, P. Konchalovsky, M. Saryan, P. Kuznetsov, V. Stozharov, V. Van Gogh, etc.).

Homework: to look at the museum or at the exhibition of still lifes of different authors.

landscape painting

We are watching famous landscapes: I. Levitan, A. Savrasov, N. Roerich, A. Kuindzhi, V. Van Gogh, K. Koro. The image of the landscape according to the presentation with a pronounced mood: a joyful and festive landscape; gloomy and dreary landscape; gentle and melodious landscape.

Children in this lesson will remember what mood can be expressed with cold and warm colors, deaf and sonorous, and what can happen when they are mixed.

materials: white paper, gouache, brushes.

visual range: slides with examples of a picturesque landscape with a pronounced mood (V. Van Gogh, N. Roerich, I. Levitan, A. Rylov, A. Kuindzhi, V. Byalynitsky-Birulya).

musical series: The music in this lesson can be used to create a specific mood.

Portrait painting

Introduction to the genre of portraiture. A portrait from memory or from an idea (portrait of a girlfriend, friend).

materials: paper, gouache, brushes (or pastel).

visual range: slides of picturesque portraits of F. Rokotov, V. Serov, V. Van Gogh, I. Repin.

The museums keep sculptures by famous masters

Learning to look at sculpture. Sculpture in the museum and on the street. Monuments. park sculpture. Sculpting a human or animal figure (in motion) for park sculpture.

materials: plasticine, stacks, cardboard stand.

visual range: slides from the sets "Tretyakov Gallery", "Russian Museum", "Hermitage" (works by A.L. Bari, P. Trubetskoy, E. Lansere).

Historical paintings and paintings of everyday genre

Acquaintance with works of historical and everyday genre. An image based on the presentation of a historical event (on the theme of Russian epic history or the history of the Middle Ages, or an image of one's daily life: breakfast in the family, we play, etc.).

materials: a large sheet of colored paper, crayons.

Museums preserve the history of artistic culture, the creations of great artists (generalization of the topic)

"Tour" of the exhibition of the best works of the year, a celebration of the arts with its own scenario. To summarize: what is the role of the artist in the life of every person.

4th grade (34-68 hours)

Every nation is an artist (image, decoration, building
in the work of the peoples of the whole earth)

The purpose of the artistic education and training of a child in the 4th grade is to form an idea of ​​the diversity of artistic cultures of the peoples of the Earth and the unity of peoples' ideas about the spiritual beauty of man.

The diversity of cultures is not accidental - it always expresses the deep relationship of each people with the life of nature, in the environment of which its history develops. These relationships are not immovable - they live and develop in time, are associated with the influence of one culture on another. This is the basis of the originality of national cultures and their relationship. The diversity of these cultures is the wealth of human culture.

The integrity of each culture is also an essential element of the content that children need to experience. The child today is surrounded by a multifaceted disorder of cultural phenomena that come to him through the media. A healthy artistic sense is looking for order in this chaos of images, so each culture must be conveyed as a "holistic artistic personality."

Artistic representations should be given as visible tales of cultures. Children by age are not yet ready for historical thinking. But they are characterized by a desire, sensitivity to a figurative understanding of the world, correlated with the consciousness expressed in folk arts. Here "should" dominate the truth of the artistic image.

By joining through co-creation and perception to the origins of the culture of their people or other peoples of the Earth, children begin to feel like participants in the development of mankind, open the way for further expansion of susceptibility to the riches of human culture.

The diversity of ideas of different peoples about beauty is revealed in the process of comparing native nature, labor, architecture, human beauty with the culture of other peoples.

The educational tasks of the year provide for the further development of skills in working with gouache, pastel, plasticine, paper. The tasks of labor education are organically linked with artistic ones. In the process of mastering the skills of working with a variety of materials, children come to understand the beauty of creativity.

In the 4th grade, the importance of collective work in the educational process increases. A significant role in the program of the 4th grade is played by musical and literary works, which make it possible to create a holistic view of the culture of the people.

Topic 1. The origins of the arts of your people (8-16 hours)

Practical work in the classroom should combine individual and collective forms.

Landscape of native land

Characteristic features, originality of the native landscape. Image of the landscape of his native side. Bringing out its special beauty.

materials: gouache, brushes, crayons.

visual range: slides of nature, reproductions of paintings by Russian artists.

musical series: Russian folk songs.

The image of a traditional Russian house (huts)

Acquaintance with the design of the hut, the meaning of its parts.

Exercise: paper modeling (or modeling) of the hut. Individual-collective work.

Material: paper, cardboard, plasticine, scissors, stacks.

visual range: slides of wooden ensembles of ethnographic museums.

Homework: find images of the Russian village, its buildings.

Decorations of wooden buildings and their meaning

Unity in the work of the Three Masters. Magical representations as poetic images of the world. Hut - the image of a person's face; windows - the eyes of the house - were decorated with platbands; facade - "brow" - frontal board, prichelinami. Decoration of "wooden" buildings created in the last lesson (individually-collectively). Additionally - the image of the hut (gouache, brushes).

materials: white, tinted or wrapping paper, scissors, glue or plasticine for bulky buildings.

visual range: slides from the series "Ethnographic Museums", "Russian Folk Art", "Wooden Architecture of Rus'".

musical series: V.Belov "Lud".

Village - wooden world

Acquaintance with Russian wooden architecture: huts, gates, barns, wells... Wooden church architecture. Image of a village. Collective panel or individual work.

materials: gouache, paper, glue, scissors.

image of human beauty

Each nation has its own image of female and male beauty. Traditional clothing expresses this. The image of a man is inseparable from his work. It combines ideas about the unity of mighty strength and kindness - a good fellow. In the image of a woman, the understanding of her beauty always expresses the ability of people to dream, the desire to overcome everyday life. Beauty is also a talisman. Female images are deeply connected with the image of the bird - happiness (swan).

The image of female and male folk images individually or for a panel (pasted in a panel by the group of the main artist). Pay attention that the figures in children's works should be in motion, not resemble an exhibition of clothes. With additional lessons - making dolls according to the type of folk rag or stucco figures for an already created "village".

materials: paper, gouache, glue, scissors.

visual range: slides of materials from ethnographic museums, books about folk art, reproductions of works by artists: I. Bilibin, I. Argunov, A. Venetsianov, M. Vrubel, etc.

Literary series: fragments from epics, Russian fairy tales, excerpts from Nekrasov's poems.

musical series: folk songs.

Homework: find the image of male and female images of labor and holiday.

Folk holidays

The role of holidays in people's lives. Calendar holidays: autumn harvest festival, fair. A holiday is an image of an ideal, happy life.

Creation of works on the theme of a national holiday with a generalization of the material of the theme.

materials: glued wallpaper panel for panels or sheets of paper, gouache, brushes.

visual range: B. Kustodiev, K. Yuon, F. Malyavin, works of folk decorative art.

Literary series: I. Tokmakova "Fair".

musical series: R. Shchedrin "Naughty ditties", N. Rimsky-Korsakov "Snow Maiden".

Topic 2. Ancient cities of your land (7-14 hours)

Every city is special. It has its own unique face, its own character, each city has its own special destiny. Its buildings in their appearance captured the historical path of the people, the events of their lives. The word "city" comes from "to fence", "to fence off" with a fortress wall - to fortify. On the high hills, reflected in the rivers and lakes, cities grew with white walls, domed temples, and the chiming of bells. There are no other cities like this. Reveal their beauty, the wisdom of their architectural organization.

Old Russian city - fortress

Task: study of the structures and proportions of fortress towers. Construction of fortress walls and towers from paper or plasticine. An illustrative version is possible.

materials: according to the selected job option.

ancient cathedrals

Cathedrals embodied the beauty, power and strength of the state. They were the architectural and semantic center of the city. These were the shrines of the city.

Acquaintance with the architecture of the ancient Russian stone church. Construction, symbolism. Paper building. Collective work.

materials: paper, scissors, glue, plasticine, stacks.

visual range: V. Vasnetsov, I. Bilibin, N. Roerich, slides "Walking around the Kremlin", "Cathedrals of the Moscow Kremlin".

Ancient city and its inhabitants

Modeling of the entire residential content of the city. Completion of the "construction" of the ancient city. Possible option: image of an ancient Russian city.

Old Russian warriors - defenders

Image of ancient Russian warriors of the princely squad. Clothing and weapons.

materials: gouache, paper, brushes.

visual range: I. Bilibin, V. Vasnetsov, illustrations for children's books.

Ancient cities of the Russian land

Moscow, Novgorod, Pskov, Vladimir, Suzdal and others.

Acquaintance with the originality of different ancient cities. They are similar and unlike each other. Image of different characters of Russian cities. Practical work or conversation.

materials: for graphic technique - crayons, for monotype or painting - gouache, brushes.

Pattern of towers

Terem architecture images. Painted interiors. Tiles. Image of the interior of the ward - preparation of the background for the next task.

materials: paper (tinted or colored), gouache, brushes.

visual range: slides "Ancient chambers of the Moscow Kremlin", V. Vasnetsov "Chambers of Tsar Berendey", I. Bilibin, A. Ryabushkin, reproductions of paintings.

Festive feast in the chambers

Collective applicative panel or individual images of the feast.

materials: glued wallpaper for panels and sheets of paper, gouache, brushes, glue, scissors.

visual range: slides of the Kremlin and chambers, V.Vasnetsov illustrations for Russian fairy tales.

Literary series: A. Pushkin "Ruslan and Lyudmila".

musical series: F. Glinka, N. Rimsky-Korsakov.

Topic 3. Every nation is an artist (11-22 hours)

"Brothers-Masters" lead children from meeting with the roots of their native culture to understanding the diversity of artistic cultures of the world. The teacher can choose the optimal cultures in order to have time to live them interestingly with the children. We offer three in the context of their links to the culture of the modern world. This is the culture of Ancient Greece, medieval (Gothic) Europe and Japan as an example of the culture of the East, but the teacher can take Egypt, China, India, the cultures of Central Asia, etc. for study. It is important for children to realize that the world of artistic life on Earth is extremely diverse - and this is very interesting, joyful. Through art, we join the worldview, the soul of different peoples, empathize with them, become spiritually richer. That is what needs to be done in these lessons.

The artistic cultures of the world are not the history of the arts of these peoples. This is the spatial and objective world of culture, in which the soul of the people is expressed.

There is a convenient methodological and playful way, so as not to deal with history, but to see a holistic image of culture: the journey of a fairy-tale hero through these countries (Sadko, Sinbad the Sailor, Odysseus, the Argonauts, etc.).

Each culture is viewed in four ways: the nature and character of buildings, the people in this environment, and the holidays of peoples as an expression of ideas about the happiness and beauty of life.

The image of the artistic culture of ancient Greece

Lesson 1 - the ancient Greek understanding of human beauty - male and female - on the example of the sculptural works of Myron, Polykleitos, Phidias (man is the "measure of all things"). The sizes, proportions, designs of the temples were in harmony with the person. Admiration for a harmonious, athletically developed person is a feature of the worldview of the people of Ancient Greece. Image of figures of Olympic athletes (a figure in motion) and procession participants (figures in clothes).

Lesson 2 - the harmony of man with the surrounding nature and architecture. The idea of ​​Doric ("masculine") and Ionic ("feminine") order systems as a character of proportions in the construction of a Greek temple. Image of images of Greek temples (semi-volumetric or flat applications) for panels or volume modeling from paper.

Lesson 3 - ancient Greek holidays (panel). It can be the Olympic Games or the Great Panathenaic Festival (a solemn procession in honor of the beauty of a person, his physical perfection and strength, which the Greeks worshiped).

materials: gouache, brushes, scissors, glue, paper.

visual range: slides of the modern image of Greece, slides of the works of ancient Greek sculptors.

Literary series In: Myths of Ancient Greece.

The image of the artistic culture of Japan

Depiction of nature through details typical of Japanese artists: a tree branch with a bird, a flower with a butterfly, grass with grasshoppers, dragonflies, a branch of cherry blossoms against the backdrop of fog, distant mountains...

An image of Japanese women in national dress (kimono) with the transfer of characteristic facial features, hairstyles, wave-like movements, figures.

Collective panel "Cherry Blossom Festival" or "Chrysanthemum Festival". Individual figures are made individually and then glued into a common panel. The group of the "lead artist" is working on the background.

materials: large sheets of paper for collective work, gouache, pastel, pencils, scissors, glue.

visual range: engravings by Utamaro, Hokusai - female images, landscapes; slides of modern cities.

Literary series: Japanese poetry.

The Image of the Artistic Culture of Medieval Western Europe

Craft workshops were the main strength of these cities. Each workshop had its own clothes, its own insignia, and its members were proud of their craftsmanship, their community.

Work on the panel "Holiday of craftsmen's workshops on the city square" with the preparatory stages of studying architecture, clothing of a person and his environment (objective world).

materials: large sheets of paper, gouache, pastel, brushes, scissors, glue.

visual range: slides of Western European cities, medieval sculpture and clothing.

Diversity of artistic cultures in the world (generalization of the topic)

Exhibition, conversation - fixing in the minds of children the theme of the quarter "Every nation is an artist" as the leading theme of all three quarters of this year. The result is not the memorization of names, but the joy of sharing the discoveries of other cultural worlds already lived by children. Our three "Brothers-Masters" in this lesson should help the teacher and children not to study, memorize monuments, but to understand the difference in their work in different cultures - to help them understand why buildings, clothes, decorations are so different.

Theme 4. Art unites peoples (8-16 hours)

The last quarter of this class completes the elementary school program. The first stage of training ends. The teacher needs to complete the main lines of awareness of art by the child.

The themes of the year introduced children to the richness and diversity of peoples' ideas about the beauty of the phenomena of life. Everything is here: the understanding of nature, and the connection of buildings with it, and clothes and holidays - everything is different. We should have realized that it is wonderful that humanity is so rich in different artistic cultures and that they are not randomly different. In the fourth quarter, the tasks fundamentally change - they seem to be opposite - from ideas about great diversity to ideas about unity for all peoples to understand the beauty and ugliness of the fundamental phenomena of life. Children must see that no matter what the difference, people remain people, and there is something that is perceived by all the peoples of the Earth as equally beautiful. We are a single tribe of the Earth, despite all the dissimilarity, we are brothers. Common to all peoples are ideas not about external manifestations, but about the deepest, not subject to external conditions of nature and history.

All nations sing of motherhood

Every person in the world has a special relationship with his mother. In the art of all peoples there is a theme of chanting motherhood, the mother who gives life. There are great works of art on this subject, understandable and common to all people. According to the presentation, children portray mother and child, trying to express their unity, their affection, their attitude towards each other.

materials

visual range: "Vladimir Mother of God", Raphael "Sistine Madonna", M. Savitsky "Partisan Madonna", B. Nemensky "Silence", etc.

musical series: lullaby.

All nations sing the wisdom of old age

There is beauty external and internal. The beauty of spiritual life. Beauty in which life experience is expressed. The beauty of the connection between generations.

Task for the image of a beloved elderly person. The desire to express his inner world.

materials: gouache (pastel), paper, brushes.

visual range: portraits of Rembrandt, self-portraits of V. Tropinin, Leonardo da Vinci, El Greco.

Empathy is a great art theme

Since ancient times, art has sought to evoke the empathy of the viewer. Art affects our feelings. Depiction of suffering in art. Through art, the artist expresses his sympathy for the suffering, teaches to empathize with someone else's grief, someone else's suffering.

Exercise: a drawing with a dramatic plot invented by the author (a sick animal, a dead tree).

materials: gouache (black or white), paper, brushes.

visual range: S. Botticelli "Abandoned", Picasso "Beggars", Rembrandt "The Return of the Prodigal Son".

Literary series: N. Nekrasov "Crying children".

