Bibliographic description:
Nesterova I.A. Methods of teaching fine arts [Electronic resource] // Educational encyclopedia site
They boil down to learning the ability to see, feel the expressiveness of drawings, modeling. This is one of the important tasks facing the teacher of fine arts. At the same time, the nature of the questions and comments of the adult should provide a certain emotional response in the soul of the children. Consider the verbal methods of teaching fine arts.
General Methods for Teaching Fine Arts
General methods apply depending on the type of lesson. For example, in plot drawing, when children are taught to convey the plot, in the process of conversation it is necessary to help children imagine the content of the image, composition, features of the transfer of movement, the color characteristic of the image, that is, to think over visual means for conveying the plot. The teacher clarifies with the children some technical methods of work, the sequence of creating an image. Depending on the content of the image: on a literary work, on topics from the surrounding reality, on a free topic - the conversation technique has its own specifics.
So, when drawing on the theme of a literary work, it is important to remember its main idea, idea; emotionally revive the image, read the lines of a poem, fairy tale, characterize the appearance of the characters; recall their relationship; clarify the composition, techniques and sequence of work.
Drawing or modeling on the themes of the surrounding reality requires the revival of a life situation, the reproduction of the content of events, the situation, the clarification of expressive means; compositions, details, ways of conveying movement, etc., clarification of techniques and image sequence.
When drawing on a free topic, preliminary work with children is necessary in order to revive the impressions of the students. Then the teacher invites some children to explain their intention: what they will draw (blind), how they will draw, so that it is clear to others where this or that part of the image will be placed. The teacher clarifies some of the technical methods of work on the example of children's stories.
In lessons where the content of the image is a separate subject, verbal methods of teaching fine arts often accompany the process of its examination. In this case, during the conversation, it is necessary to cause an active meaningful perception of the subject by children, help them understand the features of its form of structure, determine the originality of color, proportional relationships. The nature, content of the teacher's questions should aim the children at establishing dependencies between its functional purpose or the characteristics of living conditions: nutrition, movement, protection. The fulfillment of these tasks is not an end in itself, but a means of forming generalized ideas necessary for the development of independence, activity, and initiative of children in creating an image. The degree of mental, speech activity of schoolchildren in conversations of this kind is the higher, the richer the experience of children.
Special methods of teaching fine arts
At the end of the lesson, you need to help the children feel the expressiveness of the images they have created. For this, special methods of teaching fine arts.
An explanation is a verbal way of influencing the minds of children, helping them to understand and learn what and how they should do during the lesson and what they should get as a result.
The explanation is made in a simple, accessible form at the same time to the whole class or to individual children. Explanation is often combined with observation, showing the ways and techniques of doing work.
Tip - used in cases where the child finds it difficult to create an image.
But do not rush to advice. Children with a slow pace of work and who are able to find a solution on this issue often do not need advice. In these cases, the advice does not contribute to the growth of independence and activity of children.
Reminder in the form of brief instructions is an important teaching method. It is usually used before the start of the imaging process.
Most often it is about the sequence of work. This technique helps children start drawing (sculpting) in time, plan and organize activities.
Encouragement is a methodical technique that should be used more often in working with children. This technique instills confidence in children, makes them want to do a good job, a sense of success.
The feeling of success encourages activity, keeps children active. Of course, the older the children, the more objectively justified should be the experience of success.
Separately, it is worth highlighting such a method of teaching fine arts as an artistic word, which is widely used in the classroom of fine arts. The artistic word arouses interest in the topic, the content of the image, helps to draw attention to children's work. The unobtrusive use of a literary word during the lesson creates an emotional mood, enlivens the image.
The Importance of Visual Arts Teaching Methods
Visual Arts Teaching Methods combine mental and physical activity. To create a drawing, modeling, appliqué, it is necessary to apply efforts, carry out labor actions, master the skills of sculpting, carving, drawing an object of one shape or another or another structure, as well as mastering the skills of handling scissors, pencil and brush, clay and plasticine. Proper possession of these materials and tools requires a certain expenditure of physical strength and labor skills. The assimilation of skills and abilities is associated with the development of such volitional qualities of a person as attention, perseverance, endurance. Children are taught the ability to work, to achieve the desired result.
The participation of children in preparing for classes and cleaning after them also contributes to the formation of industriousness and labor skills. The methods of teaching fine arts are not directly related to this fact, but nevertheless, in the practice of work, often all preparation for the lesson is assigned to the attendants. This is not true. At school, each child must prepare his own workplace, and it is important that he is accustomed to this. It is necessary already in kindergarten to develop labor skills for everyone, to teach them to start work only when everything is ready.
The main significance of the methods of teaching fine arts is that the fine arts is a means of aesthetic education. In the process of visual activity, favorable conditions are created for the development of aesthetic perception and emotions, which gradually turn into aesthetic feelings that contribute to the formation of an aesthetic attitude to reality. Isolation of the properties of objects (shape, structure, size, color, location in space) contributes to the development in children of a sense of form, color, rhythm - the components of an aesthetic sense.
Aesthetic perception is directed primarily to the object as a whole, to its aesthetic appearance - the harmony of form, the beauty of color, the proportionality of parts, etc. At different levels of child development, aesthetic perception has a different content. Therefore, when using teaching methods in the lessons of fine arts, this fact must be taken into account. But a holistic aesthetic perception, imbued with an aesthetic sense of beauty, is still not enough to create an image. Acquaintance with the subject, which will then be depicted, must have a special character. After a holistic perception, children should be led to isolate individual properties that can be reflected in visual activity. However, it is very important to complete the perception with a holistic coverage of the object in the aggregate of all the main properties and evaluate its appearance, its expressive qualities. For example, having carefully examined a birch tree, the thickness of the trunk, the direction of the branches, the color of both, one should again emphasize its harmony, the thinness of the branches, and their smooth bend. At the same time, an aesthetic feeling arises again.
Ovsyannikova Svetlana Ivanovna,
teacher of fine arts of the highest category
MOU lyceum "Politek" Volgodonsk, Rostov region.
Modern methods of teaching fine arts.
In my experience of working with students, I use many methods and technologies, but in my report I want to dwell on only two that are interesting and relevant for modern schoolchildren: this is a method of working on the principle of a creative workshop and a method of teaching computer graphics skills. Both methods are applicable both in the classroom and outside of school hours - in the classroom. However, their use on a mug is more preferable.
A creative workshop for a child is an unlimited opportunity for the development of creative creative thinking and activity. A creative workshop for a teacher is an unlimited field in the use of modern pedagogical technologies, such as personality oriented, helping to realize the natural abilities of students for their development and application in various creative activities; humane - personal, based on all-round respect and love for the child, faith in his creative powers; cooperation technology, allowing to develop goals together with students, to co-create with them, to be their friend, to create exclusively positive emotional accompaniment aimed at developing sustainable interest; differentiated learning by the level of artistic and creative development and potential; problem-based learning allowing to create a problem situation and activate independent activity of students to resolve it; individualization technology according to the design method, which allows you to realize the individuality of the child, his potential and abilities in research and competitive activities.
Work according to the creative workshop method pursues the following goals and objectives:
Improving the knowledge, skills and abilities acquired by the child in the process of learning and life;
Development of independence in search creative activity;
Development of interest in the variety of types and genres of art, the desire to try to master a variety of materials and techniques;
Development of skills and desires to apply the acquired knowledge in practice, in everyday life, in the transformation of personal and environment;
Education of aesthetic literacy, perception of human life in harmony with nature, art, habitat;
Education of love for native and world culture, education of tolerance;
Raising confidence in one's need, significance and relevance for a society that needs products of creative work;
The methodology of the creative workshop is based on the joint activity of the teacher and the student, where the choice of activity is made by the student, and the teacher only advises and corrects the course of his work. The student has the right to choose in what form and genre of fine art he wants to start work, plans his activities with the help of a teacher: he makes a sketch, selects material, prepares a desktop, and then proceeds to carry out his plan. Each student in the creative workshop is an artist preparing to present his work to the audience. Each work performed according to the method of a creative workshop is, in fact, a project, and the finished product is a product that a child presents to competitions, olympiads or exhibitions. In one academic year, depending on abilities, skills and dynamics, one student can make or make from four to twenty creative works in different types and genres of fine arts. And a group of children, 15-20 people, is preparing a full-fledged grandiose exhibition, which presents works made from a wide variety of materials and in a variety of techniques.