Heroes, fighters and defenders

In the struggle for freedom and justice, all peoples see the manifestation of spiritual beauty. All nations sing of their heroes. In every nation, many works of art - painting, sculpture, music, literature - are devoted to this topic. The heroic theme in the art of different peoples. Sketch of a monument to the hero at the choice of the author (child).

materials: plasticine, stacks, plank.

visual range: monuments to the heroes of different nations, monuments of the Renaissance, sculptural works of the 19th and 20th centuries.

Youth and hope

The theme of childhood, youth in art. An image of the joy of childhood, dreams of happiness, exploits, travels, discoveries.

Art of the peoples of the world (generalization of the topic)

Final exhibition of works. Open lesson for parents, teachers. Discussion.

materials: paper for paperwork, glue, scissors, etc.

visual range: the best works for the year or for the entire elementary school, collective panels, art history material collected by children on topics.

Literary and musical series: at the discretion of the teacher as an illustration to the messages of the guides.

As a result of studying the program, students:

• master the basics of primary ideas about the three types of artistic activity: the image on the plane and in volume; construction or artistic design on a plane, in volume and space; decoration or decorative art activity using various art materials;
• acquire primary skills in artistic work in the following arts: painting, graphics, sculpture, design, the beginnings of architecture, arts and crafts and folk art forms;
• develop their observational and cognitive abilities, emotional responsiveness to aesthetic phenomena in nature and human activity;
• develop fantasy, imagination, manifested in specific forms of creative artistic activity;
• master the expressive possibilities of artistic materials: paints, gouache, watercolor, pastel and crayons, charcoal, pencil, plasticine, design paper;
• acquire primary skills of artistic perception of various types of art; an initial understanding of the features of the figurative language of different types of art and their social role - significance in human life and society;
• learn to analyze works of art; acquire knowledge of specific works of outstanding artists in various art forms; learn to actively use artistic terms and concepts;
• master the initial experience of independent creative activity, as well as acquire the skills of collective creativity, the ability to interact in the process of joint artistic activity;
• acquire primary skills in depicting the objective world, depicting plants and animals, initial skills in depicting space on a plane and spatial constructions, primary ideas about depicting a person on a plane and in volume;
• acquire communication skills through the expression of artistic meanings, expression of the emotional state, their attitude to creative artistic activity, as well as in the perception of works of art and creativity of their comrades;
• acquire knowledge about the role of the artist in various spheres of human life, about the role of the artist in organizing the forms of communication between people, creating a living environment and the objective world;
• acquire ideas about the artist's activity in synthetic and spectacular art forms (in theater and cinema);
• acquire primary ideas about the richness and diversity of the artistic cultures of the peoples of the Earth and the foundations of this diversity, about the unity of emotional and value relations to the phenomena of life.

2.2. The design of the school program of art education.

This scheme reveals the content of the program - its "three stages".

The first stage - elementary school - as if the pedestal of the whole building - is composed of four steps and is of fundamental importance. Without having received the development laid down here, it is (almost) useless to gain knowledge of the next stages. They may turn out to be external, not included in the construction of the personality. We constantly repeat to teachers: from whatever class you start working with unprepared, "raw" children, you need to start from this stage.

And here the content of the first two classes is especially significant - they cannot be bypassed, they lay the foundations of the entire course, all stages of the formation of artistic thinking.

Missing the basics laid down here is like missing an elementary introduction to the existence of numbers in mathematics, with the ability to add and subtract them. Although more complex foundations of the arts are also laid here.

As the diagram suggests, the first stage, the primary classes, are aimed at an emotional familiarization with the links between art and life. In general, this problem is the basis of the essence of the program. Art is cognized precisely in this connection: its role in the life of each of us is cognized and the means are realized - the language through which art performs this function.

At the first stage, the arts are not divided into types and genres - their life roles are learned, as it were, from the personality of the child into the breadth of the cultures of the peoples of the Earth.

The second stage is completely different. Here, links with life are traced precisely to the types and genres of art. A large, at least a year, integral block is dedicated to each. Immersion in feelings and thoughts and awareness of the peculiarities of the language of each type of art and the reasons for this particularity, the uniqueness of the spiritual, social function, role in the life of a person and society. Year - decorative and applied arts. Two years - fine. Year - constructive. Ninth grade - synthetic arts.

And the third stage is the final secondary education. Here everyone needs to be given a fairly serious level of knowledge of art history either in the course of "World Artistic Culture", or in the courses of parallel programs of plastic arts, music, literature, cinema. Each option has its own advantages and disadvantages.

But in parallel with this theoretical course, it would be necessary to give, at the choice of the student, but precisely to everyone, one of the practical courses: “graphic literacy”, “decorative literacy”, “design literacy”, “fundamentals of spectacular culture”. Only by creating such a dual unity of the theoretical and practical at the stage of completion of general education, we will be able to compete in the economy (and in culture) with economically developed countries. This way of completing secondary education, for example, has been operating in Japan for more than fifty years.

Today we are raising the problem of the connection between the arts and the attitude of the world. But no less significant are its links with the economy. It is this side that experts from different countries emphasize, where art is given space (up to six hours a week).

This program is designed for 1-2 teaching hours per topic. Ideally, the implementation of all topics should take at least two hours (double lesson).

However, with a clear use of the developed methodology, it is realistic (albeit weakened) to conduct classes on the topic in one lesson. Everything depends on the school's understanding of the role of art education.

Conclusion

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

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

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

But in order to develop the creative abilities inherent in nature in each pupil, the teacher himself must understand the fine arts, children's creativity, and master the necessary methods of artistic activity. The teacher must manage all the processes associated with the creation of an expressive image: with the aesthetic perception of the object itself, the formation of ideas about the properties and general appearance of the object, the development of the ability to imagine based on existing ideas, mastery of the expressive properties of colors, lines, shapes, the embodiment of children's ideas in the drawing , modeling, applications, etc.

Thus, in the process of visual activity, various aspects of education are carried out: sensory, mental, aesthetic, moral and labor. This activity is of primary importance for aesthetic education; It is also important for preparing children for school.

It should be emphasized that it is possible to ensure the comprehensive development of the student only if the attention of the teacher is directed to solving this problem, if the program for teaching visual activity is carried out, and the correct and varied methodology is used.

Bibliography

1. Alekseeva O., Yudina N. Integration in fine arts. // Elementary School. - 2006. - No. 14.
2. Arnheim R. Art and visual perception. - M.: Architecture-S, 2007. - 392 p.
3. Bazhov Encyclopedia. Edited by Blazhes V.V. - Yekaterinburg: Socrates, 2007. - 639 p.
4. Bashaeva T.V. The development of perception in children. Shape, color, sound. - Yaroslavl: Academy of Development, 1998. - 239 p.
5. Blonsky P.P. Psychology of the junior school student. - M.: Academy of Psychological and Social Sciences, 2006. - 631s.
6. Bogoyavlenskaya D.B. Psychology of creative abilities. - M.: Academy, 2002. - 320 p.
7. Grigorovich L.A. Development of creative potential as an actual pedagogical problem. - Chelyabinsk, 2006.
8. Gin S.I. World of fantasy (a manual for primary school teachers). - Gomel, 2003.
9. Musiychuk M.V. Workshop on the development of personality creativity. - MGPI, 2002. S. 45
10. Sokolnikova N.M. Visual arts and methods of its teaching in elementary school. - M., 2007.

Annotation to the material

Art presentations- the best demonstration material, which, thanks to the use of information technology in the school, will allow the teacher not only to teach children how to draw, but also provide an opportunity to introduce works of fine art, the work of artists in drawing lessons at school. Conducting a lesson in fine arts without the presence of visual images is impossible today. Drawing presentations make a lesson on any topic easy to understand and understand for children. Only these electronic manuals will help students immerse themselves in the world of art, see the work of world artists, feel like a novice designer and discover new techniques for depicting objects using paints and brushes, plasticine or non-traditional materials used today in creativity.

New approaches to modern education require the teacher to use multimedia presentations on the topic of drawing in art lessons as:

• The main source of information on the topic of the lesson
• A reliable assistant to the teacher when demonstrating work processes or step-by-step drawing
• Sample for student projects
• A tool that allows you to demonstrate the process of artistic activity using graphic programs

As soon as the teacher downloads presentations on art for free, the lesson takes on completely different colors:

• He becomes attractive
• His material is informative and persuasive.
• His slides motivate students to get a decent result.

In a visual arts class, a presentation can be used as a guide to explain a topic or as a means to test knowledge. The teacher can free download drawing presentations for primary and secondary schools about the life and work of artists (artists, architects), about museums and types of fine arts to explain new material using the best visualization taken from virtual museums and art galleries on the Internet. When summarizing knowledge on a topic, you can download presentations for art lessons with tests, the implementation of which does not take much time in the lesson, but allows the teacher to quickly check the studied material, causing a keen interest in the child to further study the subject.

In order for children to learn to draw beautifully, this desire and possibilities must be awakened in them. The wonderful presentations on drawing (iso, fine arts) that we offer for free from the sections by class will help in this. Each work was created by a professional, so the children will appreciate the material that will be presented in the lesson. Along with presentations on fine arts for many classes, you can also download the outlines of a drawing lesson at a school, both primary and secondary.

Teach kids to draw. Perhaps it is some kind of presentation on fine arts that will allow a spark of creativity to ignite in a child and pictures of another talented artist who has not lost his gift will appear on Earth.

IZO (fine arts) - 1st grade

All small children love to draw, but after going to school, many lose interest in art lessons. The whole trouble is that the teacher cannot competently build a lesson and kills the interest of first-graders in this activity, demanding the impossible from young students. In an art lesson, a presentation in grade 1 allows the teacher to be ...

IZO (drawing) - Grade 2

Fine arts in grade 2 with a presentation is a favorite lesson of many schoolchildren. Modern electronic manuals have completely changed the usual classes, when the teacher needed to spend most of the lesson explaining the lesson material. And how much joy gives children virtual travel to museums and art galleries, acquaintance with the work of artists and contemplation of amazing works...

IZO (fine arts) - Grade 3

An art lesson in grade 3 with a presentation is a favorite and long-awaited subject in the school schedule of every junior student. It is in these classes that children have the opportunity to show creativity, show their abilities, reveal their character, put their soul into the proposed work. Even those guys who will not become artists in the future, in the primary ...

Fine Arts (fine arts) - Grade 4

The presentation on art in grade 4 is a reliable visual aid for the teacher, which is able to interest every elementary school student in drawing or fine arts. In this regard, every modern teacher should be able not only to use a computer that is in his classroom, but also to be able to compose multimedia developments, masterfully ...

IZO (fine arts) - Grade 5

Presentations on art for grade 5 will help the teacher maintain students' interest in fine arts and drawing when the children move to the middle level. Illustrative material in these lessons should be present in large quantities. After all, students not only learn to draw, they first get acquainted with the history of the creation of things, with the biographies of artists, with ...

IZO (fine arts) - Grade 6

Art presentations in grade 6 are an indispensable material for conducting a modern fine arts lesson. Acquaintance with various types of art, teaching drawing should be carried out using a huge amount of high-quality visualization. In the age of development of computer technology, there is no need to deprive the student of the opportunity to contemplate, while in the classroom, beautiful pictures, known to everyone ...

Education in the fine arts, expressed in the organization of schools, the use of certain methods, techniques in teaching, in the theoretical development of art issues, began only in the period of civilization.

The art of Ancient Egypt, Greece, and Rome reached a high level of development. The construction of cities, temples, residential buildings required a large number of artists, masters of painting, sculpture, and architecture. In special schools, principles, rules, laws for constructing the image of a human figure, animals, plants, and interiors began to be developed.

The thinkers and artists of Ancient Greece considered learning to draw necessary not only for many practical crafts, but also for general education and upbringing. Aristotle (AD 384-322) pointed out that "the following four are now common subjects of study: grammar, gymnastics, music, and sometimes drawing."

Of great importance in the development of methods for teaching drawing were the works of the great Czech teacher of the Middle Ages, Jan Amos Comenius (1592-1670). The great Czech teacher believed that the subject "drawing" should be introduced into general education schools and that it helps to solve her educational problems.

The French philosopher-encyclopedist Jean Jacques Rousseau (1712-1778) also spoke about the benefits of drawing as a general educational subject. Rousseau noted the important role of drawing in the cognition and development of a sensory-emotional attitude to the surrounding reality. In the book “Emil”, or “On Education”, Rousseau wrote that for the knowledge of the surrounding reality, the sense organs are of great importance, which can be developed in a child by teaching him to draw from nature.

Art is a huge world of artistic images, with the help of which artists express their observations, ideas, dreams and fantasies, as well as an effective means of educating a creatively active personality. Introducing students to the fine arts, we thereby pass on to them the vast aesthetic and moral experience accumulated by mankind.

Art education, understood as education through art, in the unity of its cultural, aesthetic, artistic, psychological and pedagogical aspects, has an active influence on the education of students. In the process of studying fine arts, students actively develop fantasy, imagination, figurative thinking, the ability for such mental operations as analysis and synthesis, comparison, generalization, etc.

Artistic activity helps children to understand and assimilate the culture of different times and peoples, develop their abilities, gain experience in aesthetic communication.

The artistic knowledge acquired by children, the ability to perceive works of art, the acquired skills of their own creative activity are effective means of developing children's interest in art, the need for artistic and creative activity.

Education in fine arts involves the general development of creative abilities, the active formation of aesthetic perception, the purposeful formation of realistic image techniques and artistic expression skills.

The artistic creativity of younger schoolchildren is most often drawing with pencils and paints, modeling, appliqué, i.e. the most traditional, popular, optimal artistic techniques for this age.

The creative abilities of schoolchildren should be developed taking into account their interests and individual characteristics.

The introduction of didactic games and exercises into the learning process makes it possible to arouse in children the desire to learn art, participate in creative activities, successfully implement it and enjoy the work done.

First of all, it is necessary to develop the following general artistic abilities:

to creative transformation, thinking, logic, combinatorics, variability;

drawing up an optimal action plan;

learning and creative development.

When teaching fine arts, all components of artistic creativity should be developed and formed: interest, voluntary attention, observation, visual memory, emotionality, fantasy, expressiveness, the eye-brain-hand system, graphic training, artistic technologies.

The purpose of teaching fine arts in elementary school is the harmonious development of younger students by means of fine arts, the formation of a stable interest in fine arts and art, an active life position.

An indicator and condition for the effectiveness of fine art lessons is the enthusiasm of children for work, interest and desire to engage in art. Visual activity should bring joy to children, provide an active emotional attitude of students to classes.

Fine art lessons in elementary school contribute to the development of younger students, form a system of knowledge, skills in fine arts, the need for artistic creativity.

In his work as a teacher of fine arts guided:

curriculum for institutions of general secondary education with the Belarusian (Russian) language of instruction:

Art. I-V classes. Curriculum for institutions of general secondary education with the Russian language of instruction. – Minsk: NIO, 2012;

Identified skills. I-V classes. Educational program for regular school days of education in Belarusian language education. - Minsk: NIA, 2012;

exemplary calendar and thematic planning :

"Approximate calendar-thematic planning in fine arts", I-V classes / I.G. Volkova, V.N. Danilov // Master's education culture. - 2009, No. 4, 2010, No. 1.

Calendar-thematic planning is exemplary. If necessary, art teachers are allowed to redistribute the number of teaching hours between topics;

sanitary norms, rules and hygienic standards “Hygienic requirements for the device, content and organization of the educational process in institutions of general secondary education”, approved by the Decree of the Ministry of Health of the Republic of Belarus dated July 15, 2010 No. 94. The regulatory document can be found on the website www. minzdrav.by, www.rcheph.by;

standards for assessing the results of educational activities of students on the subject "Fine Arts" in the implementation of the educational program of basic education (grade V), determined by the educational standard of general secondary education;

Certification rules students in the development of educational programs of general secondary education, approved by the Ministry of Education of the Republic of Belarus dated 20.06.2011 No. 38.

In accordance with the instructive-methodical letter of the Ministry of Education of the Republic of Belarus "On the organization of the work of institutions of general secondary education to monitor and evaluate the results of educational activities of students during the period of ungraded education at the I stage of general secondary education", teaching fine arts in grades I-IV of institutions of general secondary education education is carried out on a content-evaluative basis (without marking).

Gradeless teaching of fine arts is carried out with the aim of:

Formation of students' internal motivation for learning;

Development of creativity, independence, reflection;

Formation of adequate self-esteem;

Formation of skills to independently evaluate the results of their own educational activities.

The need to use ungraded learning is due to the presence of significant differences in the level of development of abilities in the field of fine arts and artistic training of students.

Education in fine arts on a content-evaluative basis is carried out based on the principles of continuity and naturalness of control, criteriality, flexibility and variability of assessment tools, self-assessment priority.

In the process of teaching fine arts, detailed value judgments are widely used, reflecting the degree to which students master the skills and abilities in the field of fine arts, as well as the level of development of artistic skills and abilities they have achieved. The verbal-content assessment has a complex character and is given taking into account the peculiarities of various types of artistic and creative activity.

When conducting visual arts lessons, it is recommended to follow the sequence of stages of the technology of ungraded learning: setting a goal, setting a criterion (jointly by the teacher and students), carrying out activities, evaluating. When putting forward a criterion, it is necessary to focus on the level that can actually be achieved by students in the implementation of artistic and creative activities. In the assessment process, it is necessary to harmoniously combine internal assessment (self-assessment by students of their own learning activities) with external assessment (assessment of the process and result of activity by classmates and the teacher).

An important condition for unmarked teaching of fine arts is the obligatory and timely implementation of all types of control. The following types of control are used in the learning process: preliminary, lesson and thematic. Preliminary control is carried out during the first week of the academic year and makes it possible to establish the initial level of artistic development of students. Lesson control accompanies the process of mastering each topic of the lesson and allows you to record the progress of students in mastering the educational material. Thematic control makes it possible to establish the effectiveness of mastering the topic of the quarter.

Control is carried out in practical, oral and written forms, as well as in a combination of these forms. At the same time, practical forms of control in the lessons of fine arts are a priority.

The program is based on the principle of systematic development of students' ability to perceive an artistic image in works of art and create it in their own works as a result of aesthetic perception of the phenomena of reality and art and mastering the skills of independent artistic activity. Methods of teaching art at school should take into account its specificity as a way of thinking and mastering the world.

The program defines a system of basic educational tasks:

the formation of the aesthetic culture and spiritual world of students, the ability to objectively perceive, analyze works of art of all types and directions on the basis of national and universal values;

improvement of visual perception, development of figurative thinking, spatial representation, combinatorics, fantasy, sense of composition, shape, color, space;

teaching the basics of fine, decorative, constructive activity, mastering the figurative language of plastic arts, a complex of means of artistic expression;

development of abilities and creative activity of students in the process of artistic and practical activities.

In order to form a culture of oral and written speech in the process of perceiving works of art and performing artworks, the teacher must create conditions for the development of coherent oral speech of students, the ability to analyze, compare, draw conclusions, generalize. It is necessary to develop the imagination, aesthetic taste, communication skills of students, emotional and value attitude to works of art, the ability to conduct a discussion, carry out active and independent artistic and creative activities, increase the level of motivation, interest in the subject. Acquaintance with the masterpieces of world and national artistic culture should contribute to the formation of national self-identification, patriotism, respect for the culture of one's own and the peoples of the world, and the desire for a feasible aesthetic transformation of the surrounding reality.

Requirements for the content and methods of teaching fine arts in primary grades ":

connection with life, with folk artistic traditions;

the unity of upbringing and education, teaching and creative activity of students; a combination of practical work with the development of the ability to perceive and understand works of art, beautiful and ugly in the surrounding reality;

taking into account the age capabilities of students, the optimal combination of individual, group and collective forms of work;

variety of types of work and applied art materials;

interdisciplinary connections, connection with other types of artistic activities of children;

In elementary school, the visual arts program defines three types of artistic and practical activities: image, decoration (decoration) and construction (design).

Image- the leading type of artistic and practical activity, including drawing from nature, from memory, representation, sketches, graphics, subject and plot modeling.

Decoration (decoration)- a type of artistic and practical activity, involving the development of the basics of artistic crafts (painting, ceramics, weaving, embroidery, vytinanka, appliqué, floristry, stained glass).

Construction (design)- design, modeling activities, which involve the study of the basic technologies for working with paper, cardboard, fabric, constructor and other materials.

When teaching art to primary school children, it is important to use games and exercises in the classroom. Group and collective forms of work help to involve students in the creative process, as well as to activate their interest. At this age, children should be given the opportunity to try their hand at different types of artistic activity and feel the originality of each of them.

In addition, in the introductory and final classes, it is necessary to conduct conversations, during which students should learn about the world and learn to perceive art.

When planning classes, it must be taken into account that the types of artistic activity can be combined: conversation - image, design - decoration, etc.

The following basic techniques and materials are used in the learning process: simple, colored, watercolor pencils, wax, watercolor crayons, ballpoint pen, charcoal, felt-tip pens, gouache, watercolor, appliqué, collage, clay, plasticine, stamp, stencil, painting, floristry, straw , weaving, embroidery, natural materials.

The teacher can take the proposed approximate planning as a basis, and if necessary, change it on his own, compiling tasks according to the type recommended in the program. In this case, the content of the lesson should be a unity of different components: the topic of the lesson, type of activity, object of work, learning tasks, material and technology, terms and concepts.

It is necessary to have a clear definition and system of knowledge acquired by students in each class both for individual types of classes (conversations about fine arts, drawing from life, thematic and decorative drawing), and in general for the entire course of fine arts, including various forms of extracurricular and extracurricular work. At the same time, a very important factor is that the knowledge, skills and abilities that a student receives in drawing from nature classes are expanded, deepened and consolidated in thematic and decorative drawing classes, in the process of conversations about works of fine art.

In the same way, the knowledge and skills that schoolchildren master in thematic and decorative drawing lessons find their further development in drawing lessons from nature.

Thus, the fine arts in a general education school, being a necessary link in the general chain of educational subjects designed to educate students, and above all, the subjects of the "aesthetic" cycle - literature, music, occupies an important place in shaping the worldview of students.

However, the role of fine art in education and training will be really effective if modern fine art lessons meet a number of conditions, namely:

A comprehensive solution of educational problems in the lessons of fine arts.

Compliance with the principles of didactics in the process of teaching children the fine arts.

The use of problematic issues and situations in the lessons of fine arts.

Widespread use of visual arts and technical teaching aids in the lessons of fine arts.

Observance of continuity in the visual activity of preschoolers and younger students.

Compliance with interdisciplinary connections of lessons of fine arts and literature, mathematics, music, labor training, etc.

The use of a variety of techniques and methods of working with children in fine arts lessons, including elements of the game, in order to attract attention, children's interest in fine art, to awaken their emotional and aesthetic attitude to objects and phenomena of reality, to the process of drawing and their drawing, a sense of empathy characters of their compositions and works of artists under consideration.

Compliance with the close connection (tasks, goals, content, educational methods) of drawing lessons from nature, on topics with other lessons and extracurricular activities in the visual arts.

Continuous improvement of the methodology for conducting visual arts lessons in all major sections of the curriculum.

Use in the process of teaching children the fine arts best practices of primary school teachers and teachers of fine arts.

In the process of summarizing the best practices of teachers in the aesthetic education of schoolchildren by means of fine arts, the following aspects are highlighted, especially influencing the improvement of the teaching and educational process in the fine arts lesson. This is, first of all, the use of methods and techniques of work aimed at attracting the emotional and aesthetic feelings of children, at showing them a sense of joy, admiration from meeting with beauty in reality and in art, at attracting the interest of schoolchildren to observed and then depicted phenomena and objects. the surrounding world. Excitation of the child's feelings, his emotional responsiveness leads to the appearance of sustained attention, to a deep and comprehensive study of the phenomena and objects of reality, to the conscious assimilation of the laws and rules of drawing, to the knowledge of the aesthetic in life and art.

Visual arts are an important means of developing a student's personality. They contribute to the expansion of interests, the education of the aesthetic needs of students, their mental and creative activity, emotional and aesthetic attitude to reality. At the lessons of fine arts, such personality traits as independence, purposefulness, accuracy, diligence are formed. In the process of visual activity, students acquire graphic and pictorial skills, learn to observe, analyze objects and phenomena of the world around them. Thus, educational drawing, acquaintance with the best works of fine art serve as effective means of understanding reality and at the same time help the development and formation of visual perceptions, imagination, spatial representations, memory and feelings, as well as the education of the moral and aesthetic qualities of the child.

Literature:

- Kuzin V.S. "Fine art and methods of teaching it in elementary grades", 1984.

- Kosterin N.P."Educational drawing", 1984.

- Kandinsky, V. V. "On the Spiritual in Art", 1992.

- Alekhin, A. D."When the artist begins", 1993.

- Kuzin V. S. "Fine art and methods of teaching it at school", 1998.

- Satarova L.A. "Fine arts at school", 2004.

-Sokolnikova N.M. "Fine art and methods of teaching it at school", 2005.

- Pyankova N.I. "Fine art in the modern school", 2006.

- Instructive-methodical letter of the Ministry of Education of the Republic of Belarus "On teaching the subject "Fine Arts" in the 2012/2013 academic year", 2012.

Ministry of Education and Science of the Russian Federation

Course work

Features of the methodology of teaching fine arts in elementary school

Introduction

Fine arts as one of the subjects of the general education school occupies an important place in the education of students. A careful analysis and generalization of the best pedagogical experience indicates that the fine arts are an important means of developing the student's personality. Fine arts, which are especially close to younger schoolchildren with their visibility, occupies one of the leading places in the process of developing children's creative abilities, creative thinking, familiarizing them with the beauty of their native nature, the surrounding reality, and the spiritual values ​​of art. In addition, visual art classes help children master a range of skills in the field of visual, constructive and decorative activities.

aim writing this term paper is to consider the features of the methodology of teaching fine arts in elementary school, namely in grades I-IV.

The work put the following tasks :

The study of the methodology of teaching fine arts in elementary school, to consider its features,

To identify the pedagogical conditions for the successful teaching of fine arts to children of primary school age, as well as the preparation of a thematic annual plan and a lesson plan for elementary school students

Chapter 1. Features of the methodology of teaching fine arts in elementary school

1.1. Pedagogical conditions for teaching fine arts in elementary school

In the development of children's artistic creativity, including fine art, it is necessary to observe the principle of freedom, which is generally an indispensable condition for any creativity. This means that the creative pursuits of children can be neither obligatory nor compulsory, and can arise only from children's interests. Therefore, drawing cannot be a mass and universal phenomenon, but for gifted children, and even for children who are not going to later become professional artists, drawing has a huge cultivating value; when paint and drawing begin to speak to a child, he masters a new language that expands his horizons, deepens his feelings and conveys to him in the language of images that which cannot be brought to his consciousness in any other way.

One of the problems in drawing is that for elementary school children, one activity of creative imagination is no longer enough, he is not satisfied with a drawing made somehow, in order to embody his creative imagination, he needs to acquire special professional, artistic skills and abilities.

The success of training depends on the correct definition of its goals and content, as well as on the ways to achieve the goals, that is, teaching methods. There has been controversy among scholars about this since the very beginning of the school. We adhere to the classification of teaching methods developed by I.Ya. Lerner, M.N. Skatkin, Yu.K. Babansky and M.I. Pakhmutov. According to the studies of these authors, the following general didactic methods can be distinguished: explanatory-illustrative, reproductive and research.

1.2. Methods of teaching fine arts in I - IV classes

Education, as a rule, begins with an explanatory-illustrative method, which consists in presenting information to children in various ways - visual, auditory, speech, etc. Possible forms of this method are communication of information (story, lectures), demonstration of a variety of visual material, including with the help of technical means. The teacher organizes perception, children try to comprehend new content, build accessible connections between concepts, remember information for further operation with it.

The explanatory and illustrative method is aimed at the assimilation of knowledge, and for the formation of skills and abilities, it is necessary to use the reproductive method, that is, repeatedly reproduce (reproduce) actions. Its forms are diverse: exercises, solving stereotyped problems, conversation, repetition of the description of a visual image of an object, repeated reading and memorization of texts, re-telling of an event according to a predetermined scheme, etc. Both independent work of preschoolers and joint activities with a teacher are expected. The reproductive method allows the use of the same means as the explanatory and illustrative method: the word, visual aids, practical work.

Explanatory-illustrative and reproductive methods do not provide the necessary level of development of children's creative abilities and abilities. The method of teaching, aimed at the independent solution of creative problems by preschoolers, is called research. In the course of solving each problem, it involves the manifestation of one or more aspects of creative activity. At the same time, it is necessary to ensure the availability of creative tasks, their differentiation depending on the preparedness of a particular child.

The research method has certain forms: text problem tasks, experiments, etc. Tasks can be inductive or deductive, depending on the nature of the activity. The essence of this method is the creative acquisition of knowledge and the search for ways of activity. Once again, I would like to emphasize that this method is entirely based on independent work.

Particular attention should be paid to the importance of problem-based learning for the development of children. It is organized with the help of methods: research, heuristic, problem presentation. We have already considered the research.

Another method that helps creative development is the heuristic method: children solve a problematic problem with the help of a teacher, his question contains a partial solution to the problem or its stages. He can tell you how to take the first step. This method is best implemented through heuristic conversation, which, unfortunately, is rarely used in teaching. When using this method, the word, text, practice, visual aids, etc. are also important.

At present, the method of problem presentation has become widespread, the educator poses problems, revealing all the inconsistency of the solution, its logic and the available system of evidence. Children follow the logic of the presentation, control it, participating in the decision process. In the course of the problem statement, both the image and the practical demonstration of the action are used.

Methods of research, heuristic and problem presentation - methods of problem-based learning. Their implementation in the educational process stimulates preschoolers to creative acquisition and application of knowledge and skills, helps to master the methods of scientific knowledge. Modern education must necessarily include the considered general didactic methods. Their use in the classroom of fine arts is carried out taking into account its specifics, tasks, content. The effectiveness of the methods depends on the pedagogical conditions of their application.

As the experience of practical work shows, for the successful organization of fine arts lessons, it is necessary to create a special system of pedagogical conditions. In line with different conceptual approaches, they are defined differently. We have developed a system of conditions that directly affect the development of the artistic creativity of preschoolers, and we propose to consider it. We believe that this group of conditions consists of:

Development of interest in the study of fine arts;

The combination of systematic control over the visual activity of preschoolers with pedagogically expedient assistance to them;

Education in children of faith in their own strength, in their creative abilities;

Consistent complication of visual activity, ensuring the prospects for the development of children's artistic creativity;

Teaching the language of fine, folk, decorative and applied arts and design, mastering the means of artistic expression of plastic arts;

Purposeful, systematized use of art criticism stories or conversations that activate the child's attention, the work of his thoughts, his emotional and aesthetic responsiveness;

Selection of works of fine art for study;

The use of technical teaching aids in the visual arts, especially video and audio equipment, and special visual aids;

Active study by children under the guidance of a teacher of nature (observations, sketches and sketches on the topic, drawing from memory), objects of arts and crafts, culture and life, historical architectural details;

Introduction to the lesson of creative, improvisational and problematic tasks;

The use of a variety of artistic materials and techniques for working with them;

Change of types of visual activity during the academic year (graphics, painting, modeling, design, decorative work, etc.);

Combination of individual and collective forms of work with children;

Introduction to the structure of the lesson of game elements and artistic and didactic games; use of competition elements;

Systematic development of pedagogically appropriate relationships between sections of the subject "Fine Arts", between this and other preschool disciplines, integrated teaching of art at school.