Work according to the method of a creative workshop allows you to simultaneously cover a huge number of techniques and materials, which is basically impossible in the traditional educational process. So, for example, a group of guys from 20 people, divided by interests, simultaneously performs completely different work technologies: someone makes scratching, someone stained glass, someone is engaged in painting, someone is graphics, some students make panels from waste material, and some are engaged in floristry, etc. For a teacher, activity according to the workshop method is hard, but interesting work, which does not allow him to be distracted from the children for a minute, but brings creative satisfaction from the results obtained. The work captivates not only students, but also parents who come to see their work and are ready to provide any moral support.
No less important is the psychological aspect of the methodology of work on the principle of a creative workshop. It is no secret that children who begin to engage in fine arts sometimes have a number of complexes, such as: self-doubt, low self-esteem, fear - “I won’t succeed”, “it won’t be beautiful”, “no one will like it”, “I generally I can't do anything" and others. Gradually, these complexes disappear, since the tasks performed by the child in the workshop do not have a constant score (only the final result, brought to perfection, is evaluated), there is no time limit. Ultimately, each child becomes successful, he chooses how and where his finished work can be used: participate in an exhibition, be sent to a competition or presented to his mother.
In the age of information technology, work according to the method of a creative workshop is no longer possible without the ability to work with a computer, and here's why:
A high-quality, interesting, finished work can be used by a child to participate in various competitions, olympiads, conferences and exhibitions.
Such participation often implies the presence of a full-fledged theoretical material, designed according to modern requirements for scientific work, and containing graphs, tables or photographs.
The provisions of many Internet contests stipulate the quality and size of the submitted image, the number of pixels per inch, etc.
Personal exhibition materials can be designed by the child in electronic form in the form of presentations.
Children can create their own website to present their creativity to relatives, friends, etc.
All this assumes the student's ability to work with a computer. But I will focus only on what, in my opinion, a teacher of fine arts should do in this direction.
At the present stage of development of society, computer graphics is becoming another type of fine art. Therefore, a school teacher of fine arts is required to have the skills to work in graphic editors, and must teach this to his students. In my opinion, it is inappropriate to equip classrooms where fine art lessons are held with computers for each table, otherwise there will be nowhere to study with other materials. The primary form is still the classical form of teaching fine arts, that is, working with artistic material. The first way out is to visit a computer class. This option should be included in the schedule in advance, since most schools have only one computer class. The second way out, more accessible, is additional extracurricular activities, that is, a circle.
In the practice of my work, two creative associations have been created: "Magic Tassel" and "Semitsvetik". Associations are located in different schools, and therefore the conditions for applying the methodology for teaching computer graphics are different. In the creative association "Magic Brush" children are engaged on the principle of an individual project, when the teacher explains the main points of working with editors, and then the children, during the time allotted for visiting a computer class or at home at a personal computer, independently create their own graphic works, or process photographs works that are going to be sent to competitions on the Internet. Thus, a child interested in presenting his work to the public and participating in various online competitions follows the following path:
creation of a work in a creative workshop with art, natural and other materials;
photographing him;
processing in graphic editors;
creation of images in graphic editors by the type of artwork by means of computer graphics;
accumulation of images on a personal flash drive;
sending an electronic version to competitions;
creation of a personal page or website for the presentation of their work;
This method is suitable for children over 10 years old, when the teacher's help is only advisory. The Semitsvetik creative association includes the Mouse studio for children aged 8-10, where 1 hour a week is allotted to work with graphic editors. Children are engaged in a group, mastering various graphic editors and their capabilities. The end result is the same: access to Internet competitions, participation in exhibitions, presentation of their work on the Internet.
Let us dwell in detail on the algorithm for teaching children how to work with graphic editors. I believe that students should be introduced, if possible, to a large number of graphic editors, since a holistic perception of their capabilities will give the child the freedom to choose actions and creativity.
Step one: The Paint program, for all its seeming simplicity, allows you to create works of amazing depth and complexity if the child applies all the skills acquired in the classical drawing. All the teacher needs to do is introduce the toolbar and show where and how each tool can be used.
Fig. 1 Egorova Ksenia 11 years old "Room" Fig. 2 Kovaleva Daria 14 years old "Winter"
Fig. 3 Babaniyazova Elena 14 years old "Christmas" Fig. 4 Gaevskaya Irina 13 years old "City"
Step two: the Paint program. Net. This program has many more features that allow you to process and simulate any image. Let's get acquainted with the toolbar, effects, correction, etc. We show how to copy, cut, paste, change and improve the image. It should be noted that any graphics editor is mastered by children very quickly if they are already familiar with Paint.
Step Three: Adobe Photoshop. I introduce this program to children after they have mastered Paint. Net, as Adobe Photoshop is more complex and rich. We master the toolbar, analyze the effects in detail, learn how to work with layers, then adjust, smooth, align, resize, etc.
Fig. 7 Balymova Elena, 13 years old Fig. 8 Milanina Tatyana, 11 years old “Postcard”
"Reflection of Spring"
Elementary school children should work with a graphic editor only under the guidance of a teacher, because sometimes they get so carried away that they overload the image with unnecessary details. It is important to develop a harmonious perception and sense of proportion.
Step four: Corel Photo Paint Pro and more. I must say that the most interesting are those graphic editors that have a huge number of features, as well as those created by amateur programmers. There are many interesting findings in these programs. We have been working with Corel Photo Paint Pro for the second year, it is very rich and students constantly find something new in it.
Fig. 11 Kozlov Danil 9 years old "Sails" Fig. 12 Minina Olga 9 years old "Flower Meadow"
Fig. 13 Leshchenko Kristina 9 years old "Autumn" Fig. 14 Shperle Ekaterina 10 years old "Island"
In the Corel Photo Paint Pro program, it is most interesting for children to make collages, to model images in accordance with their ideas. Each child has his own flash drive, and saves the drawing there at the end of the work.
Unfortunately, teaching computer graphics today is not the responsibility of an art teacher, and is not spelled out in educational programs in fine arts. This is casually done by computer science teachers who have a very remote idea of the fine arts. I believe that only a person who knows the basics of painting, graphics, arts and crafts, design and photography can competently and correctly teach children how to work in graphic editors. But for this he himself must be able to work in them.
DocumentAdditional Education Improvement methodologies teaching pictorial arts1 Modern education system in ... improving my methods teaching pictorial art and interested in new methods teaching. (I can...
Improving the methods of teaching fine arts (1)
DocumentTeacher of fine arts and MHC, Improvement methodologies teaching pictorial art The humanistic nature of education provides for a complete .... Contribute to improving the quality of education modern information technology based on...
Methodology for the development of creative abilities of younger students in arts and crafts at the lessons of fine arts. Completed by: Ivanova A. E
Lesson... contemporary national culture (9; p.126). Practice shows that at each stage of the lesson pictorial art... - M., 1984. - S.101, 103. 4. Kuzin V.S.. Methodology teaching pictorial art in grades 1-3: Teacher's guide. - 2nd ed...
The method of observation underlies the entire system of teaching fine arts. The success of the development of their creative abilities depends on how children develop the ability to observe the environment, establish connections between the phenomena of reality, distinguish between the general and the individual. A great contribution to its development was made by E.A. Flerina, N.P. Sakulina, L.A. Raev. (37, 45)
But observations alone before the lesson will not fully ensure the possibility of depicting what is seen. It is necessary to teach the child special image techniques, ways to use various visual materials. Only in the process of systematic training in the classroom are the abilities of children fully formed.
In kindergarten, in the classroom for visual activities, a variety of methods and techniques are used, which can be conditionally divided into visual and verbal. A special group of techniques specific to the kindergarten is made up of game techniques. They combine the use of visualization and the use of the word.