An important condition for the development of artistic creativity of preschoolers in the visual arts is the use by teachers of technical teaching aids, especially video and audio equipment, and special visual aids. The role of visualization in teaching was theoretically substantiated as early as the 17th century. Ya.A. Comenius, later the ideas of its use as the most important didactic tool were developed in the works of many outstanding teachers - I.G. Pestalozzi, K.D. Ushinsky and others. The importance of visualization in teaching was emphasized by the great Leonardo da Vinci, artists A.P. Sapozhnikov, P.P. Chistyakov and others.

Successful implementation of the principle of visibility in teaching is possible with the active mental activity of children, especially when there is a "movement" of thought from the concrete to the abstract or, conversely, from the abstract to the concrete.

At all stages of the lesson, if possible, creative, improvised and problematic tasks should be introduced. One of the main requirements in this case is to provide children with the greatest possible pedagogically expedient independence, which does not exclude the provision of pedagogical assistance to them, as necessary. So, for example, in the primary grades, especially in the first, the teacher, offering this or that plot, in many cases can draw the attention of preschoolers to the main thing that must be depicted first and foremost, can show on the sheet the approximate location of the objects of the composition. This help is natural and necessary and does not lead to the passivity of kids in fine art. From restrictions in the choice of theme and plot, the child is gradually brought to their independent choice.

Chapter 2

Here is the world - and in this world I am.

Here is the world - and in this world we are.

Each of us has our own path.

But according to the same laws we create.

May the path be long and the creator's bread difficult.

And sometimes I want to give slack.

But keep your hands off your face.

And again you give a heart. And again.

Love and knowledge are like good friends.

We are welcome to come to class.

And the light illuminates the children.

All of us until the bell rings.

We create. We are not doing in vain.

We give a piece of knowledge to those

Who acts as a "consumer" so far,

To grow as a "creator" then.

The program "Fine Arts and Artistic Work" is a holistic integrated course that includes all the main types: painting, graphics, sculpture, folk decorative arts, architecture, design, spectacular and screen arts. They are studied in the context of interaction with other types of arts and their specific connections with the life of society and the individual.

The systematizing method is the allocation of three main types of artistic activity for visual spatial arts: constructive, pictorial, decorative.

These three artistic activities are the basis for the division of visual-spatial arts into types: fine - painting, graphics, sculpture; constructive - architecture, design; various arts and crafts. But at the same time, each of these forms of activity is inherent in the creation of any work of art and therefore is a necessary basis for integrating the entire diversity of art forms into a single system, not according to the principle of listing types, but according to the principle of the type of artistic activity. Identification of the principle of artistic activity focuses on the transfer of attention not only to works of art, but also to human activity, to identifying its links with art in the process of daily life.

The links between art and human life, the role of art in everyday life, the role of art in the life of society, the importance of art in the development of each child is the main semantic core of the program. Therefore, when highlighting the types of artistic activity, it is very important to show the difference in their social functions.

The program is designed to give students a clear understanding of the system of interaction between art and life. A wide involvement of children's life experience, examples from the surrounding reality is envisaged. Work based on observation and aesthetic experience of the surrounding reality is an important condition for children to master the program material. The desire to express one's attitude to reality should serve as a source of development of figurative thinking.

One of the main goals of teaching art is the task of developing a child's interest in the inner world of a person, the ability to "deep into oneself", awareness of one's inner experiences. This is the key to developing empathy.

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

The lessons introduce game dramaturgy on the topic being studied, links with music, literature, history, and labor are traced. In order to experience creative communication, collective tasks are introduced into the program. It is very important that the collective artistic creativity of students find application in the design of school interiors.

The systematic development of the artistic heritage helps to realize art as a spiritual chronicle of mankind, as a person's knowledge of the relationship to nature, society, the search for truth. Throughout the course of study, students get acquainted with outstanding works of architecture, sculpture, painting, graphics, arts and crafts, study classical and folk art from different countries and eras. Knowledge of the artistic culture of one's people is of great importance.

The thematic integrity and consistency of the development of the program helps to ensure strong emotional contacts with art at each stage of education, avoiding mechanical repetitions, rising year after year, from lesson to lesson, along the steps of the child's knowledge of personal human connections with the whole world of artistic and emotional culture.

Artistic knowledge, skills and abilities are the main means of introduction to artistic culture. Form, proportions, space, tonality, color, line, volume, texture of material, rhythm, composition are grouped around the general patterns of artistic figurative languages ​​of fine, decorative, and constructive arts. Students master these means of artistic expression throughout the course of their studies.

Three ways of artistic assimilation of reality - pictorial, decorative and constructive - in elementary school act for children as well-understood, interesting and accessible types of artistic activity: images, decorations, buildings. The constant practical participation of schoolchildren in these three activities allows them to systematically introduce them to the world of art. It must be borne in mind that, being presented in elementary school in a playful way as "Brothers-Masters" of images, decorations, buildings, these three types of artistic activity should accompany students throughout the years of study. They first help to structurally divide, and therefore understand the activity of arts in the surrounding life, and then help in a more complex understanding of art.

With all the assumed freedom of pedagogical creativity, it is necessary to constantly keep in mind the clear structural integrity of this program, the main goals and objectives of each year and quarter, which ensure the continuity of the progressive development of students.

2.1. Fundamentals of artistic representations (elementary school curriculum)

1st class (30–60 h)

You depict, decorate and build

Three types of artistic activity, which determine the whole variety of visual spatial arts, form the basis of the first, introductory class.

To help the children (and the teacher) comes a playful, figurative form of initiation: "Three brothers-masters - the Master of the Image, the Master of Decoration and the Master of Construction." The discovery for children should be that many of their everyday everyday games are artistic activities - the same as adult artists do (not yet art). It is an interesting game to see the work of this or that brother-master in the surrounding life. This is where the knowledge of the links between art and life begins. Here the teacher lays the foundation in the knowledge of the vast, complex world of plastic arts. The task of this year also includes the realization that the "Masters" work with certain materials, and also includes the initial development of these materials.

But the "Masters" do not appear before the children all at once. At first they are under the "cap of invisibility". In the first quarter, he takes off his “hat” and begins to openly play with the children “Master of the Image”. In the second quarter, he will help to remove the "invisibility cap" from the "Master of Decoration", in the third - from the "Master of Construction". And in the fourth, they show the children that they cannot live without each other and always work together. It is also necessary to keep in mind the special meaning of generalizing lessons: in them, through the work of each "Master", children's art work is connected with adult art, with the surrounding reality.

Topic 1. You portray.
Acquaintance with the "Image Master" (8–16 h)

"Image Master" teaches to see and depict.
And all subsequent years of study will help children in this - help them see, consider the world. To see, one must not only look, but also draw oneself. This must be learned. Here, only the foundations of understanding the enormous role of the activity of the image in people's lives are laid, in the coming years the teacher will develop this understanding. The discovery of the quarter also includes the fact that in art there is not only an Artist, but also a Spectator. Being a good viewer also needs to be learned, and Image Master teaches us that.

The task of the "Master" is also to teach children the primary experience of owning materials available to elementary school. This experience will be deepened and expanded in all further work.

"Image Master" helps to see, teaches to consider

Development of observation and analytical capabilities of the eye. Fragments of nature. Animals - how they are similar and how they differ from each other.

materials: paper, felt-tip pens or colored pencils, or crayons.

visual range: slides depicting drawings of animals or live animals.

Literary series: poems about animals, about noses and tails.

musical series: C.Saint-Saens, suite "Carnival of the Animals".

You can depict a spot

Take a closer look at different spots - moss on a stone, scree on a wall, patterns on marble in the subway and try to see any images in them. Turn the spot into an image of an animal. The spot, pasted or painted, is prepared by the teacher.

materials: pencil, crayons, black ink, black felt-tip pen.

visual range: illustrations for books about animals by E. Charushin, V. Lebedev, T. Mavrina, M. Miturich and other artists working as a stain.

Can be depicted in volume

Let's turn a lump of plasticine into a bird. Modeling. Look and think about what voluminous objects are similar to something, for example, potatoes and other vegetables, driftwood in a forest or park.

materials: plasticine, stacks, plank.

visual range: slides of natural volumes of expressive forms or real stones, the shape of which resembles something.

Can be shown as a line

The line can tell. "Tell us about yourself" - a drawing or series of consecutive drawings.

materials: paper, black felt-tip pen or pencil.

visual range: linear illustrations of children's books, drawings on the themes of poems by S. Marshak, A. Barto, D. Kharms with a cheerful, mischievous development of the plot.

Literary series: funny poems about life at home.

musical series: children's songs about life in the family.

You can depict what is invisible (mood)

Show joy and show sadness. We draw music - the task is to express in the image images of musical pieces that are contrasting in mood.

materials: white paper, colored markers, colored pencils or crayons.

musical series: happy and sad melodies.

Our paints

Color test. Joy of communication with paints. Mastering the skills of organizing a workplace and using paints. Color name. That in life resembles every color. A playful image of a colorful multicolor rug.

materials: paints, gouache, large and thin brushes, white paper.

Artists and audience (generalization of the topic)

Being a spectator is interesting and not easy. This must be learned. Introduction to the concept of "work of art". Painting. Sculpture. Color and paint in the paintings of artists. Development of perception skills. Conversation.

visual range: V. Van Gogh "Sunflowers", N. Roerich "Overseas guests", V. Vasnetsov "Three heroes", S. Konchalovsky "Lilac", M. Vrubel "The Swan Princess".

Theme 2. You decorate.
Acquaintance with the "Master of Decoration" (7-14 hours)

The "Master of Image", whom the children met in the first quarter, is the "Master of Knowledge", a careful look into life. The "Master of Decoration" does something completely different in life - this is the "Master of Communication". It organizes the communication of people, helping them to openly identify their roles. Today we go on a hike, tomorrow we go to work, then to a ball - and with our clothes we talk about these roles of ours, about who we are today, what we will do. More clearly, of course, this work of the "Master of Decoration" is manifested at balls, carnivals, in theatrical performances.

Yes, and in nature, we distinguish some birds or butterflies from others by their decorations.

The natural world is full of decorations

The development of observation. Aesthetic experience. Butterfly wings decoration. The butterfly is decorated according to the blank cut out by the teacher or can be drawn (large, on the whole sheet) by the children in the lesson. The variety and beauty of patterns in nature.

materials: gouache, large and thin brushes, colored or white paper.

visual range: slides "Butterflies", collections of butterflies, books with their image.

The image of an elegant bird in the technique of volume application, collage. Development of a decorative sense of combining materials, their colors and textures.

materials: multi-colored and diversified paper, scissors, glue.

visual range: slides and books depicting various birds.

musical series: children's or folk songs with a pronounced playful, decorative moment (bell ringing, imitation of bird singing).

Beauty must be seen

Discreet and "unexpected" beauty in nature. Examination of various surfaces: tree bark, wave foam, drops on branches, etc. Development of a decorative sense of texture. Experience of visual poetic impressions.

Image of the back of a lizard or tree bark. The beauty of texture and pattern. Acquaintance with the technique of one-color monotype.

materials: for the teacher - a knurling roller, gouache diluted with water or printing ink; for children - a board made of plastic, linoleum or tile, sheets of paper, a pencil.

visual range: slides of various surfaces: bark, moss, ripples on the water, as well as slides showing lizards, snakes, frogs. If possible - genuine bark, saw cuts of wood, stones.

How, when, why does a person adorn himself

All human jewelry tells something about its owner. What jewelry can tell. We consider the characters of fairy tales - what kind of decorations they have. How do they help us recognize the characters. Images of selected fairy tale characters and their decorations.

materials: colored paper, gouache, brush.

visual range: slides or illustrations with characters from famous fairy tales.

Literary series: fragments of fairy tales with a description of the appearance of the hero.

musical series: songs of fairy-tale heroes.

"Master of Decoration" helps to make a holiday

Room decoration. Making festive New Year's garlands and stars. Decoration of the classroom and your home for the New Year holidays. Collective panel "Christmas tree".

materials: colored paper, scissors, glue, foil, serpentine.

visual range: children's work completed in a quarter.

Literary series: poems about the holiday of the New Year.

musical series: Christmas and New Year holiday songs, P. Tchaikovsky fragments of the ballet "The Nutcracker".

Topic 3. You build.
Acquaintance with the "Master of Construction" (10-20 hours)

"Master of Image" - "Master of Cognition", "Master of Decoration" - "Master of Communication", "Master of Construction" - this is the "Master of Creation" of the objective environment of life.

In this quarter, his brothers take off his "cap of invisibility" and hand over the reins of government to him. People can learn about the world and communicate only if they have a humanly organized environment. Every nation has been building since primitive times. Children also build in their games from sand, cubes, chairs - any material at hand. Before the beginning of the term, the teacher (with the help of the children) must collect as much "building material" as possible: milk cartons, yoghurts, shoes, etc.

home for yourself

An image of a home made for myself. The development of the imagination. Think of a home. Different houses for different fairy-tale characters. How can you guess who lives in the house. Different houses for different things.

materials: colored paper, gouache, brushes; or felt-tip pens, or colored pencils.

visual range: illustrations of children's books depicting dwellings.

musical series: children's songs about builders-dreamers.

What can you think of at home

Modeling fabulous houses in the form of vegetables and fruits. Construction of boxes and paper comfortable houses for elephant, giraffe and crocodile. The elephant is large and almost square, the giraffe has a long neck, and the crocodile is very long. Children learn to understand the expressiveness of proportions and the construction of form.

materials: plasticine, stacks, rag, plank.

visual range: illustrations for the fairy tales of A. Milne "Winnie the Pooh", N. Nosova "Dunno in the Flower City", J. Rodari "Cipollino", A. Volkov "The Wizard of the Emerald City".

Literary series: descriptions of fabulous towns.

musical series: music for the cartoon and the ballet "Cipollino".

"Master of Building" helps to create a city

"Fairytale City". An image of an image of a city for a particular fairy tale. Construction of a game city. Game of architects.

materials: gouache, colored or white paper, wide and thin brushes, boxes of various shapes, thick paper, scissors, glue.

visual range: illustrations of children's books.

Literary series: descriptions of a fabulous city from a literary work.

Everything we see has a structure

Make images of different animals - a zoo-design of boxes. Make boxes of funny dogs of different breeds. The material can be replaced with an application: various images of dogs are made by gluing pre-prepared single-color paper scraps of various geometric shapes onto a sheet.

materials: various boxes, colored and white thick paper, glue, scissors.

visual range: photographs of animals or reproductions of paintings depicting animals.

All items can be built

Construction from paper, packaging, coasters, flowers and toys.

materials: colored or white paper, scissors, glue.

visual range: slides from various subjects relevant to the task.

Literary series: poems about cheerful hardworking masters.

House outside and inside

The house "looks" at the street, but they live inside the house. "Inside" and "outside" are very interconnected. The image of the house in the form of letters of the alphabet as if they have transparent walls. How could little alphabetic people live in houses-letters, how rooms, stairs, windows are located there.

materials: paper (white or colored), pencils or crayons.

visual range: illustrations of children's books.

City where we live

Assignment: "I draw my favorite city." Image "by impression" after the tour.

materials: paper, gouache, brushes or crayons (at the choice of the teacher).

Literary series: Poems about your city.

musical series: songs about your city.

Generalization of the topic of the quarter

Exercise: exhibition of works made in a quarter. Children learn to look at and discuss each other's work. Playing artists and spectators. You can make a generalizing panel "Our city" or "Moscow".

Topic 4. "Masters of the Image, decorations, buildings" always work together (5-10 hours)

We recognize the joint work of the "Masters" in our works of the past quarters and in works of art.

The generalization here is the 1st lesson. Its purpose is to show children that our three "Masters" are in fact inseparable. They constantly help each other. But each "Master" has its own work, its own purpose. And in a specific work, one of the "Masters" is always the main one. Here, for example, are our drawings-images: where is the work of the "Master of Construction" here? And now these works adorn the classroom. And in the works where the “Master of Decoration” was the main thing, how did the “Master of the Image”, the “Master of Construction” help him? The main thing is to remember with the guys what exactly the role of each "Master" is and what he helped to learn. The best work of children for the whole year should be exhibited in the classroom. A kind of reporting exhibition. It is desirable that each child has some exhibited work. Children learn to talk about their works and about the drawings of their comrades. At the end of the lesson, slides of works of adult art are shown, and the children should highlight the "participation" of each "Master" in these works: a vase with a figurative drawing; a vase whose shape depicts something; a picture with an architectural building; fountain with sculpture; palace interior with bright decor, sculpture and paintings; interior of a modern building with monumental painting.

"Masters" will help us see the world of a fairy tale and draw it

Collective panel and individual images of the fairy tale.

materials: paper, gouache, brushes, scissors, glue, colored paper, foil.

visual range: music from cartoons, film or ballet based on this fairy tale.

Literary series: a fairy tale chosen by the teacher.

A lesson in love. The ability to see

Observation of wildlife from the point of view of the "Three Masters". Composition "Hello, summer!" by impressions of nature.

2nd grade (34-68 hours)

you and art

The theme "You and Art" is the most important for this concept, it contains the fundamental sub-themes necessary for the initial familiarization with art as a culture. Here are the primary elements of the language (figurative structure) of the plastic arts and the basis for understanding their connections with the surrounding life of the child. Understanding the language and connections with life are built in a clear methodological sequence. Violation of it is undesirable.

The task of all these topics is to introduce children to the world of art, emotionally connected with the world of their personal observations, experiences, thoughts.

Topic 1. What and how artists work (8–16 hours)

Here the main task is to get acquainted with the expressive possibilities of artistic materials. Discovery of their originality, beauty and character of the material.

Three basic colors that build the multicolor of the world

Primary and secondary colors. The ability to mix paints right at work is a living connection of colors. Depict flowers, filling in large images the entire sheet (without a preliminary drawing) from memory and impression.

materials: gouache (three colors), large brushes, large sheets of white paper.

visual range: fresh flowers, slides of flowers, flowering meadow; visual aids showing the three primary colors and their mixing (composite colors); practical demonstration of mixing gouache paints.

Five colors - all the richness of color and tone

Dark and light. Shades of color. The ability to mix colored paints with white and black. The image of natural elements on large sheets of paper with large brushes without a preliminary drawing: thunderstorm, storm, volcanic eruption, rain, fog, sunny day.

materials: gouache (five colors), large brush, large sheets of any paper.

visual range: slides of nature in pronounced states: thunderstorm, storm, etc. in the works of artists (N. Roerich, I. Levitan, A. Kuindzhi, etc.); practical demonstration of color mixing.

Pastels and crayons, watercolor - expressive possibilities

Soft velvety pastels, fluidity of transparent watercolors - we learn to understand the beauty and expressiveness of these materials.

The image of the autumn forest (from memory and impression) in pastel or watercolor.

materials: pastel or crayons, watercolor, white paper, harsh (wrapping).

visual range: observation of nature, slides of the autumn forest and works of artists on this topic.

Literary series: A. Pushkin poems, S. Yesenin poems.

musical series: P. Tchaikovsky "Autumn" (from the cycle "The Seasons").

Expressive application possibilities

An idea of ​​the rhythm of spots A rug on the theme of autumn earth with fallen leaves. Group work (1-3 panels), according to memory and impression.

materials: colored paper, pieces of fabric, thread, scissors, glue, paper or canvas.

visual range: living leaves, slides of autumn forest, ground, asphalt with fallen leaves.

Literary series: F. Tyutchev "Leaves".

musical series: F. Chopin nocturnes, P. Tchaikovsky "September" (from the cycle "The Seasons").

Expressive possibilities of graphic materials

The beauty and expressiveness of the line. Thin and thick, moving and viscous lines. Image of a winter forest on white sheets of paper (from impression and from memory).

materials: ink (black gouache, ink), pen, wand, fine brush or charcoal.

visual range: nature observations or winter forest tree slides.

Literary series: M. Prishvin "Stories about nature".

musical series: P. Tchaikovsky "December" (from the cycle "The Seasons").

Expressiveness of materials for work in volume

The image of the animals of the native land by impression and from memory.

materials: plasticine, stacks, plank.

visual range: observation of expressive volumes in nature: roots, stones, slides of animals and sculptures, slides and small plastic from different materials in the original; reproductions of works by sculptor V. Vatagin.

Literary series: V.Bianki "Stories about animals".

The expressive power of paper

Mastering the work with bending, cutting, gluing paper. Translation of a flat sheet into a variety of three-dimensional forms. Gluing simple three-dimensional forms (cone, cylinder, "ladder", "accordion"). Construction of a playground for sculpted animals (individually, in groups, collectively). Imagination work; if there is an additional lesson, you can give an origami task.

materials: paper, scissors, glue.

visual range: slides of works of architecture, layouts of past years made by students, showing techniques for working with paper.

For an artist, any material can become expressive. (generalization of the topic of the quarter)

Understanding the beauty of art materials and their differences: gouache, watercolor, crayons, pastels, graphic materials, plasticine and paper, "unexpected" materials.

Image of a festive city at night using "unexpected" materials: serpentine, confetti, seeds, threads, grass, etc. against the background of dark paper.

Topic 2. Reality and fantasy (7-14 hours)

Image and reality

The ability to peer, to see, to be observant. Image Master teaches us to see the world around us. Images of animals or animals seen in the zoo, in the village.

materials: gouache (one or two colors), colored paper, brush.

visual range: works of art, photographs depicting animals.

Image and fantasy

The ability to fantasize. Fantasy in people's lives. The image of fabulous, non-existent animals and birds, combining elements of different animals and even plants. Fairy-tale characters: dragons, centaurs, etc.

materials: gouache, brushes, a large sheet of paper, preferably colored, tinted.

visual range: slides of real and fantastic animals in Russian wood and stone carvings, in European and Oriental art.

musical series: fantastic images from musical works.

Decoration and reality

The development of observation. The ability to see beauty in nature. "Master of Decoration" learns from nature. Image of cobwebs with dew and branches of trees, snowflakes and other prototypes of decorations using lines (individually, from memory).

materials: charcoal, chalk, fine brush, ink or gouache (one color), paper.

visual range: slides of fragments of nature, seen through the eyes of the artist.

Decoration and fantasy

Without imagination, it is impossible to create a single piece of jewelry. Decoration of a given form (collar, valance, kokoshnik, bookmark).

materials: any graphic material (one or two colors).

visual range: slides of lace, bijouterie, beadwork, embroidery, etc.

musical series: rhythmic combinations with a predominance of a repeating rhythm.

Construction and reality

"Master of Construction" learns from nature. The beauty and meaning of natural structures - honeycombs of bees, poppy heads and forms of the underwater world - jellyfish, algae. Individual-collective work. Paper construction "Underwater world".

materials: paper, scissors, glue.

visual range: slides of a wide variety of buildings (houses, things), natural structures and forms.

Construction and fantasy

"Master of Construction" shows the possibilities of a person's imagination in creating objects.

Creation of models of fantastic buildings, structures: a fantastic city. Individual, group work on the imagination.

materials: paper, scissors, glue.

visual range: slides of buildings that can awaken children's imagination, works and projects of architects (L. Corbusier, A. Gaudi), student work of past years.

"Brothers-Masters of Images, Decorations and Buildings" always work together (generalization of the topic)

Interaction of three types of artistic activity. Design (modeling) in the decoration of Christmas toys depicting people, animals, plants. Collective panel.

materials: paper, scissors, glue, gouache, thin brushes.

visual range: children's work for the quarter, slides and original works.

Topic 3. What art says (11-22 hours)

This is the central and most important theme of the year. The previous two lead to her. The main task is to master the fact that nothing in art is ever depicted, decorated, built just like that, just for the sake of skill. "Brothers - Masters", that is, art, expresses human feelings and thoughts, understanding, that is, the attitude to what people depict, to who or what they decorate, by construction they express attitude to the one for whom and for what they build. Prior to this, the issue of expression had to be felt by children in their works only on an emotional level. Now for the children all this should move to the level of awareness, become the next and most important discovery. All subsequent quarters and years of study under the program, this topic should be constantly accentuated, fixed through the process of perception and the process of creation, in each quarter, each task. Each task should have an emotional focus, develop the ability to perceive shades of feelings and express them in practical work.

Expression of the nature of the depicted animals

The image of animals is cheerful, swift, threatening. The ability to feel and express the character of the animal in the image.

materials: gouache (two or three colors or one color).

Literary series: R. Kipling fairy tale "Mowgli".

visual range: V.Vatagin's illustrations for "Mowgli" and other books.

musical series: C. Saint-Saens "Carnival of the Animals".

Expression of a person's character in the image; male image

At the request of the teacher, for all further tasks, you can use the plot of a fairy tale. For example, "The Tale of Tsar Saltan" by A. Pushkin provides rich opportunities for connecting figurative solutions for all subsequent topics.

Image of a good and evil warrior.

materials: gouache (limited palette), wallpaper, wrapping paper (rough), colored paper.

visual range: slides of works by V. Vasnetsov, M. Vrubel, I. Bilibin and others.

Literary series: "The Tale of Tsar Saltan" by A. Pushkin, excerpts from epics.

musical series: music by N. Rimsky-Korsakov for the opera "The Tale of Tsar Saltan".

Expression of a person's character in the image; female image

Depiction of fairy-tale images opposite in character (the Swan Princess and Baba Babarikha, Cinderella and the Stepmother, etc.). The class is divided into two parts: one depicts the good, the other - the evil.

materials: gouache or pastel (crayons) on a colored paper background.

visual range: slides of works by V. Vasnetsov, M. Vrubel, I. Bilibin.

Literary series: "The Tale of Tsar Saltan" by A. Pushkin.

The image of a person and his character, expressed in volume

Creation in volume of images with a pronounced character: the Swan Princess, Baba Babarikha, Baba Yaga, Bogatyr, Koschei the Immortal, etc.

materials: plasticine, stacks, boards.

visual range: slides of sculptural images of works by S. Konenkov, A. Golubkina, ceramics by M. Vrubel, medieval European sculpture.

Image of nature in different states

Image of contrasting states of nature (the sea is gentle, affectionate, stormy, disturbing, joyful, etc.); individually.

materials

visual range: slides depicting the contrasting moods of nature, or slides of paintings by artists depicting different states of the sea.

Literary series: fairy tales by A. Pushkin "About Tsar Saltan", "About the fisherman and the fish".

musical series: opera "Sadko", "Scheherazade" by N. Rimsky-Korsakov or "The Sea" by M. Churlionis.

Expression of a person's character through decoration

By decorating himself, any person thereby tells about himself: who he is, what he or she is: a brave warrior - a protector or he threatens. The decorations of the Princess Swan and Baba Babarikha will be different. Decoration of heroic armor cut out of paper, kokoshniks of a given shape, collars (individually).

materials: gouache, brushes (large and thin), blanks from large sheets of paper.

visual range: slides of ancient Russian weapons, lace, women's costumes.

Expression of intent through decoration

Decoration of two fabulous fleets opposite in intentions (good, festive and evil, pirate). The work is collective-individual. Application.

materials: gouache, large and thin brushes, glue, pins, glued sheets or wallpaper.

visual range: slides of works by artists (N. Roerich), illustrations of children's books (I. Bilibin), works of folk art.

Together "Masters of Images, Decorations, Buildings" create houses for fairy-tale characters (generalization of the topic)

Three "Brothers-Masters" together with children (groups) perform several panels, where, with the help of appliqué and painting, they create the world of several fairy-tale characters - good and evil (for example: the tower of the Swan Princess, the house for Baba Yaga, the Bogatyr's hut, etc. ).

A house is created on the panel (with stickers), the background is a landscape as a figurative environment of this house and a figure is an image of the owner of the house, expressing these images by the nature of the building, clothing, shape of the figure, the nature of the trees against which the house stands.

Generalization can be completed with an exhibition of works based on the results of the quarter, its discussion with parents. Groups of "tour guides" should be prepared for the discussion. The teacher can use additional hours for this. An exhibition prepared by a teacher and presented to parents (viewers) should become an event for students and their loved ones and help to consolidate the critical importance of this topic in the minds of children.

Topic 4. As art speaks (8-16 hours)

Starting from this quarter, you need to pay attention to the expressiveness of the means constantly. Do you want to express it? But how, what?

Color as a means of expression: warm and cold colors. The fight between warm and cold

The image of a fading fire is a "struggle" of heat and cold. Filling the entire sheet, freely mix paints with each other. The fire is depicted as if from above, dying out (work from memory and impression). "Feather of the Firebird". Paints are mixed right on the sheet. Black and white paints are not used.

materials: gouache without black and white paints, large brushes, large sheets of paper.

visual range: slides of a fading fire; methodical manual on color science.

musical series: N. Rimsky-Korsakov fragments from the opera "The Snow Maiden".

Color as a means of expression: quiet (deaf)and vibrant colors. Mixing with black, gray, white paints (dark, delicate shades of color)

The ability to observe the struggle of color in life. Image of the spring earth (individually from memory and impression). If there are additional lessons, they can be given on the plots of creating a "warm kingdom" (Sunny City), a "cold kingdom" (Snow Queen), achieving color richness within one color scheme.

materials: gouache, large brushes, large sheets of paper.

visual range: slides of the spring earth, stormy sky, fog, teaching aids on color science.

musical series: E. Grieg. "Morning" (fragment from the suite "Peer Gynt").

Literary series: M. Prishvin stories, S. Yesenin poems about spring.

Line as a means of expression: the rhythm of lines

Image of spring streams.

materials: pastel or colored crayons.

musical series: A. Arsensky "Forest Stream", "Prelude"; E. Grieg "Spring".

Literary series: M. Prishvin "Forest Stream".

Line as a means of expression: the nature of lines

An image of a branch with a certain character and mood (individually or by two people, according to impression and memory): gentle and powerful branches, while it is necessary to emphasize the ability to create different textures with charcoal, sanguine.

materials: gouache, brush, stick, charcoal, sanguine and large sheets of paper.

visual range: large, large spring branches (birch, oak, pine), slides depicting branches.

Literary series: Japanese verses (tanks).

The rhythm of spots as a means of expression

Basic knowledge of composition. From a change in the position on the sheet, even identical spots, the content of the composition also changes. The rhythmic arrangement of flying birds (individual or collective work).

materials

visual range: visual aids.

musical series: fragments with a pronounced rhythmic organization.

Proportions express character

Designing or sculpting birds with different character proportions - a large tail - a small head - a large beak.

materials: white paper, colored paper, scissors, glue or plasticine, stacks, cardboard.

visual range: real and fabulous birds (slides of book illustrations, toy).

The rhythm of lines and spots, color, proportions are means of expression (generalization of the topic)

Creation of a collective panel on the theme "Spring. Noise of birds".

materials: large sheets for panels, gouache, paper, scissors, glue.

visual range: children's works made on the theme "Spring", slides of branches, spring motives.