The teaching method, according to the definition adopted in pedagogy, is characterized by a unified approach to solving the task, determines the nature of all activities of both the child and the teacher in this lesson.
The method of learning is a more private, auxiliary tool that does not determine the entire specifics of the activity in the lesson, which has only a narrow educational value.
Sometimes individual methods can act as only a technique and do not determine the direction of work in the lesson as a whole. For example, if reading a poem (story) at the beginning of the lesson had only the goal of arousing interest in the task, attracting the attention of children, then in this case, reading served as a technique that helped the educator in solving a narrow task - organizing the beginning of the lesson.
Visual methods and teaching methods.
Visual teaching methods and techniques include the use of nature, reproductions of paintings, samples and other visual aids; examination of individual objects; showing the educator of image techniques; showing children's work at the end of the lesson, when they are evaluated.
The use of nature. Nature in fine arts refers to an object or phenomena that are depicted by direct observation. Work from nature involves the image of an object from a certain point of view, in the position in which it is in relation to the eye of the painter. This feature of the image from nature also determines the originality of perception in the process of class. The main thing here will be visual perception, and when depicted on a plane (drawing, application), the object is perceived only from one side; when sculpting and constructing, children should be able to turn nature, analyze the three-dimensional form in various turns.
The ability to perceive an object in the totality of its qualities is already characteristic of a child of primary preschool age. However, the need to depict an object from nature requires the ability to analyze the ratio of parts, their location in space. Psychologists believe that a preschool child is capable of such analytical-synthetic perception only with the right pedagogical guidance.
Nature, first of all, facilitates the work of memory, since the process of image is combined with perception; helps the child to correctly understand and convey the shape and structure of the object, its color. Despite the ability of children 4-5 years old to do a simple analysis of image objects, working from nature at this age has its own differences from the use of nature by schoolchildren and artists.
Perceiving an object, the child must show its volume (give a two-dimensional image of a three-dimensional nature on a plane), which is associated with the use of chiaroscuro, the transfer of perspective changes in the object, and the display of complex angles. These image techniques are not available to preschoolers. Therefore, objects of a simple form, with clear outlines and divisions of parts, are selected as nature for them.
Nature is placed so that all children perceive it from the most characteristic side. The educator should examine nature in detail with the children, directing and facilitating the process of analysis with a word and gesture. This process requires a certain culture of education, developed analytical thinking. Such skills begin to develop in children 5-6 years old. At this age, they learn to compare and correct their work in accordance with nature when depicting. For example, in the older group, when depicting a spruce branch from nature, children convey the location of the branch in space (oblique or vertical), the number and size of branches on the left and right, and draw thick needles of a dark or light tone.
Leaves, branches, flowers, fruits, as well as toys depicting people, animals, vehicles can be used as nature.
Thus, the use of nature as a teaching method covers the entire process of the image: the initial analysis of the subject, comparison of the image with nature in terms of shape, position, color, evaluation of the results of work by comparing the drawing and nature.
Sometimes nature can be used as a private technique and not affect the nature of the lesson as a whole. For example, in the process of drawing according to a plan, a child asks for help in depicting an object. The teacher puts the necessary toy in front of the child, which is used as a nature. In general, the work on the image will be determined by the content of the idea. Nature will only help to carry it out better.
Examining objects at the beginning of the lesson. In the younger and middle groups, they often show individual items at the beginning of the lesson. Children examining a ball, ribbons, spatulas, etc. are carried out in order to attract the attention of children to the task and revive their ideas. During the rest of the lesson, children draw according to the idea and do not return to the perception of objects.
In the older group, it is also necessary to bring in some items for consideration. For example, before drawing or sculpting on the theme of the fairy tale "Three Bears", the teacher invites the children to consider a toy bear, highlight the features of the shape and proportions of individual parts, and trace the change in their location depending on the rotation of the object. Each child depicts a bear in the position that corresponds to the episode chosen for the picture.
Sample use. A sample, like nature, can act as a method and as a separate teaching technique.
In those types of visual activity where the main goal is not to consolidate impressions from the perception of the environment, but to develop certain aspects of this activity (more often in decorative and constructive works), the model is used as a teaching method.
So, the main goal of classes in decorative drawing and appliqué is to teach how to create a pattern and develop artistic taste. Children look at beautiful objects: carpets, vases, embroideries, etc., which increases the overall aesthetic culture. In the decorative drawing classes, children not only reflect their impressions of these objects and repeat the patterns seen on them, but also learn to create a pattern on their own, to make beautiful combinations of shapes and colors. Therefore, at the initial stage of training, it is possible to copy the elements of a pattern from a sample, borrowing the principles of the arrangement of elements and combinations of colors.
Sometimes there may be several samples to choose from if the children have already mastered some skill.
The use of samples is determined by the objectives of this lesson. So, a sample can be offered without special instructions from the teacher, the children, having examined it, do the work on their own. In this case, the use of the sample will contribute to the development of the child's analytical-synthetic thinking.
Sometimes the sample acts as a learning technique. For example, in subject drawing or modeling, a sample is used not for the purpose of copying, but to clarify children's ideas about the depicted object.
The use of samples with simplified, schematic images negatively affects the development of children's creative abilities. The simplification of the image to a diagram creates only an apparent relief of the task assigned to the children. The scheme does not correspond to the specific idea of the child about the subject, since it lacks the characteristic details by which the preschooler recognizes the subject.
One should not replace the representation formed on the basis of a specific perception with a planar schematic image devoid of individual features. Such a scheme will not help the child to highlight the main thing in the subject, but simply replace the image of a particular subject.
Using such patterns, the educator forgets about such an educational task of visual activity as consolidating children's ideas about the surrounding reality.
Learning with the constant use of ready-made schematic samples ultimately comes down to a narrow task - developing the ability to create simple forms. The training of the hand in creating such a form is isolated from the work of consciousness. As a result, patterns appear in the children's drawings: a house with a triangular roof, birds in the form of checkmarks, etc. This impoverishes the child's drawing, once and for all assimilated a schematic form eliminates the need for further observations, pictorial activity breaks away from reality. An unconsciously mastered schematic image often loses its resemblance to a real object, since the child repeats the learned forms without hesitation. For example, a bird - a “tick” when depicted turns its wings down or to one side.
Use of pictures. Pictures are used mainly to clarify children's ideas about the surrounding reality and to explain the means and methods of depiction.
The picture as an artistic image vividly, emotionally conveys the image.
The means of artistic expression, with the help of which the artist creates a work of art, give a visually perceived image. Studies by psychologists and educators have shown that even two-year-old children can understand a picture as an image of an object. The connection between the characters in the picture, i.e. understanding of the action is realized a little later, at the age of 4-5 years.
Observations of the surrounding reality are often short-term (for example, observations of animals in a city). Therefore, the use of the picture will allow not only to ensure the repetition of perception, but also to highlight the main thing that is characteristic of the subsequent image.
Examination of paintings can be recommended in cases where there is no necessary object, and can also serve as a means of familiarizing children with some methods of depicting on a plane. For example, the teacher shows a picture to explain the image of distant objects that in life the child perceived to be located on flat ground. For this purpose, the picture can be used in working with children of six years old, they already have an understanding of this way of depicting. Looking at the picture, the child sees that the earth is depicted not with one line, but with a wide strip, and distant objects are located above, close objects are below, to the edge of the sheet.
In order for the child to be able to understand the technique used by the artist, it is necessary to explain it, since in the picture the child perceives only the final result. It is more expedient to carry out such examination and analysis of the picture before the lesson or at the beginning of it.
The picture left in front of the children during the entire session can lead to mechanical copying. Copying at this age brings great harm - it hinders the development of visual skills. It is impossible for a preschooler to realize all the techniques and visual means used by the artist, so he will draw without understanding why it is drawn this way and not otherwise.
Sometimes during the lesson it becomes necessary to show some children a picture to clarify any detail. Then the picture is removed, since its further perception will lead to copying. This technique should be used with caution.