General lesson of the year

The class is made up of children's work completed during the year. The opening of the exhibition should be a joyful holiday, an event in school life. The lessons are held in the form of a conversation, consistently reminding the children of all the topics of the training quarters. Three "Brother-Masters" help the teacher in the game-conversation. Parents and other teachers are invited to the lessons (if possible).

visual range: children's work expressing the tasks of each quarter, slides, reproductions of works by artists and folk art, helping to reveal the topics.

3rd grade (34-68 hours)

Art around us

One of the main ideas of the program: "From the native threshold - to the world of Earth culture", that is, from familiarization with the culture of one's people, even from the culture of one's "small motherland" - without this there is no way to universal human culture.

Education in this class is based on introducing children to the world of art through the knowledge of the surrounding objective world, its artistic meaning. Children are brought to the understanding that objects have not only a utilitarian purpose, but are also carriers of spiritual culture, and this has always been the case - from ancient times to the present day. It is necessary to help the child to see the beauty of the things around him, objects, objects, works of art, paying special attention to the role of artists - "Masters of Images, Decorations, Buildings" - in creating the environment for human life.

At the end of the year, children should feel that their life, the life of every person, is daily connected with the activities of the arts. The final lessons of each quarter should contain the question: "What would happen if the "Brothers-Masters" did not participate in the creation of the world around you - at home, on the street, etc.?" Understanding the huge role of the arts in real everyday life should be a discovery for children and their parents.

Topic 1. Art in your home (8-16 hours)

Here, the "Masters" take the child to his apartment and find out what each of them "did" in the immediate environment of the child, and in the end it turns out that without their participation not a single object of the house was created, there would not be a house itself.

your toys

Toys - what they should be - was invented by the artist. Children's toys, folk toys, homemade toys. Modeling toys from plasticine or clay.

materials: plasticine or clay, straw, wood blanks, paper, gouache, water-based paint for soil; small brushes, swabs.

visual range: folk toy (slides): haze, gorodets, filimonovo, carved toy from Bogorodsk, toys from improvised material: packaging, fabric, fur.

Literary series: proverbs, sayings, folklore, Russian folk tales.

musical series: Russian folk music, P. Tchaikovsky "Children's Album".

Dishes at home

Everyday and holiday utensils. Design, shape of objects and painting and decoration of dishes. The work of "Masters of Construction, Decoration and Imagery" in the manufacture of utensils. Image on paper. Modeling of dishes from plasticine with painting on a white primer.

At the same time, the purpose of the dishes is necessarily emphasized: for whom it is, for what occasion.

materials: tinted paper, gouache, plasticine, clay, water-based paint.

visual range: samples of utensils from natural fund, slides of folk utensils, utensils from different materials (metal, wood, plastic).

Mom's handkerchief

A sketch of a scarf: for a girl, for a grandmother, that is, different in content, pattern rhythm, color, as a means of expression.

materials: gouache, brushes, white and colored paper.

visual range: slides of natural motifs for scarves, scarves and fabrics, samples of children's work on this topic.

musical series: Russian folk music (as a background).

Wallpaper and curtains in your house

Sketches of wallpaper or curtains for a room with a clear purpose: bedroom, living room, nursery. It can also be done in the technique of heeling.

materials: gouache, brushes, cliches, paper or fabric.

visual range: excerpts from some fairy tale, which provides a verbal description of the rooms of a fairy-tale palace.

musical series: musical excerpts characterizing different states: stormy (F. Chopin "Polonaise" in A flat major, op. 53), calm, lyrically tender (F. Chopin "Mazurka" in A minor, op. 17).

your books

The artist and the book. Illustrations. book form. Font. Initial letter. Illustrating the chosen fairy tale or designing a toy book.

materials: gouache, brushes, white or colored paper, crayons.

visual range: covers and illustrations for well-known fairy tales (illustrations by different authors for the same fairy tale), slides, toy books, children's books.

Literary series: The text of the selected story.

greeting card

Sketch for a postcard or decorative bookmark (based on plant motifs). Execution in the technique of scratching, engraving with stickers or graphic monotype is possible.

materials: small paper, ink, pen, wand.

visual range: slides from woodcuts, linoleum, etchings, lithographs, samples of children's work in various techniques.

What did the artist do in our house (generalization of the topic). The artist took part in the creation of all the items in the house. He was assisted by our "Masters of Image, Decoration and Construction". Understanding the role of each. The shape of the object and its decoration. At a generalizing lesson, you can organize a game of artists and spectators or a game of guides at an exhibition of works completed during the quarter. Three "Masters" are talking. They tell and show what objects surround people at home in everyday life. Are there objects at home that the artists did not work on? Understanding that everything related to our life would not exist without the work of artists, without the fine, decorative and applied arts, architecture, design, this should be the result and at the same time a discovery.

Topic 2. Art on the streets of your city (7–2 pm)

It all starts at the doorstep of your own home. This quarter is devoted to this "threshold". And there is no Motherland without him. Not just Moscow or Tula - but exactly the native street that runs "near the face" of your house, well-trodden by feet.

Monuments of architecture - heritage of centuries

The study and image of an architectural monument, their native places.

materials: tinted paper, wax crayons or gouache, white paper.

Literary series: Content related to the selected architectural monument.

Parks, squares, boulevards

Architecture, construction of parks. The image of the park. Leisure parks, museum parks, children's parks. Image of a park, square, a collage is possible.

materials: colored, white paper, gouache or wax crayons, scissors, glue.

visual range: view slides, reproductions of paintings.

Openwork fences

Cast-iron fences in St. Petersburg and in Moscow, in his native city, wooden architraves openwork. The project of an openwork lattice or gate, cutting out of folded colored paper and gluing them into a composition on the theme "Parks, squares, boulevards".

materials: colored paper, scissors, glue.

visual range: slides of ancient fences in Moscow and St. Petersburg. Modern decorative lattices and fences in our cities.

Lanterns in the streets and parks

What are lanterns? The shape of the lanterns is also created by the artist: a festive, solemn lantern, a lyrical lantern. Lanterns on city streets. Lanterns are the decoration of the city. The image or design of the shape of a paper lantern.

materials

Shop windows

If you have extra time, you can make group volumetric layouts.

materials: white and colored paper, scissors, glue.

visual range: slides with decorated showcases. Children's work of previous years.

Transport in the city

The artist also participates in creating the shape of the machines. Machines of different times. The ability to see the image in the form of machines. Invent, draw or build images of fantastic machines (land, water, air) out of paper.

materials: white and colored paper, scissors, glue, graphic materials.

visual range: photos of transport. Slides of old vehicles. Reproductions from magazines.

What did the artist do on the streets of my city (in my village)

Again, the question should arise: what would happen if our "Brothers-Masters" did not touch anything on the streets of our city? In this lesson, one or more collective panels are created from individual works. This may be a panorama of the street of the district from several drawings glued into a strip in the form of a diorama. Here you can place fences and lights, vehicles. The diorama is complemented by figures of people, flat cuttings of trees and bushes. You can play "tour guides" and "journalists". Tour guides talk about their city, about the role of artists who create the artistic image of the city.

Theme 3. The artist and the spectacle (10–20 h)

The "Brothers-Masters" have been involved in the performing arts since ancient times. But even today their role is irreplaceable. At the discretion of the teacher, it is possible to combine most of the lessons of the topic with the idea of ​​​​creating a puppet show, for which a curtain, scenery, costumes, puppets, and a poster are sequentially performed. At the end of the generalizing lesson, you can arrange a theatrical performance.

Theatrical masks

Masks of different times and peoples. Masks in ancient images, in the theater, at the festival. Designing expressive sharp-character masks.

materials: colored paper, scissors, glue.

visual range: photographs of masks of different nations and theatrical masks.

Theater artist

Fiction and truth of the theater. Theater holiday. The scenery and costumes of the characters. Theater on the table. Creation of the layout of the scenery of the performance.

materials: cardboard box, multi-colored paper, paints, brushes, glue, scissors.

visual range: slides from sketches of theater artists.

Literary series: selected tale.

Puppet Theatre

Theatrical puppets. Petrushka Theatre. Glove puppets, stick puppets, puppets. The work of the artist on the doll. Characters. The image of the doll, its design and decoration. Making a puppet in class.

materials: plasticine, paper, scissors, glue, fabric, thread, small buttons.

visual range: slides depicting theater puppets, reproductions from books about puppet theater, filmstrip.

theater curtain

The role of the curtain in the theatre. The curtain and the image of the play. Curtain sketch for the performance (teamwork, 2-4 people).

materials: gouache, brushes, large paper (can be from wallpaper).

visual range: slides of theatrical curtains, reproductions from books about puppet theater.

Poster, poster

The meaning of the poster. The image of the performance, its expression in the poster. Font. Image.

Poster design for the performance.

materials: large format colored paper, gouache, brushes, glue.

visual range: theater and circus posters.

Artist and circus

The role of the artist in the circus. The image of a joyful and mysterious spectacle. Image of a circus performance and its characters.

materials: colored paper, crayons, gouache, brushes.

How artists help make a holiday. The artist and the spectacle (summary lesson)

Holiday in the city. "Masters of Image, Decoration and Buildings" help create the Holiday. Sketch of the decoration of the city for the holiday. Organization of an exhibition of all works on the topic in the class. It’s great if you manage to make a performance and invite guests and parents.

Topic 4. The artist and the museum (8-16 hours)

Having become acquainted with the role of the artist in our daily life, with various applied forms of art, we conclude the year with the theme of the art that is kept in museums. Every city can be proud of its museums. Museums of Moscow, St. Petersburg and other cities of Russia are the keepers of the greatest works of world and Russian art. And every child should touch these masterpieces and learn to be proud of the fact that it is his hometown that keeps such great works. They are kept in museums. In Moscow there is a museum - a shrine for Russian culture - the Tretyakov Gallery. She needs to be told first. Today the Hermitage and the Russian Museum play a huge role – centers of international artistic relations, there are many small, also interesting museums and exhibition halls.

However, the topic "Museums" is wider. Museums are not only art, but all aspects of human culture. There are also "home museums" in the form of family albums that tell about the history of the family, interesting stages of life. Maybe a home museum of toys, stamps, archaeological finds, just personal memorabilia. All this is part of our culture. "Brothers-Masters" help in the competent organization of such museums.

Museums in the life of the city

Various museums. The role of the artist in the organization of the exhibition. The largest art museums: the Tretyakov Gallery, the Museum of Fine Arts. A.S. Pushkin, the Hermitage, the Russian Museum, museums of the native city.

The art that is kept in these museums

What is a "picture". Still life painting. still life genre. Still life as a story about a person. The image of a still life on representation, expression of mood.

materials: gouache, paper, brushes.

visual range: slides of still lifes with a pronounced mood (J. B. Chardin, K. Petrov-Vodkin, P. Konchalovsky, M. Saryan, P. Kuznetsov, V. Stozharov, V. Van Gogh, etc.).

Homework: to look at the museum or at the exhibition of still lifes of different authors.

landscape painting

We are watching famous landscapes: I. Levitan, A. Savrasov, N. Roerich, A. Kuindzhi, V. Van Gogh, K. Koro. The image of the landscape according to the presentation with a pronounced mood: a joyful and festive landscape; gloomy and dreary landscape; gentle and melodious landscape.

Children in this lesson will remember what mood can be expressed with cold and warm colors, deaf and sonorous, and what can happen when they are mixed.

materials: white paper, gouache, brushes.

visual range: slides with examples of a picturesque landscape with a pronounced mood (V. Van Gogh, N. Roerich, I. Levitan, A. Rylov, A. Kuindzhi, V. Byalynitsky-Birulya).

musical series: The music in this lesson can be used to create a specific mood.

Portrait painting

Introduction to the genre of portraiture. A portrait from memory or from an idea (portrait of a girlfriend, friend).

materials: paper, gouache, brushes (or pastel).

visual range: slides of picturesque portraits of F. Rokotov, V. Serov, V. Van Gogh, I. Repin.

The museums keep sculptures by famous masters

Learning to look at sculpture. Sculpture in the museum and on the street. Monuments. park sculpture. Sculpting a human or animal figure (in motion) for park sculpture.

materials: plasticine, stacks, cardboard stand.

visual range: slides from the sets "Tretyakov Gallery", "Russian Museum", "Hermitage" (works by A.L. Bari, P. Trubetskoy, E. Lansere).

Historical paintings and paintings of everyday genre

Acquaintance with works of historical and everyday genre. An image based on the presentation of a historical event (on the theme of Russian epic history or the history of the Middle Ages, or an image of one's daily life: breakfast in the family, we play, etc.).

materials: a large sheet of colored paper, crayons.

Museums preserve the history of artistic culture, the creations of great artists (generalization of the topic)

"Tour" of the exhibition of the best works of the year, a celebration of the arts with its own scenario. To summarize: what is the role of the artist in the life of every person.

4th grade (34-68 hours)

Every nation is an artist (image, decoration, building
in the work of the peoples of the whole earth)

The purpose of the artistic education and training of a child in the 4th grade is to form an idea of ​​the diversity of artistic cultures of the peoples of the Earth and the unity of peoples' ideas about the spiritual beauty of man.

The diversity of cultures is not accidental - it always expresses the deep relationship of each people with the life of nature, in the environment of which its history develops. These relationships are not immovable - they live and develop in time, are associated with the influence of one culture on another. This is the basis of the originality of national cultures and their relationship. The diversity of these cultures is the wealth of human culture.

The integrity of each culture is also an essential element of the content that children need to experience. The child today is surrounded by a multifaceted disorder of cultural phenomena that come to him through the media. A healthy artistic sense is looking for order in this chaos of images, so each culture must be conveyed as a "holistic artistic personality."

Artistic representations should be given as visible tales of cultures. Children by age are not yet ready for historical thinking. But they are characterized by a desire, sensitivity to a figurative understanding of the world, correlated with the consciousness expressed in folk arts. Here "should" dominate the truth of the artistic image.

By joining through co-creation and perception to the origins of the culture of their people or other peoples of the Earth, children begin to feel like participants in the development of mankind, open the way for further expansion of susceptibility to the riches of human culture.

The diversity of ideas of different peoples about beauty is revealed in the process of comparing native nature, labor, architecture, human beauty with the culture of other peoples.

The educational tasks of the year provide for the further development of skills in working with gouache, pastel, plasticine, paper. The tasks of labor education are organically linked with artistic ones. In the process of mastering the skills of working with a variety of materials, children come to understand the beauty of creativity.

In the 4th grade, the importance of collective work in the educational process increases. A significant role in the program of the 4th grade is played by musical and literary works, which make it possible to create a holistic view of the culture of the people.

Topic 1. The origins of the arts of your people (8-16 hours)

Practical work in the classroom should combine individual and collective forms.

Landscape of native land

Characteristic features, originality of the native landscape. Image of the landscape of his native side. Bringing out its special beauty.

materials: gouache, brushes, crayons.

visual range: slides of nature, reproductions of paintings by Russian artists.

musical series: Russian folk songs.

The image of a traditional Russian house (huts)

Acquaintance with the design of the hut, the meaning of its parts.

Exercise: paper modeling (or modeling) of the hut. Individual-collective work.

Material: paper, cardboard, plasticine, scissors, stacks.

visual range: slides of wooden ensembles of ethnographic museums.

Homework: find images of the Russian village, its buildings.

Decorations of wooden buildings and their meaning

Unity in the work of the Three Masters. Magical representations as poetic images of the world. Hut - the image of a person's face; windows - the eyes of the house - were decorated with platbands; facade - "brow" - frontal board, berths. Decoration of "wooden" buildings created in the last lesson (individually-collectively). Additionally - the image of the hut (gouache, brushes).

materials: white, tinted or wrapping paper, scissors, glue or plasticine for bulky buildings.

visual range: slides from the series "Ethnographic Museums", "Russian Folk Art", "Wooden Architecture of Rus'".

musical series: V.Belov "Lud".