Demonstration by the educator of methods of work. The kindergarten program establishes the scope of visual skills that children must master in the learning process. Mastering a relatively small range of skills will enable the child to depict a wide variety of objects. For example, in order to draw a house, you need to know how to draw a rectangular shape, i.e. be able to connect lines at right angles. The same techniques will be required to depict a car, a train, and any other object that has a rectangular outline.
The educator's demonstration of image methods is a visual-effective technique that teaches children to consciously create the desired form based on their specific experience. The display can be of two types: showing with a gesture and showing image techniques. In all cases, the display is accompanied by verbal explanations.
Gesture explains the location of the object on the sheet. The movement of a hand or a pencil stick across a sheet of paper is enough for children even 3-4 years old to understand the tasks of the image. With a gesture, the main form of an object, if it is simple, or its individual parts can be restored in the child's memory.
It is effective to repeat the movement with which the educator accompanied his explanation during perception. Such repetition facilitates the reproduction of the connections formed in the mind. For example, when children are watching the construction of a house, the teacher gestures to show the contours of buildings under construction, emphasizing their upward direction. He repeats the same movement at the beginning of the lesson, in which children draw a high-rise building.
A gesture that reproduces the shape of an object helps memory and allows you to show the movement of the drawing hand in the image. The smaller the child, the more important in his learning is the display of hand movement.
The preschooler is not yet fully in control of his movements and therefore does not know what movement will be required to represent one form or another.
Such a technique is also known when the teacher in the younger group makes an image with the child, leading his hand.
With a gesture, you can outline the entire object if its shape is simple (ball, book, apple), or the details of the shape (the location of the branches of a spruce, the bend of the neck of birds). The teacher demonstrates finer details in a drawing or modeling.
The nature of the display depends on the tasks that the teacher sets in this lesson.
Showing the image of the entire object is given if the task is to teach how to correctly depict the main form of the object. Usually this technique is used in the younger group. For example, to teach children to draw round shapes, the teacher draws a ball or an apple, explaining his actions.
If, when depicting an object, it is necessary to accurately convey the sequence of drawing one or another detail, then a holistic display of the entire object can also be given. With such a display, it is desirable that the educator involve the children in the analysis of the subject with the question: “What should I draw now?”.
In teaching children of older groups, a partial display is more often used - an image of that detail or a separate element that preschoolers are not yet able to depict. For example, children 4-5 years old draw a tree trunk in the form of a triangle with a wide base. This mistake is sometimes caused by the explanation of the educator: “The trunk of the tree is narrow at the top and wide at the bottom,” and the children literally follow this instruction. The educator should, along with a verbal instruction, show an image of a tree trunk.
In a preparatory group for school, in drawing on the theme “Beautiful House”, the teacher shows on the board how different windows and doors can be in shape. Such a display does not limit the child's ability to create the entire drawing.
With repeated exercises to consolidate skills and then independently use them, the demonstration is given only individually to children who have not mastered a particular skill.
The constant display of methods for completing a task will teach children in all cases to wait for instructions and help from the educator, which leads to passivity and inhibition of thought processes. Showing the educator is always necessary when explaining new techniques.
Analysis of children's work. The development of analytical thinking, which results in a critical attitude to what is perceived, allows children to objectively evaluate the work done by their comrades and their own work. But a child reaches this level of development by the age of five.
At a younger age, the child cannot fully control and evaluate his actions and their results. If the process of work gave him pleasure, he will be satisfied with the result, expecting approval from the educator.
In the younger group, the teacher at the end of the lesson shows several well-done works without analyzing them. The purpose of the show is to draw the attention of children to the results of their activities. Also, the teacher approves the work of other children. A positive assessment of them contributes to the preservation of interest in visual activity.
In the middle and senior groups, the teacher uses the display and analysis of children's work as a technique to help children understand the achievements and errors in the image. The ability to see how correctly an object is depicted helps to develop a conscious attitude to the choice of means and methods of work to intensify all creative activity.
After completing the task, the teacher shows one of the works and notes its positive aspects: “How well, the house is neatly painted”, “How beautifully the colors in the pattern are chosen - dark and light side by side, they can be seen well”, “How interestingly the skier is fashioned”, etc. d. If there are similar errors in all works, then you should pay attention to them, ask how you can fix them.
It is not necessary to consider a mistake in the work of one child with all children, since the realization of it will be of significance only for this child. The causes of the error and ways to eliminate it are best analyzed in an individual conversation.
In the older group, all children should be involved in the analysis. However, sometimes the teacher himself gives an assessment. For example, wanting to encourage a child who draws poorly and anticipating criticism of his work by other children, the educator is the first to point out the positive aspects of the drawing.
The analysis of children's work can be carried out in various plans. Most often, to save time, the teacher selectively takes several works for analysis. Showing the work of the same child in each class should be avoided, even if they really stand out from the others. As a result of constant praise, he may develop unjustified self-confidence, a sense of superiority over other children. Individual work should be carried out with gifted children, taking into account their abilities and visual skills.
Sometimes the teacher instructs the children to choose work for analysis. In these cases, all the works are laid out on one table (or attached to the stand) and the children are invited to choose the ones they like the most. Then the teacher analyzes the selected works with the children in detail.
Discussion of the work of each child is possible in the preparatory group, the children are already interested in the results of the work of their comrades. But such an analysis should be carried out in your free time, since 2-3 minutes at the end of the lesson is not enough.
Children of six years old can be invited to analyze their work, comparing them with nature, a model. This instills in children a critical attitude not only to the work of their comrades, but also to their own.
Verbal methods and teaching techniques.
Verbal teaching methods and techniques include conversation, instructions from the educator at the beginning and during the lesson, and the use of an artistic image.
Conversation at the beginning of the lesson. Classes in fine arts, as a rule, begin with a conversation between the teacher and the children. The purpose of the conversation is to evoke previously perceived images in the memory of children and arouse interest in the lesson. The role of conversation is especially great in those classes where children will perform work on the basis of a presentation (according to their own design or on a topic given by the educator), without using visual aids.
The conversation should be short, but meaningful and emotional. The teacher mainly draws attention to what will be important for further work, i.e. on a constructive color and compositional solution of a drawing, modeling, etc.
If the impressions of the children were rich and they possess the necessary skills to convey them, such a conversation is enough to complete the task without additional tricks.
To clarify the children's ideas on the topic or to familiarize them with new image techniques, the teacher, during the conversation or after it, shows the desired object or picture, and before starting the task, the children demonstrate the method of work.
Conversation as a teaching method is mainly used in working with children 4-7 years old. In younger groups, conversation is used when it is necessary to remind children of the subject that they will depict, or to explain new methods of work. In these cases, conversation is used as a technique to help children better understand the purpose and purpose of the image.
The conversation, both as a method and as a reception, should be short and last no more than 3-5 minutes, so that the ideas and emotions of the children come to life, and the creative mood does not fade away.
Thus, a properly organized conversation will contribute to a better performance of the task by children.
The use of images of fiction. The artistic image embodied in the word (poem, story, riddle, etc.) has a kind of visibility. It contains that characteristic, typical, which is characteristic of this phenomenon and distinguishes it from others.
Expressive reading of works of art contributes to the creation of a creative mood, the active work of thought, imagination. For this purpose, the artistic word can be used not only in the classroom for illustrating works of literature, but also when depicting objects after their perception.
In all age groups, you can start the lesson with a riddle that will evoke a vivid image of the subject in the minds of children, for example: “Tail with patterns, boots with spurs ...” Some details of the shape are noted in the riddle - a beautiful tail, spurs, and the habits of a rooster that make it stand out among other birds.
In order to revive previously perceived images of objects in the memory of children, short poems and excerpts from works of art can be used.
In some cases, a verbal image accompanies the display of nature or image techniques.
When drawing or sculpting on the themes of literary works, the use of other teaching methods at the beginning of the lesson is inappropriate, as they may interfere with the work of the imagination. A picture or nature will bind the child to a certain pictorial form, the verbal image will fade.