Village - wooden world

Acquaintance with Russian wooden architecture: huts, gates, barns, wells... Wooden church architecture. Image of a village. Collective panel or individual work.

materials: gouache, paper, glue, scissors.

image of human beauty

Each nation has its own image of female and male beauty. Traditional clothing expresses this. The image of a man is inseparable from his work. It combines ideas about the unity of mighty strength and kindness - a good fellow. In the image of a woman, the understanding of her beauty always expresses the ability of people to dream, the desire to overcome everyday life. Beauty is also a guardian. Female images are deeply connected with the image of a bird - happiness (swan).

The image of female and male folk images individually or for a panel (pasted in a panel by the group of the main artist). Pay attention that the figures in children's works should be in motion, not resemble an exhibition of clothes. With additional lessons - making dolls according to the type of folk rag or stucco figures for an already created "village".

materials: paper, gouache, glue, scissors.

visual range: slides of materials from ethnographic museums, books about folk art, reproductions of works by artists: I. Bilibin, I. Argunov, A. Venetsianov, M. Vrubel, etc.

Literary series: fragments from epics, Russian fairy tales, excerpts from Nekrasov's poems.

musical series: folk songs.

Homework: find the image of male and female images of labor and holiday.

Folk holidays

The role of holidays in people's lives. Calendar holidays: autumn harvest festival, fair. A holiday is an image of an ideal, happy life.

Creation of works on the theme of a national holiday with a generalization of the material of the theme.

materials: glued wallpaper panel for panels or sheets of paper, gouache, brushes.

visual range: B. Kustodiev, K. Yuon, F. Malyavin, works of folk decorative art.

Literary series: I. Tokmakova "Fair".

musical series: R. Shchedrin "Naughty ditties", N. Rimsky-Korsakov "Snow Maiden".

Topic 2. Ancient cities of your land (7-14 hours)

Every city is special. It has its own unique face, its own character, each city has its own special destiny. Its buildings in their appearance captured the historical path of the people, the events of their lives. The word "city" comes from "to fence", "to fence off" with a fortress wall - to fortify. On the high hills, reflected in the rivers and lakes, cities grew with white walls, domed temples, and the chiming of bells. There are no other cities like this. Reveal their beauty, the wisdom of their architectural organization.

Ancient Russian city-fortress

Task: study of the structures and proportions of fortress towers. Construction of fortress walls and towers from paper or plasticine. An illustrative version is possible.

materials: according to the selected job option.

ancient cathedrals

Cathedrals embodied the beauty, power and strength of the state. They were the architectural and semantic center of the city. These were the shrines of the city.

Acquaintance with the architecture of the ancient Russian stone church. Construction, symbolism. Paper building. Collective work.

materials: paper, scissors, glue, plasticine, stacks.

visual range: V. Vasnetsov, I. Bilibin, N. Roerich, slides "Walking around the Kremlin", "Cathedrals of the Moscow Kremlin".

Ancient city and its inhabitants

Modeling of the entire residential content of the city. Completion of the "construction" of the ancient city. Possible option: image of an ancient Russian city.

Old Russian warriors - defenders

Image of ancient Russian warriors of the princely squad. Clothing and weapons.

materials: gouache, paper, brushes.

visual range: I. Bilibin, V. Vasnetsov, illustrations for children's books.

Ancient cities of the Russian land

Moscow, Novgorod, Pskov, Vladimir, Suzdal and others.

Acquaintance with the originality of different ancient cities. They are similar and unlike each other. Image of different characters of Russian cities. Practical work or conversation.

materials: for graphic technique - crayons, for monotype or painting - gouache, brushes.

Pattern of towers

Terem architecture images. Painted interiors. Tiles. Image of the interior of the ward - preparing the background for the next task.

materials: paper (tinted or colored), gouache, brushes.

visual range: slides "Ancient chambers of the Moscow Kremlin", V. Vasnetsov "Chambers of Tsar Berendey", I. Bilibin, A. Ryabushkin, reproductions of paintings.

Festive feast in the chambers

Collective applicative panel or individual images of the feast.

materials: glued wallpaper for panels and sheets of paper, gouache, brushes, glue, scissors.

visual range: slides of the Kremlin and chambers, V.Vasnetsov illustrations for Russian fairy tales.

Literary series: A. Pushkin "Ruslan and Lyudmila".

musical series: F. Glinka, N. Rimsky-Korsakov.

Topic 3. Every nation is an artist (11-22 hours)

"Brothers-Masters" lead children from meeting with the roots of their native culture to understanding the diversity of artistic cultures of the world. The teacher can choose the optimal cultures in order to have time to live them interestingly with the children. We offer three in the context of their links to the culture of the modern world. This is the culture of Ancient Greece, medieval (Gothic) Europe and Japan as an example of the culture of the East, but the teacher can take Egypt, China, India, the cultures of Central Asia, etc. for study. It is important for children to realize that the world of artistic life on Earth is extremely diverse - and this is very interesting, joyful. Through art, we join the worldview, the soul of different peoples, empathize with them, become spiritually richer. That is what needs to be done in these lessons.

The artistic cultures of the world are not the history of the arts of these peoples. This is the spatial and objective world of culture, in which the soul of the people is expressed.

There is a convenient methodological and playful way, so as not to deal with history, but to see a holistic image of culture: the journey of a fairy-tale hero through these countries (Sadko, Sinbad the Sailor, Odysseus, the Argonauts, etc.).

Each culture is viewed in four ways: the nature and character of buildings, the people in this environment, and the holidays of peoples as an expression of ideas about the happiness and beauty of life.

The image of the artistic culture of ancient Greece

Lesson 1 - the ancient Greek understanding of human beauty - male and female - on the example of the sculptural works of Myron, Polykleitos, Phidias (man is the "measure of all things"). The sizes, proportions, designs of the temples were in harmony with the person. Admiration for a harmonious, athletically developed person is a feature of the worldview of the people of Ancient Greece. Image of figures of Olympic athletes (a figure in motion) and procession participants (figures in clothes).

Lesson 2 - the harmony of man with the surrounding nature and architecture. The idea of ​​Doric ("masculine") and Ionic ("feminine") order systems as a character of proportions in the construction of a Greek temple. Image of images of Greek temples (semi-volumetric or flat applications) for panels or volume modeling from paper.

Lesson 3 - ancient Greek holidays (panel). It can be the Olympic Games or the Great Panathenaic Festival (a solemn procession in honor of the beauty of a person, his physical perfection and strength, which the Greeks worshiped).

materials: gouache, brushes, scissors, glue, paper.

visual range: slides of the modern image of Greece, slides of the works of ancient Greek sculptors.

Literary series In: Myths of Ancient Greece.

The image of the artistic culture of Japan

Depiction of nature through details typical of Japanese artists: a tree branch with a bird, a flower with a butterfly, grass with grasshoppers, dragonflies, a branch of cherry blossoms against the backdrop of fog, distant mountains...

An image of Japanese women in national dress (kimono) with the transfer of characteristic facial features, hairstyles, wave-like movements, figures.

Collective panel "Cherry Blossom Festival" or "Chrysanthemum Festival". Individual figures are made individually and then glued into a common panel. The group of the "lead artist" is working on the background.

materials: large sheets of paper for collective work, gouache, pastel, pencils, scissors, glue.

visual range: engravings by Utamaro, Hokusai - female images, landscapes; slides of modern cities.

Literary series: Japanese poetry.

The Image of the Artistic Culture of Medieval Western Europe

Craft workshops were the main strength of these cities. Each workshop had its own clothes, its own insignia, and its members were proud of their craftsmanship, their community.

Work on the panel "Holiday of craftsmen's workshops on the city square" with the preparatory stages of studying architecture, clothing of a person and his environment (objective world).

materials: large sheets of paper, gouache, pastel, brushes, scissors, glue.

visual range: slides of Western European cities, medieval sculpture and clothing.

Diversity of artistic cultures in the world (generalization of the topic)

Exhibition, conversation - fixing in the minds of children the theme of the quarter "Every nation is an artist" as the leading theme of all three quarters of this year. The result is not the memorization of names, but the joy of sharing the discoveries of other cultural worlds already lived by children. Our three "Brothers-Masters" in this lesson should help the teacher and children not to study, memorize monuments, but to understand the difference in their work in different cultures - to help them understand why buildings, clothes, decorations are so different.

Theme 4. Art unites peoples (8-16 hours)

The last quarter of this class completes the elementary school program. The first stage of training ends. The teacher needs to complete the main lines of awareness of art by the child.

The themes of the year introduced children to the richness and diversity of peoples' ideas about the beauty of the phenomena of life. Everything is here: the understanding of nature, and the connection of buildings with it, and clothes and holidays - everything is different. We should have realized that it is wonderful that humanity is so rich in different artistic cultures and that they are not randomly different. In the fourth quarter, the tasks change fundamentally - they seem to be opposite - from ideas about great diversity to ideas about unity for all peoples to understand the beauty and ugliness of the fundamental phenomena of life. Children must see that no matter what the difference, people remain people, and there is something that is perceived by all the peoples of the Earth as equally beautiful. We are a single tribe of the Earth, despite all the dissimilarity, we are brothers. Common to all peoples are ideas not about external manifestations, but about the deepest, not subject to external conditions of nature and history.

All nations sing of motherhood

Every person in the world has a special relationship with his mother. In the art of all peoples there is a theme of chanting motherhood, the mother who gives life. There are great works of art on this subject, understandable and common to all people. According to the presentation, children portray mother and child, trying to express their unity, their affection, their attitude towards each other.

materials

visual range: "Vladimir Mother of God", Raphael "Sistine Madonna", M. Savitsky "Partisan Madonna", B. Nemensky "Silence", etc.

musical series: lullaby.

All nations sing the wisdom of old age

There is beauty external and internal. The beauty of spiritual life. Beauty in which life experience is expressed. The beauty of the connection between generations.

Task for the image of a beloved elderly person. The desire to express his inner world.

materials: gouache (pastel), paper, brushes.

visual range: portraits of Rembrandt, self-portraits of V. Tropinin, Leonardo da Vinci, El Greco.

Empathy is a great art theme

Since ancient times, art has sought to evoke the empathy of the viewer. Art affects our feelings. Depiction of suffering in art. Through art, the artist expresses his sympathy for the suffering, teaches to empathize with someone else's grief, someone else's suffering.

Exercise: a drawing with a dramatic plot invented by the author (a sick animal, a dead tree).

materials: gouache (black or white), paper, brushes.

visual range: S. Botticelli "Abandoned", Picasso "Beggars", Rembrandt "The Return of the Prodigal Son".

Literary series: N. Nekrasov "Crying children".

Heroes, fighters and defenders

In the struggle for freedom and justice, all peoples see the manifestation of spiritual beauty. All nations sing of their heroes. In every nation, many works of art - painting, sculpture, music, literature - are devoted to this topic. The heroic theme in the art of different peoples. Sketch of a monument to the hero at the choice of the author (child).

materials: plasticine, stacks, plank.

visual range: monuments to the heroes of different nations, monuments of the Renaissance, sculptural works of the 19th and 20th centuries.

Youth and hope

The theme of childhood, youth in art. An image of the joy of childhood, dreams of happiness, exploits, travels, discoveries.

Art of the peoples of the world (generalization of the topic)

Final exhibition of works. Open lesson for parents, teachers. Discussion.

materials: paper for paperwork, glue, scissors, etc.

visual range: the best works for the year or for the entire elementary school, collective panels, art history material collected by children on topics.

Literary and musical series: at the discretion of the teacher as an illustration to the messages of the guides.

As a result of studying the program, students:

They master the basics of primary ideas about three types of artistic activity: an image on a plane and in volume; construction or artistic design on a plane, in volume and space; decoration or decorative art activity using various art materials;

Acquire primary skills in artistic work in the following arts: painting, graphics, sculpture, design, the beginnings of architecture, arts and crafts and folk art forms;

Develop their observational and cognitive abilities, emotional responsiveness to aesthetic phenomena in nature and human activity;

Develop fantasy, imagination, manifested in specific forms of creative artistic activity;

They master the expressive possibilities of artistic materials: paints, gouache, watercolor, pastel and crayons, charcoal, pencil, plasticine, design paper;

Acquire primary skills of artistic perception of various types of art; an initial understanding of the features of the figurative language of different types of art and their social role - the significance in the life of a person and society;

Learn to analyze works of art; acquire knowledge of specific works of outstanding artists in various art forms; learn to actively use artistic terms and concepts;

They acquire the initial experience of independent creative activity, as well as acquire the skills of collective creativity, the ability to interact in the process of joint artistic activity;

They acquire primary skills in depicting the objective world, images of plants and animals, initial skills in depicting space on a plane and spatial constructions, primary ideas about depicting a person on a plane and in volume;

They acquire communication skills through the expression of artistic meanings, expression of their emotional state, their attitude to creative artistic activity, as well as in the perception of works of art and creativity of their comrades;

They gain knowledge about the role of an artist in various spheres of human life, about the role of an artist in organizing forms of communication between people, creating a living environment and an objective world;

They acquire ideas about the activities of the artist in synthetic and spectacular arts (in theater and cinema);

They acquire primary ideas about the richness and diversity of the artistic cultures of the peoples of the Earth and the foundations of this diversity, about the unity of emotional and value relations to the phenomena of life.

2.2. The design of the school program of art education.

This scheme reveals the content of the program - its "three stages".

The first stage - elementary school - as if the pedestal of the whole building - is composed of four steps and is of fundamental importance. Without having received the development laid down here, it is (almost) useless to gain knowledge of the next stages. They may turn out to be external, not included in the construction of the personality. We constantly repeat to teachers: from whatever class you start working with unprepared, "raw" children, you need to start from this stage.

And here the content of the first two classes is especially significant - they cannot be bypassed, they lay the foundations of the entire course, all stages of the formation of artistic thinking.

Missing the basics laid down here is like missing an elementary introduction to the existence of numbers in mathematics, with the ability to add and subtract them. Although more complex foundations of the arts are also laid here.

As the diagram suggests, the first stage, the primary classes, are aimed at an emotional familiarization with the links between art and life. In general, this problem is the basis of the essence of the program. Art is cognized precisely in this connection: its role in the life of each of us is cognized and the means are realized - the language through which art performs this function.

At the first stage, the arts are not divided into types and genres - their life roles are learned, as it were, from the personality of the child into the breadth of the cultures of the peoples of the Earth.

The second stage is completely different. Here, links with life are traced precisely to the types and genres of art. A large, at least a year, integral block is dedicated to each. Immersion in feelings and thoughts and awareness of the peculiarities of the language of each type of art and the reasons for this particularity, the uniqueness of the spiritual, social function, role in the life of a person and society. Year - decorative and applied arts. Two years - pictorial. The year is constructive. Ninth grade - synthetic arts.

And the third stage is the final secondary education. Here everyone needs to be given a fairly serious level of knowledge of art history either in the course of "World Artistic Culture", or in the courses of parallel programs of plastic arts, music, literature, cinema. Each option has its own advantages and disadvantages.

But in parallel with this theoretical course, it would be necessary to give, at the choice of the student, but precisely to everyone, one of the practical courses: “graphic literacy”, “decorative literacy”, “design literacy”, “fundamentals of spectacular culture”. Only by creating such a dual unity of the theoretical and practical at the stage of completion of general education, we will be able to compete in the economy (and in culture) with economically developed countries. This way of completing secondary education, for example, has been operating in Japan for more than fifty years.

Today we are raising the problem of the connection between the arts and the attitude of the world. But no less significant are its links with the economy. It is this side that experts from different countries emphasize, where art is given space (up to six hours a week).

This program is designed for 1-2 teaching hours per topic. Ideally, the implementation of all topics should take at least two hours (double lesson).

However, with a clear use of the developed methodology, it is realistic (albeit weakened) to conduct classes on the topic in one lesson. Everything depends on the school's understanding of the role of art education.

Conclusion

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

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

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

But in order to develop the creative abilities inherent in nature in each pupil, the teacher himself must understand the fine arts, children's creativity, and master the necessary methods of artistic activity. The teacher must manage all the processes associated with the creation of an expressive image: with the aesthetic perception of the object itself, the formation of ideas about the properties and general appearance of the object, the development of the ability to imagine based on existing ideas, mastery of the expressive properties of colors, lines, shapes, the embodiment of children's ideas in the drawing , modeling, applications, etc.

Thus, in the process of visual activity, various aspects of education are carried out: sensory, mental, aesthetic, moral and labor. This activity is of primary importance for aesthetic education; It is also important for preparing children for school.

It should be emphasized that it is possible to ensure the comprehensive development of the student only if the attention of the teacher is directed to solving this problem, if the program for teaching visual activity is carried out, and the correct and varied methodology is used.

Bibliography

1. http://www.prosv.ru/ebooks/Pleshakov_ShkolaRossii_Ch2/1.html
2. Alekseeva O., Yudina N. Integration in fine arts. // Elementary School. - 2006. - No. 14.
3. Arnheim R. Art and visual perception. - M.: Architecture-S, 2007. - 392 p.
4. Bazhov Encyclopedia. Edited by Blazhes V.V. - Yekaterinburg: Socrates, 2007. - 639 p.
5. Bashaeva T.V. The development of perception in children. Shape, color, sound. - Yaroslavl: Academy of Development, 1998. - 239 p.
6. Blonsky P.P. Psychology of the junior school student. - M.: Academy of Psychological and Social Sciences, 2006. - 631s.
7. Bogoyavlenskaya D.B. Psychology of creative abilities. - M.: Academy, 2002. - 320 p.

8. Grigorovich L.A. Development of creative potential as an actual pedagogical problem. - Chelyabinsk, 2006.

9. Gin S.I. World of fantasy (a manual for primary school teachers). - Gomel, 2003.

Musiychuk M.V. Workshop on the development of personality creativity. - MGPI, 2002. S. 45

11. Sokolnikova N.M. Visual arts and methods of its teaching in elementary school. - M., 2007.

Sokolnikova N.M. Visual arts and methods of its teaching in elementary school. - M., 2007.

Musiychuk M.V. Workshop on the development of personality creativity. - MGPI, 2002. S. 45

Musiychuk M.V. Workshop on the development of personality creativity. - MGPI, 2002.

Grigorovich L.A. Development of creative potential as an actual pedagogical problem. - Chelyabinsk, 2006.

Gin S.I. World of fantasy (a manual for primary school teachers). - Gomel, 2003.

http://www.prosv.ru/ebooks/Pleshakov_ShkolaRossii_Ch2/1.html

Bibliographic description:

Nesterova I.A. Lesson of fine arts (FINE) at school [Electronic resource] // Educational encyclopedia site

The role of fine arts as one of the most important general education subjects is growing in the modern Russian school. The art lesson helps to develop children's susceptibility to the world of beauty.

Lesson of fine arts according to GEF

The Federal State Educational Standard regulates the main educational processes and stages of education in a general education school. Being an important element of the education system, the subject of fine arts is subject to the requirements of the federal educational standard.

The purpose of art lessons at school, one can name the formation of artistic, aesthetic, spiritual and moral culture, the development of the creative potential of schoolchildren as a factor necessary for the progressive development and formation of students as individuals.

Being endowed with a system of educational tasks depending on the age group of students, there are four types of fine arts lessons at school: drawing from nature, decorative drawing, drawing on topics, conversations, about art.

Figure 1. Tasks of art lessons

According to the norms of the Federal State Educational Standard, art lessons are held from the first to the sixth grade. The duration of the course is 213 teaching hours.

Figure 2. Distribution of teaching hours

If you look in the context of "by year of study", then the fine arts lessons are distributed in such a way that the largest number of hours is devoted to drawing from life.

The dominance of drawing from life in art lessons is due to the following factors:

1. Drawing from life is a method of visual education and gives excellent results not only in teaching drawing, but also in the overall development of the child.
2. Drawing from life is an excellent means of aesthetic education of children.

Drawing from nature in a general education school provides not only for the depiction of objects by means of black and white drawing, but also for teaching the elements of painting.

Since drawing from nature is an excellent means of aesthetic education of children, it becomes obvious that by drawing a landscape, a tree, a flower from nature, studying the nature of the form of these objects, the child shows interest in the beauties of nature, in the richness and variety of its forms and colors.

Having carefully studied the requirements for fine arts lessons at school, it was found that in addition to drawing from nature, the general school curriculum includes the following:

1. pattern making tasks
2. album design,
3. interior decorating assignments.

Such tasks are aimed at developing the creative abilities of students and involving them in socially useful work.

The task of decorative drawing is to enable students to become familiar with the key principles of arts and crafts.

At the lesson of fine arts (FINE) at school, while teaching the skills of decorative drawing, children learn how to make patterns, the laws of composition, continue to master the skills of working with watercolors, gouache, ink, study the ornamental creativity of the Russian people, the peoples of the fraternal republics and other peoples.

Figure 3. Rules for the design of decorative patterns

At the lessons of fine arts at school, as part of thematic drawing classes, children receive the following skills:

1. image of various scenes from the surrounding life,
2. illustration of literary works,
3. creative compositions of paintings on a variety of topics,
4. images on topics invented by the children themselves,

At the lesson of fine arts, through drawing-composition, children express their impressions, their way of perceiving the world around them. Separately, it is necessary to mention special talks about the fine arts. They are organized mainly during extra-curricular time. During conversations, the teacher introduces students to the life and work of outstanding painters, sculptors and architects. In addition, students will learn by what means the artists achieved the ideological depth, emotional expressiveness of their paintings.

Preparing a teacher for an art lesson

It is one of the important aspects reflected in the GEF. The readiness of the teacher for the lesson, along with special training expressed in the basics of drawing, painting, DPI, knowledge of the theory and history of fine arts, is determined by the following factors:

1. A clear orientation in the goals and objectives of teaching fine arts;
2. Possession of modern and relevant methods of compiling outlines of lessons in fine arts and arts;
3. Possession of the skills of teaching fine arts, contributing to the assimilation of culture, ensuring the acquisition of knowledge.

Preparing a teacher for an art lesson- a key element of teaching this discipline in a modern school. It must fully comply with the requirements for the quality of teaching fine arts.

Preparing a teacher for a lesson includes the use of various programs, manuals, methodological literature, the study of innovative methods, a thematic plan for studying each topic in a subject, lesson planning, i.e. drawing up a plan or plan - a summary of the lesson.

In accordance with the second generation of the Federal State Educational Standard, in the process of preparing for an art lesson, a modern teacher must take into account a number of important aspects without which the lesson cannot be considered of high quality. An art teacher must understand that a modern lesson is different from a traditional lesson and requires a different approach to presenting material.

Figure 4. Lesson types

The modern lesson is a lesson aimed at the formation and development of universal educational activities.

Separate attention should be paid to the lesson planning procedure. This requires the following:

1. Determining the topic of the lesson.
2. Determination of the didactic purpose of the lesson on a particular topic.
3. Determining the type of lesson;
4. Thinking about the structure of the lesson.
5. Lesson security.
6. Selection of the content of educational material.
7. Choice of teaching methods.
8. The choice of forms of organization of pedagogical activity.
9. Assessment of knowledge, skills and abilities.
10. Lesson reflection.

Requirements for an art lesson

Currently, the Federal State Educational Standard voices a wide range of requirements for an art lesson. These include both the use of the latest achievements of science and the construction of a lesson based on the laws of the educational process. In addition, the teacher of fine arts is required to implement all didactic principles and provide conditions for productive cognitive activity of students, taking into account their interests. A huge role is played by interdisciplinary connections and connection with previously studied knowledge and skills, reliance on the achieved level of development of students. It is also important to motivate and activate all spheres of the personality of students in the learning process at the fine arts lesson.

Figure 5. Didactic principles

In the fine arts lesson, special emphasis should be placed on the development of emotional responsiveness, the development of students' artistic and creative abilities, so that later they are emotionally rich and open to the world of beauty.

Among the requirements for the lesson of fine arts according to the second generation of the Federal State Educational Standard is the presence.

The technological map of the lesson is a new type of methodological product that ensures the effective and high-quality teaching of training courses at school and the possibility of achieving the planned results of mastering the basic educational programs in accordance with the Federal State Educational Standard.

Figure 6. The structure of the technological map

One of the most important requirements for an art lesson is an adequately formulated goal of the lesson. The nature of the target is shown in the figure below. In addition, the goal of the lesson should be clear and concise.

Figure 7. Characteristics of the purpose of the lesson of fine arts

The solution of the problems of teaching and educating students almost completely depends on the organization and skillful conduct of lessons. Compliance with certain norms when conducting classes in fine arts is a necessary element of successful pedagogical activity at school. Requirements for an art lesson especially strict in relation to its structure. According to the Federal State Educational Standard, the structure of fine arts lessons in secondary school is not much different from the structure of lessons in other subjects and includes the following:

1. Organizing time,
2. homework check,
3. explanation of new material
4. independent work of students,
5. consolidation of the material covered,
6. summarizing.

One of the key requirements for an art lesson is variety and regular change of activities. In other words, art classes don't have to be monotonous. Since the possible list of activities in the art lessons is quite wide, it is very easy to avoid monotony. So, in drawing lessons from nature, children are engaged in both drawing and painting, and in decorative drawing classes, they make patterns, study fonts, create decorative compositions, and get acquainted with the elements of artistic design. If we talk about lessons-conversations, then children will learn new things about art.

The organization of an art lesson requires strict attention to time. It is usually sorely lacking. The skill of the teacher is manifested in the fact that in the time allotted for the lesson, it is possible to do everything that was planned.

Each lesson is divided into strictly timed stages:

1. Organizational stage of the lesson. It includes the following:

1. establishing proper discipline in the classroom,
2. registration of absentees in the class register,
3. attitude towards learning.

An important requirement for an art lesson is a high level of preparation of the teacher's workplace. All necessary materials must be brought and installed in advance in the correct order.

In addition, the teacher needs to teach the children to prepare for the lesson in advance, lay out the drawing supplies in a certain order, and clean and store them in a special place after work.

If in the previous lesson, students were given a homework assignment, they need to check it, point out the typical mistakes to the class and explain how to correct these mistakes.

2. Posting new material. The teacher explains the goals and objectives of the new topic, explains how to complete the task, illustrates his explanations with visual aids - diagrams, drawings, methodological tables. To make sure the students understand it, the teacher asks the class questions as he explains.

3. Independent work of students. After explaining the new material, the children proceed to the drawing. The teacher closely monitors the progress of the work. While the children are drawing, the teacher walks around the class, makes comments, gives additional explanations to some, and sometimes, if necessary, corrects the student's drawing himself.

Separately, it is necessary to pay attention to such aspects as the age characteristics of drawing students. For example, young children draw quickly. The high speed of creating a drawing is due to the fact that children are not yet accustomed to analyzing the results of their actions. As a result, the work is done based on the first impression and completely unsystematic. In such cases, the teacher should pay special attention to the methodical sequence of image construction. Primary school students outline the image not with light, barely noticeable lines, but with clear thick lines that cannot be erased with an elastic band. To overcome this, the teacher must verbally and visually show and explain why it is necessary to draw thin, barely noticeable lines.

The methodology of working with high school students is becoming more flexible and individual, since it is difficult to predict in advance the results of the actions of individual students. To increase the interest of high school students, the use of ICT and other pedagogical innovations is recommended.

4. Summing up the work and completing the lesson. By the end of the work, the teacher chooses the most successful, as well as weak, drawings and shows them to the whole class, explaining their advantages and disadvantages.

So, the main requirements for an art lesson are the following:

1. use of the latest achievements of science
2. building a lesson based on the laws of the educational process
3. implementation of all didactic principles
4. providing conditions for productive cognitive activity, taking into account their interests
5. intersubject communications
6. connection with previously studied knowledge and skills, reliance on the achieved level of development of students
7. motivation and activation of all spheres of personality
8. consistency and emotionality of all stages of educational activities, connection with life, personal experience of students
9. formation of practically necessary knowledge, skills, methods of thinking and activity
10. the formation of the ability to learn, the need to constantly replenish the body of knowledge.

General requirements for a fine art lesson are specified in didactic, educational and developmental requirements.

Very well these types of requirements were described and presented by I.P. Vulnerable. In his opinion, didactic requirements include the following:

1. a clear definition of the educational objectives of each lesson;
2. rationalization of the information content of the lesson, optimization of the content, taking into account social and personal needs;
3. introduction of the latest technologies of cognitive activity;
4. rational combination of various types, forms and methods;
5. creative approaches to the formation of the structure of the lesson;
6. a combination of various forms of collective activity with independent activity of students;
7. providing operational feedback, effective control and management;
8. scientific calculation and mastery of the lesson.

I.P. Podlasy outlined a system of educational requirements for the lesson, which include:

1. determination of the educational opportunities of educational material, activities in the lesson, the formation and setting of realistically achievable educational goals;
2. setting only those educational tasks that organically follow from the goals and content of educational work;
3. education of students on universal human values, the formation of vital qualities;
4. attentive and sensitive attitude towards students, compliance with the requirements of pedagogical tact, cooperation with students and interest in their success.

The developmental requirements for the lesson are shown in Figure 8.

Figure 8. Developmental requirements for the lesson

An important element of the teacher's work on the preparation of a fine arts lesson at school is the preparation of an outline plan. The structure of the outline plan is regulated by the norms of the Federal State Educational Standard.

The structure of the outline of the ISO

When drawing up an outline plan for an art lesson, one should adhere to a certain form and structure. It should reflect everything that is shown in Figure 9.

Figure 9. The structure of the outline of the lesson of fine arts

Now let's turn to what should include art lesson plan.

1. First of all, you need to decide on the type of lesson. At the very beginning of drawing up a lesson plan, you need to indicate what type of lesson it will be devoted to:

1. drawing from nature (drawing or painting),
2. decorative painting,
3. thematic drawing,
4. conversation about art.

2. Then we decide on the wording of the topic of the fine arts lesson. Here we indicate the content of the study work. For example, in drawing from nature - "Drawing of a plaster vase", in painting - "Still life from household items", in decorative drawing - "Composing a pattern in a circle", in thematic drawing - "Autumn in the Forest", in conversations about art - " Types and genres of fine arts.

3. After formulating the topic of the lesson, it is necessary to write concisely and clearly the purpose of the lesson and its objectives.

4. The next step in compiling an outline plan for an art lesson is a list of equipment. For example: two plaster vases, two natural tables, etc. In the abstract, you can also outline the layout of field productions in the classroom.

5. Using the blackboard. The blackboard is included in the equipment of the lesson, but the specifics of our work require a special method of using it. Therefore, we highlight this issue in particular. The teacher needs to think about how to use the blackboard more rationally, how to place didactic material compositionally on its plane.

6. Each teacher must first plan and systematize the course of the art lesson. The content of the lesson should be presented in the form of a methodological note including the following:

1. what material will be covered in the lesson,
2. in what sequence it will be presented and how the study time will be distributed.

Literature

1. Volyavko N.N. Technological map of the lesson as a modern form of planning pedagogical interaction between teacher and students // [Electronic resource] Access mode: http://festival.1september.ru/articles/630119/
2. Podlasy I.P. Pedagogy: 100 questions - 100 answers - M .: VLADOS, 2014