The educator should take seriously the selection of works of art and excerpts from them for illustration. The verbal image should include a visual moment, show those features of the object that are associated with its visual perception (color, shape, position). For example, when illustrating a poem by N.A. Nekrasov's "Grandfather Mazai and Hares" almost all the guys did good work, since in this work the author vividly described the appearance of the animals, their postures. Such visible images help the child to convey them concretely. An artistic literary image evokes the work of not only a reproducing image, but also a creative one.
Even if the verbal image is very specific and vivid, the child needs to think through and imagine a lot: the situation, location, details, and much more.
Instructions and explanations of the educator during the lesson. The instructions of the educator necessarily accompany all visual techniques, but can also be used as an independent teaching technique. It depends on the age of the children and on the objectives of this lesson.
Usually the educator makes instructions in connection with the clarification of the set educational tasks.
When teaching children of younger preschool age, purely verbal instructions are rarely used. Children still have too little experience and insufficient visual skills to understand the explanation of the educator without the participation of sensory analyzers. Only if the children have well-established skills, the teacher may not accompany the visual demonstration with action.
In the minds of children of 5-6 years old, the word evokes a memory of the necessary technique and of what action should be performed when using it.
The instructions of the educator can be addressed both to the whole group and to individual children.
For all children, instructions are usually given at the beginning of the session. Their goal is to explain the topic of the work and the methods of its implementation. Such instructions should be very brief, clear and concise. To check how the guys understood the explanation, the teacher in the middle and senior groups can ask one of them about the sequence and methods of doing the work. Such verbal repetition of the task contributes to a better understanding of the children of their actions. In the younger group, after explaining and showing, the teacher should be reminded of where to start work.
After all the children have started to work, the teacher should not rush with individual instructions and help. It is necessary to determine who did not start the work or started it incorrectly. With these children, the teacher finds out the reasons for the misunderstanding of the task and repeats his explanation, shows some methods of work.
Not all children need individual guidance. Some think on their own, outline the image with a pencil on a sheet, so they do not need additional explanations. Instructions at the beginning of the lesson are needed for indecisive, shy children who are unsure of their abilities. They need to be convinced that the work will certainly work out.
However, one should not always prevent the difficulties facing children. Some of them can be denied additional explanations if the teacher is sure that they can solve the problem on their own, they just lack patience and perseverance. In addition, in order to foster creative activity, it is important that the child faces difficulties and learns to overcome them.
The form of instructions may not be the same for all children. They need an encouraging tone that arouses interest in the work and self-confidence. Self-confident children should be more demanding.
The teacher's instructions should not be a direct dictation to the children how to depict an object in a particular case. They must make the child think, think. When pointing out a mistake, the child’s attention should be drawn to the violation of the meaning, logic in the image: “The dress on the girl seems to be torn” (badly shaded), “Trees are falling” (unskillfully located), “The man is so big that he cannot enter the house. At the same time, one should not explain how to correct the mistake, let the child think about it himself.
Remarks should be made in a friendly tone so that the children feel the teacher's interest in their work.
Individual instructions should not attract the attention of all children, so they should be given in a low voice. Instructions to all children during the lesson are given if many are mistaken. Then the teacher invites everyone to stop work and listen to his explanation. Such breaks should only be used when absolutely necessary, as it disrupts the creative process.
Game teaching methods.
The use of the moments of the game in visual activity refers to visual and effective teaching methods. The smaller the child, the greater the place in his upbringing and education should be played. Game teaching methods will help attract children's attention to the task, facilitate the work of thinking and imagination.
Game techniques for teaching preschoolers are revealed by G.G. Grigoriev. (ten)
Learning to draw at a young age begins with playing exercises. Their goal is to make both the process of teaching children how to create the simplest linear forms and the development of hand movements more efficient. Following the teacher, the children first draw various lines in the air with their hands, then with their fingers on paper, supplementing the movements with explanations: “This is a boy running along the path”, “So the grandmother is winding the ball”, etc. The combination of image and movement in a game situation greatly accelerates the mastery of the skills to depict lines and simple forms.
The inclusion of game moments in visual activity in the younger group continues when depicting objects. For example, a new doll comes to visit the children, and they mold treats for her: pancakes, pies, cookies. In the process of this work, the kids master the ability to flatten the ball.
In the middle group, children draw a teddy bear from nature. And this moment can be successfully beaten. The bear knocks on the door, greets the children, asks them to draw him. At the end of the lesson, he participates in viewing children's work, chooses the best portrait on the advice of the children and hangs it in the play corner.
Even with children of six years old, it is possible to use game techniques, of course, to a lesser extent than in the younger group. For example, during a walk, children look through home-made cameras at a landscape, a tree, animals, “take pictures”, and when they come to kindergarten, they “develop and print them”, depicting what they perceive in the picture.
When using gaming moments, the teacher should not turn the entire learning process into a game, as it can distract children from completing the learning task, disrupt the system in acquiring knowledge, skills and abilities.
Thus, the choice of certain methods and techniques depends on:
From the age of children and their development;
From the type of visual materials with which children act.
In the classroom, where the focus is on the task of consolidating ideas about the environment, verbal methods are mainly used: conversation, questions to children, which help the child to restore what he saw in his memory.
In different types of visual activity, teaching methods are specific, since the image is created by different means. For example, the task of teaching composition in plot themes requires an explanation of the picture in drawing, showing in the drawing how distant objects are drawn above, and nearby objects below. In modeling, this problem is solved by arranging the figures according to their action: next to or separately from each other, one after the other, etc. There is no need for any special explanation or demonstration of the work.
Not a single technique can be used without careful consideration of the tasks involved, the program material of the lesson, and the developmental features of children in this group.
Separate methods and techniques - visual and verbal - are combined and accompany one another in a single learning process in the classroom.
Visualization renews the material and sensory basis of children's visual activity, the word helps to create a correct representation, analysis and generalization of what is perceived and depicted.
METHODOLOGY OF TEACHING FINE ARTS
Short course of lectures
Kemerovo 2015
This publication is a teaching aid for preparing for the interdisciplinary state exam in the professional module "Pedagogical activity" and includes a short course of lectures on the history of methods of teaching fine arts, theory and methodology of organizing a modern lesson in fine arts
It is intended for students of the direction of training specialists in the specialties 54.02.05 "Painting: easel painting", 54.02.01 "Design in culture and art", 54.02.02 "DPI and folk crafts: art ceramics"
Compiled by: A.M. Osipov, artistic director,
teacher GOU SPO "KOHK",
E.O. Shcherbakova, methodologist of the State Educational Institution SPO "KOHK".
Deputy Director for R&D T.V. Semenets
Kemerovo Regional Art College, 2015
Topic 1. Goals and objectives of artistic and pedagogical education……………………...……....4
Topic 2. Methods of teaching fine arts as a subject of study……………6
Topic 3. Methods of teaching drawing in the Ancient World and the Middle Ages……………..…………..8
Topic 4. The value of the methodological provisions of the art of the Renaissance………………..……11
Topic 5. Models of art education of the New Age in Western Europe………….14
Topic 6. Formation of the national school of art pedagogy in the XVIII–XIX centuries….…18
Topic 7. Academic system of art education in Russia. ………………...……22
Topic 8. Methods of teaching drawing in the Soviet school………………………………………………25
Topic 9. Analysis of the program of B.M. Nemensky “Fine Arts
and artistic work”………………………………………..…………………………………………….28
Topic 10. Curricula and programs………………………………………….…………………………31
Topic 11
Topic 12. Lesson as the main form of organization of the educational process……………..……………….36
Topic 13. Methodical forms of completing the lesson. ………………...………………………………..39
Topic 14. The main methodological provisions for conducting visual activities with preschoolers 42
Topic 15
Topic 16
Topic 17
Topic 18
Topic 19. Lessons-conversations on the history of fine arts and the methodology for their conduct ...
Topic 20. The role of visual materials in the process of teaching fine arts 55
List of used literature……………………………………………………………………………….58
The teacher of fine arts must himself be proficient in fine arts, the basics of which he teaches, must be able to methodically correctly explain and clearly show the process of depicting an object, a particular technique, the rules for working with a pencil or brush. Practice shows that if the teacher himself is poorly versed in visual literacy, draws poorly, does not know how to connect the patterns of perspective, color science, composition with the practice of drawing, then his students do not have this knowledge and skills.
The teacher's systematic visits to art exhibitions and workshops of artists, museums, communication with the artistic intelligentsia, regular reading of books and magazines on fine arts, creative work is a necessary condition for improving the scientific, theoretical, and professional level of the teacher.
The method of teaching fine arts as a science theoretically generalizes practical experience, formulates the laws and rules of teaching, highlights the technology of the most effective methods, and offers them for implementation. The methodology is based on the scientific data of pedagogy, psychology, aesthetics and art history.
Of course, in the living process of teaching, each teacher develops his own methodology of work, however, it must be built in accordance with the general goals and objectives of modern teaching of fine arts, which were not developed immediately, before that the methodology went through a difficult path of development.
The methodology of teaching fine arts as a science summarizes practical experience, offers such teaching methods that have already justified themselves and give the best results.
The methodology of teaching fine arts is a living, developing science that absorbs all innovations. But in order for new technologies to be successfully implemented in practice, it is necessary to know the historical experience and directions for the development of teaching fine arts.
SECTION 2. PEDAGOGICAL PRINCIPLES IN DIFFERENT SCHOOLS
The era of ancient Greece was the most brilliant era in the history of the development of the fine arts of the ancient world. The value of Greek fine art is extremely great. Here was laid the method of scientific understanding of art. Greek artists-educators urged their students and followers to directly study nature, observe its beauty, and indicate what it is. In their opinion, beauty consisted in the correct proportional proportion of parts, the perfect example of which is the human figure. They said that the proportional regularity of the human body in its unity creates the harmony of beauty. The main principle of the sophists was: "Man is the measure of all things." This position formed the basis of all the art of Ancient Greece.
Methods of teaching drawing in ancient Rome. The Romans were very fond of fine arts, especially the works of Greek artists. Portrait art is becoming widespread, but the Romans did not bring anything new to the methodology and teaching system, continuing to use the achievements of Greek artists. Moreover, they lost many valuable provisions of the drawing, failing to save them. The artists of Rome mostly copied the works of the artists of Greece. The setting of teaching was different than in Greek schools.
Roman society required a large number of craftsmen to decorate premises, public buildings, the training period was short. Therefore, the method of teaching drawing was unscientific, the drawing became conditional and schematic. When teaching drawing, copying from samples, mechanical repetition of work methods prevailed, which in turn forced the Roman artist-teachers to move more and more away from the teaching methods used by the artist-teachers of Greece. Many noble nobles and patricians themselves were engaged in drawing and painting (for example, Fabius Pictor, Pedius, Julius Caesar, Nero, etc.). In the drawing technique, the Romans first began to use sanguine as a drawing material.
The role of ancient culture in the development of realistic art, in the formation and development of the academic system of teaching drawing is great. It still inspires us today to search for more effective methods of teaching fine arts, to scientifically develop methods for teaching drawing.
Drawing in the Middle Ages. In the Middle Ages, the achievements of realistic art were consigned to oblivion. Artists did not know the principles of constructing an image on a plane, which were used in Ancient Greece. The basis of training is mechanical copying of samples, and not drawing from life.
The painters of the first centuries of Christianity still used the artistic forms of ancient painting. In a short time, the traditions of realistic art were forgotten and lost, the drawing became conditional and schematic. Manuscripts perished - the theoretical works of great artists, as well as many famous works that could serve as models. The study of nature and nature in the academic sense was not practiced, since realistic nature evoked an “earthly” feeling, which in this era was replaced by spiritual quests. Medieval artists did not work from nature, but according to samples that were stitched into notebooks, they were contour sketches of compositions of various church subjects, individual figures, drapery motifs, etc. They were guided by both wall paintings and easel paintings. Drawing was taught by a master who did not follow a strict system or clear teaching methods. Most of the students studied on their own, looking closely at the work of the master.
Preisler puts geometry at the basis of teaching drawing. Geometry helps the draftsman to see and understand the shape of an object, and when depicted on a plane, it facilitates the construction process. However, Preisler warns, the use of geometric figures must be combined with a knowledge of the rules and laws of perspective and plastic anatomy.
Preisler's manual was highly appreciated by his contemporaries, it was reprinted several times both abroad and in Russia. There was no more thorough and clear methodological development on educational drawing at that time, so Preisler's work in Russia was used for a long time not only in general educational institutions, but also in special art schools.
Of course, today you can find flaws in Preisler's book, but for the sake of historical truth, it must be pointed out that for its time it was the best guide. The knowledge that the student received on the basis of studying Preisler's course helped him to draw from life in the future, as well as draw from memory and from imagination, which is so important for the artist.
In 1834 the first textbook by A.P. Sapozhnikov - a fateful publication for Russian art. A. P. Sapozhnikov’s drawing course begins with an acquaintance with various lines, then he introduces you to angles, after which he masters various geometric shapes. Before starting to draw three-dimensional objects, Sapozhnikov suggests demonstrating the law of perspective to students using special models, again starting with lines, then moving on to various surfaces and, finally, to geometric bodies. Next comes an acquaintance with the laws of chiaroscuro, also with the help of showing models. When the drawing of simple geometric bodies is well mastered, Sapozhnikov suggests moving on to drawing complex bodies: first, groups of geometric bodies are given, then the tasks gradually increase in complexity up to drawing plaster heads. To show the construction of a human head, the author proposes to use a wire model specially made by him, which should always be near the plaster head, in a similar turn and position.
The value of Sapozhnikov's method lies in the fact that it is based on drawing from nature, and this is not just a copy of nature, but an analysis of the form. Sapozhnikov set as his goal to teach those who draw from life to think, analyze, reason.
The positive aspects of A.P. Sapozhnikov’s teaching methods have not lost their significance in our time, they are used by domestic methodologists. Concise and simple in a military way, the system formed the basis of the methods of the Soviet school and became the state one.
Studying the history of drawing techniques, you need to familiarize yourself with the work of G. A. Gippius . In 1844 he published the work "Essays on the Theory of Drawing as a General Subject". It was the first major work on the methodology of teaching drawing in a secondary school. All the advanced ideas of pedagogy of that time were concentrated here. The book is divided into two parts - theoretical and practical. The theoretical part outlines the main provisions of pedagogy and fine arts. In the practical part, the teaching methodology is revealed.
Gippius strives to scientifically and theoretically substantiate each position of the method of teaching drawing. In a new way, he considers the process of teaching itself. Teaching methods, says Gippius, should not follow a certain pattern; different teaching methods can achieve good results. To learn how to draw correctly, you need to learn to reason and think, says Gippius, and this is necessary for all people, and this must be developed from childhood. Gippius gives a lot of valuable methodological advice and recommendations in the second part of his book. Teaching methodology, according to Gippius, should be based not only on the data of practical work, but also on the data of science, and above all psychology. Gippius makes very high demands on the teacher. The teacher should not only know and be able to do a lot, but also speak to the students like an actor. The work of each student should be in the field of view of the teacher. Gippius closely connects the provision of class with equipment and materials with questions of methodology.
The work of G. A. Gippius was a significant contribution to the theory and practice of teaching drawing as a general educational subject, it greatly enriched the teaching methodology. We do not find such a serious and in-depth study of the issues of teaching methodology in that period in any, even the most prominent representative of pedagogical thought.
In 1804, school regulations introduced drawing into all district schools and gymnasiums. Due to the lack of teachers in 1825 in Moscow, on the initiative of Count S. G. Stroganov, the School of Technical Drawing was founded, where there was a department that trained drawing teachers for a general education school. In 1843, the Ministry of Public Education issued a circular proposal to replace teachers of drawing, drawing and penmanship who did not have a special art education in county schools with students from the Stroganov school. Until 1879, this school was the only educational institution that specially trained drawing teachers.
Since the second half of the 19th century, not only outstanding artists-teachers, but also ordinary school teachers began to pay special attention to teaching methods. They understood that without special methodological training it is impossible to successfully conduct pedagogical work.
In 1864, drawing was excluded from the number of compulsory subjects by the charter of secondary educational institutions. In 1872, drawing was again included in the range of subjects in real and city schools. In the same year, 1872, "Free Sunday Drawing Classes for the People" were established. Teaching in these classes was conducted at first under the supervision of Professor of Painting V.P. Vereshchagin and Academician of Architecture A.M. Gornostaev. In order to develop methods for teaching drawing in general education schools, a special commission was created at the Academy of Arts. This commission included outstanding artists: N.N. Ge, I.N. Kramskoy, P.P. Chistyakov. The commission was also involved in drawing up a program for secondary schools.
Features of the art school of drawing P. P. Chistyakov. Russian artist and professor of the Academy of Arts P. P. Chistyakov believed that the Academy of Arts of the time of his teaching (1872-1892) needed reform and new methods of working with students, it was necessary to improve the teaching methods of drawing, painting, and composition.
Chistyakov's teaching system covered various aspects of the artistic process: the relationship between nature and art, the artist and reality, the psychology of creativity and perception, etc. Chistyakov's method brought up not just an artist-master, but an artist-creator. Chistyakov attached decisive importance to the drawing in his system, urged to penetrate into the very essence of visible forms, to recreate their convincing constructive model on the conditional space of the sheet. .
The advantage of Chistyakov's teaching system was integrity, unity at the methodological level of all its elements, logical following from one stage to another: from drawing, to chiaroscuro, then to color, to composition (composition).
He attached great importance to color, seeing in color the most important means of figurative expression, revealing the content of the work.
The composition of the picture is the result of the artist’s training, when he was already able to comprehend the phenomena of life around him, to summarize his impressions and knowledge in convincing images “According to the plot and technique” was Chistyakov’s favorite expression.
Analyzing the pedagogical activity of P. P. Chistyakov, one can identify the main components of the system of his work, thanks to which a high level of quality in teaching drawing was achieved. It consisted of the interaction of the following components:
· goals and objectives of teaching as the starting point of the pedagogical system;
scientifically substantiated content of educational material;
The use of various types and forms of conducting classes, thanks to which the activities of students in mastering artistic literacy in drawing were organized;
various forms of control, with the help of which possible deviations from the tasks set were prevented when performing the drawing;
· the constant self-improvement of P. P. Chistyakov himself, which was aimed primarily at improving the positive impact on the trainees.
Also, an integral part of the system of work of Pavel Petrovich Chistyakov was built relationships with students, aimed at communication with wards, dialogue and respect for the individual. “A real, developed, good teacher does not blow the student’s stick, in case of an error, failure, etc., he tries to carefully explain the essence of the matter and deftly lead the student onto the true path.” When teaching students to draw, one should strive to intensify their cognitive activity. The teacher must give direction, pay attention to the main thing, and the student must solve these problems himself. In order to correctly solve these problems, the teacher needs to teach the pupil not only to pay attention to the subject, but also to see its characteristic sides. Chistyakov's methods, his ability to guess the special language of each talent, his careful attitude to any talent gave amazing results. His teaching system brought up the artist in the true sense of the word. The variety of creative personalities of the master's students speaks for itself - they are V. M. Vasnetsov, M. A. Vrubel, V. D. Polenov, I. E. Repin, A. P. Ryabushkin, V. A. Serov, V. I. Surikov and others.
The pedagogical views of P. P. Chistyakov were already recognized in Soviet times. Its pedagogical system, revolutionary in nature, has no analogies in the theory and practice of other national art schools.
Like teaching drawing, Chistyakov divides the science of painting into several stages.
First stage- this is the mastery of the figurative nature of color, the development of a young artist, the ability to be accurate in determining the color shade and in finding its correct spatial position. Second phase should teach the student to understand the movement of color in form as the main means of conveying nature, the third- to teach to solve those silt other plot-plastic tasks with the help of color. Chistyakov was a true innovator who turned pedagogy into high creativity.
Topic 7. Academic system of art education in Russia
· Imperial Academy of Arts in Russia XVIII - in the first half of the XIX century. and Educational School.
A.P. Losenko, A.E. Egorov, V.K. Shebuev.
Since 1758, the "Academy of the Three Most Noble Arts" has become the scientific and methodological center of art education, and throughout its history, the St. Petersburg Academy has been the main Russian center of art education. The largest Russian architects, sculptors, painters, engravers underwent a strict, exacting training at the Academy.
From the very beginning, the Academy of Arts was not only an educational and educational institution, but also a center of art education, as it regularly organized exhibitions. Under her, museums and a scientific library were founded. In order to develop a good artistic taste in students and arouse interest in the arts, the founder and first chief director I.I. Shuvalov decided to surround the pupils with brilliant works. He donates to the academy his collection of paintings and drawings, as well as his personal library. After Shuvalov, the academy maintained this tradition for many years, and it brought great success to the cause, instilling in the students a sense of deep respect for art and for the academy. The Academy provided students with all the necessary materials for work: paper of all grades, paints, pencils, canvas, stretchers, brushes and varnishes.
The main subject at the academy was drawing. For the best educational drawings, the Council of the Academy gave awards to the authors - small and large silver medals. On the initiative of the sculptor Gillet, in 1760, a full-scale class was organized at the academy, where serious attention was paid to the study of the anatomical structure of the human body. Here, the skeleton and the “ragged figure”, as the anatomical model was then called, are carefully studied.
Drawing classes were structured as follows: “Classes were divided into morning, from 9 to 11, and evening, from 5 to 7 hours. During the morning classes, everyone was engaged in their specialty, and in the evening everyone, no matter what class they were, drew with a French pencil . After a month, the drawings were exhibited in the classrooms for the consideration of professors; it was like an exam. In addition, figures were exhibited every week, plaster heads, in relation to which it was required that the contours from them be made the most faithful, although the shading was not completed. For monthly examinations, or examinations, these weekly works could not be presented by students, since the professor examined them during the week, but some works, exclusively prepared for the monthly examination, were already exhibited by the appointed date without fail.
The students of the academy were divided into groups according to age:
1st group - from 6 to 9 years old,
2nd - from 9 to 12,
3rd - from 12 to 15 years old,
4th - from 15 to 18 years.
1st group: In the first group, in addition to general education disciplines, drawing from originals, plasters and from nature was practiced. Drawing began with an acquaintance with technique and technology. The pencil had to be held further away from the peeled end, which gave more freedom and mobility to the hand. Engravings from the drawings of outstanding masters, drawings of teachers of the academy, as well as drawings of particularly distinguished students served as samples in the original classes. Grez's drawings were especially popular with teachers and pupils. The expressiveness of the lines in his drawings helped students to visually see and understand the plasticity of forms.
2nd group: The second group drew from originals, plasters and from nature. By the end of the year, the students began to copy from the originals drawings of heads, parts of the human body and naked human figures (academies), first plaster, and then living. Ornaments and plaster heads were drawn from nature.
3rd group: The third group studied perspective, drawing from originals, plasters and from life, painting, sculpture, architecture, engraving art. Plaster figures of Antinous, Apollo, Germanicus, Hercules, Hercules, Venus Medicea were painted from nature. Here the student painted from plaster casts until he had the necessary professional skills. After that, he could move on to drawing live nature in a natural class.
To thoroughly memorize the figure, the student had to draw the same setting several times. To thoroughly memorize the figure, the student had to draw the same setting several times. It is known that K. P. Bryullov made forty drawings from the Laocoon group. The skill was so great that some academics could start drawing from anywhere.
When teaching drawing, great importance was attached to personal demonstration. The instructions of that time indicated that the teachers of the academy should draw the same nature as the students - so the pupils would see how the process of constructing a drawing should proceed and what quality should be achieved.
In one of the archival documents we read: “To prescribe to professors and teachers of adjuncts that all adjuncts be at their appointed hours for drawing nature, also to watch how Fontebasse works.” We read the same in the instructions of A.I. Musin-Pushkin: artists, of which one is to set nature and correct student work, and the other at the same time draw or sculpt with them himself.
Unfortunately, this progressive method of training future artists later fell into disuse in pedagogical practice. If in modern educational institutions a student is obliged to complete the course program during the year, regardless of success, then in the academy of the 18th century, as well as in the first half of the 19th century, the pupil could move from one class to another, for example, from plaster figure to full-scale, only having achieved certain success. .
4th group: Pupils of the fourth group drew naked living nature and studied anatomy. Then came the class of mannequin and composition, as well as copying paintings in the Hermitage.
A great contribution to the methodology of teaching drawing was made by artists and teachers of the Academy of Arts A. P. Losenko and V. K. Shebuev.
A.P. Losenko began teaching at the academy in 1769. An excellent draftsman and a wonderful teacher, who paid much attention not only to practice, but also to the theory of drawing. His bright pedagogical activity very soon won universal recognition. Starting with Losenko, the Russian academic school of drawing received its own special direction.
Losenko made it his task to give a scientific and theoretical substantiation of each provision of academic drawing, and above all in drawing the human figure. For this purpose, he began to thoroughly study plastic anatomy, look for rules and laws of proportional division of a figure into parts, draw diagrams and tables for visual demonstration to his students. Since that time, the method of teaching drawing has been based on a serious study of anatomy, the proportions of the human figure, and perspective. All this scientific knowledge necessary for an artist, Losenko, with great persuasiveness and bright pedagogical talent, was able to transfer to his students. Understanding the complexity and difficulty of combining two different things - independent creative work and teaching, Losenko spared neither time nor effort for the cause he served. Noting this feature of Losenko as an artist and teacher, A. N. Andreev wrote: “He spent whole days and nights with them (students), taught them in word and deed, he himself drew academic studies and anatomical drawings for them, published for the leadership of the academy the anatomy and proportion of the human body, which has been used and is still used by all the school that followed it; started full-scale classes, he himself wrote on the same bench with his students and his works even more helped to improve the taste of the students of the academy.
Losenko's merit lies not only in the fact that he did a good job of teaching drawing at the Academy of Arts, but also in the fact that he took care of its further development. In this, his theoretical works and teaching aids should have played their role.
By the beginning of the 19th century, drawing as a general educational subject began to become widespread. Much was done during this period in the field of publishing various manuals, manuals and tutorials on drawing.
Main activities
The image on the plane and in volume (from nature, from memory and from representation); decorative and constructive work;
application;
· volume-spatial modeling;
design and constructive activity;
artistic photography and video filming; perception of the phenomena of reality and works of art;
discussion of the work of comrades, the results of collective creativity and individual work in the classroom;
study of artistic heritage;
listening to music and literature
Educational and methodological support - methodological kits for the program, including textbooks, workbooks for schoolchildren and teaching aids for teachers. All publications are edited by B.M. Nemensky.
Stage I - elementary school.
Grade 1 - foundation - familiarity with the ways of working, various artistic materials, the development of vigilance and mastery of the material. "You depict, decorate and build."
Grade 2 - "You and Art" - introducing children to the world of art, emotionally connected with the world of personal observations, experiences, thoughts. Formation of ideas about the content and role of art
Grade 3 - "Art around you" - introducing children to the world of surrounding beauty.
Grade 4 - "Every nation is an artist" - the formation of an idea of \u200b\u200bthe diversity and fascination of art. creativity in all corners
land and every nation.
II stage - high school. Fundamentals of artistic thinking and knowledge. An in-depth study of various types and genres of art in the context of historical development, interdisciplinary connections with history lessons are strengthened.
Grade 5 - Connections of the decorative arts group with life. Feeling in harmony with the material
Grade 6 - 7 - Connections of the visual arts group with life. Mastering the artistic and figurative patterns of art and their systematization. Creativity of artists.
Grade 8 - "Connections of the constructive group of arts with life." Architecture is a synthesis of all art forms.
Grade 9 - a generalization of the passed. "Synthesis of Spatial and Temporal Arts".
III stage. Fundamentals of artistic consciousness. Division of practical and theoretical work into parallel courses.
10-11 classes - Historical connections of arts.
SECTION 3. ORGANIZATION AND PLANNING
Performing foreskets.
Foreskets are compositional sketches of a future drawing that precede work on the main sheet. To do this, you can use the viewfinder - a piece of cardboard or paper, in which a small rectangular hole is cut. The student, looking through the viewfinder, should, as it were, see the frame of the future picture. The size of the frame is set depending on the size of the main sheet of paper. Having made several compositional sketches with the help of the viewfinder, the student chooses the one that best satisfies the task and starts working on the main sheet.
3. Stages of work on the format.
First stage begins with the compositional placement of the image on a sheet of paper. Then the main proportions are established and the general view of nature is outlined. The plastic characteristic of the main masses is determined. So that the details do not distract the beginner's attention from the main character of the form, it is proposed to squint the eyes so that the form looks like a silhouette, like a common spot, and the details disappear. The image begins with light strokes. It is necessary to avoid premature loading of the sheet with unnecessary spots and lines. The form is drawn very generally and schematically. The main character of the large form is revealed. If this is a whole group of objects (still life), then the student must be able to equate (inscribe) them to a single figure, that is, to generalize.
Second phase- constructive identification of the shape of objects using lines. The different thickness of the contrasting line reveals the airiness of the perspective, the construction. Objects should look transparent, glassy.
Third stage- plastic modeling of the form in tone and detailed study of the drawing.
The elaboration of details also requires a certain pattern - each detail must be drawn in connection with others. When drawing a detail, you need to see the whole.
The stages of working out the details of the active analysis of forms, the identification of the materiality of nature and the relationship of objects in space is a crucial stage. Using the laws of perspective (both linear and aerial), it is necessary to build images based on an accurate analysis of the relationships between all elements of the form. At this stage of work, a detailed characterization of nature takes place: the texture of the model is revealed, the materiality of objects (gypsum, fabric) is transferred, the drawing is carefully worked out in tonal relations. When all the details are drawn and the drawing is carefully modeled in tone, the generalization process begins.
Fourth stage- summarizing. This is the last and most important stage of work on the drawing. At this stage, the student sums up the work done: checks the general condition of the drawing, subordinates the details to the whole, refines the drawing in tone (subordinates light and shadows, highlights, reflections and halftones to the general tone). At the final stage of work, it is advisable to return to fresh
initial perception.
Consistent painting work
Starting painting, you need, first of all, to peer into nature, determining the main tonal and color relationships.
preliminary sketch
search for a composition (color, coloristic organization) -
search for a solution to the shape, proportions, structural structure
search for large tonal-color relationships (warm and cold, saturated and weakly saturated, light and dark colors)
final determination of the format and size of the future study
It is necessary to perform at least three sketches, different from one another, to choose the best option, on the basis of which the work will be performed. The sketch must be preserved until the end of the work on the main study.
2. Preparatory drawing for painting
Transferring the sketch composition to the main canvas. Drawing for painting should be precise and definite, but it should not be detailed
Working on the details
The transition from general color relationships to sculpting the form with color. The registration of the form must be carried out evenly over the entire picture plane.
Generalization
The stage of simultaneous generalization and emphasizing of the characteristic moments for the overall color unity
The result of each of the two half-years should be at least one finished composition in color or graphic, maybe a series of color or graphic sheets. The technique of execution and the format of work is discussed with the teacher.
Independent works on composition are reviewed by the teacher weekly. Independent (extracurricular) work can be used for doing homework by children, visiting cultural institutions (exhibitions, galleries, museums, etc.), participation of children in creative events, competitions and cultural and educational activities of an educational institution. The assessment marks all stages of work: collection of material, sketch, cardboard, final work. It is necessary to enable the student to penetrate deeper into the subject of the image, creating conditions for the manifestation of his creative individuality.
Lesson types.
The most common and used in practice classification was introduced by B.P. Esipov and identified the following types of lessons:
1 type: Learning new material.
Lesson type.
