The development of a creative person, her artistic abilities is directly related to the purpose and objectives of teaching the subject of art.
Its main PURPOSE is to familiarize with spiritual culture as a way of transferring universal human values from generation to generation, with the perception and reproduction of which, in its activity, a person’s creative and moral self-development takes place, the integrity of his inner world is preserved. So, joining the spiritual culture, a person simultaneously joins his natural essence, developing his basic - universal - abilities: To holistic, imaginative thinking; To empathy with the outside world; To creative activity.
The realization of this goal is carried out by the aesthetic education of a person by means of art and artistic pedagogy. They are based on art education and artistic activity. Only in their totality can we imagine the realization of the goals of aesthetic education. These are two different ways of developing human consciousness, not replacing, but complementing each other.
The criteria for evaluating the creative development of a person in the field of aesthetic education are revealed in accordance with the tasks of forming a harmoniously developed person. Three interrelated directions in it: A) the preservation of the moral integrity of the individual; B) the development of its creative potential; C) ensuring the harmonious correlation of social and unique features in it.
All this is naturally realized in the artistic activity of man.
The child in his cognitive and creative activity assimilates, first of all, its meaning, associated with an emotional and evaluative attitude to life. Art is a means of accumulation, concentration of that life experience of mankind, which is connected with the tasks of developing the moral and creative potential of people. Therefore, one of the main goals of art is, based on the universal forces of man, to develop his moral ideal, creative attitudes, aesthetic emotions, and feelings.
The art program at the school provides for 4 main types of work - drawing from life, thematic drawing, decorative drawing, conversations about art, which are closely related and complement each other in solving the tasks set by the program.
The tasks of art classes include: To develop visual perception of students. Develop the ability to observe, establish similarities and differences, classify objects according to shape and texture. To cultivate aesthetic and artistic abilities, to teach to draw from nature, on themes, to perform illustrations and decorative drawings, to develop graphic and pictorial skills. Develop mental and abstract thinking.
The leading type of drawing is fig. from nature a cat. leads to the general development of a person - develops imagination, mental, spatial and abstract thinking, eye, memory.
School course of art. art aims to:
1. Prepare well-rounded, educated members of society,
2. Aesthetically educate children, develop their artistic taste.
3. Help children learn about the world around them, developed. observation, to accustom to think logically, to realize what has been seen.
4. Teach how to use the drawing in labor and social activities
5. To give students knowledge of the basics of realistic drawing. To instill skills and abilities in fine arts, to acquaint with the basic technical methods of work.
6. To develop the creative and aesthetic abilities of students, to develop spatial thinking, figurative representation and imagination.
7. To acquaint schoolchildren with outstanding works of Russian and world fine art. To instill interest and love for art. activities.
The subject of teaching methods of fine arts is closely related to special and psychological and pedagogical disciplines. The methodology as a subject of study considers the features of the teacher's work with students. The methodology is understood as a set of rational methods of training and education. This is a special department of pedagogy, which studies the rules and laws of building the educational process. The methodology can be general, it considers teaching methods inherent in all subjects and private - methods and techniques used in teaching any one subject.
The methodology of teaching fine arts as a science theoretically generalizes practical experience, offers such teaching methods that have already justified themselves and give the best results. The purpose of the course is to form the foundations and professional and pedagogical consciousness of a teacher of fine arts. The objective of the course is knowledge of the history, theory, methods of scientific research in the field of teaching fine arts, the acquisition of intellectual and practical skills to solve the problems of teaching fine arts, creating the foundations for the subsequent formation of a creative approach to the activities of a teacher of fine arts, the formation of a sustainable interest in the profession of a teacher of fine arts. The method of teaching is understood as the way the teacher works with students, in which the best assimilation of educational material is achieved and academic performance increases.
The teaching method consists of separate teaching methods: - according to the source of knowledge acquisition (visual, practical, verbal, gaming) - according to the method of obtaining knowledge (reproductive, information-receptive, research, heuristic) - according to the nature of the activity (method of organization and implementation of educational and cognitive activities, the method of control and self-control, the method of stimulating and motivating learning) - by type of occupation
Methods of teaching artistic work have specific features, due to the cognitive activity of younger students:
the nature of technical processes and labor operations;
development of polytechnical thinking, technical abilities;
· formation of generalizing polytechnical knowledge and skills.
The lesson of artistic labor and fine arts is characterized by a classification of methods according to the methods of activity of the teacher and students, since two interconnected processes come out more clearly in teaching these subjects: the practical independent activity of students and the leading role of the teacher.
Accordingly, the methods are divided into 2 groups:
1) Methods of independent work of students under the guidance of a teacher.
2) Methods of teaching, learning.
Teaching methods that are determined by the source of knowledge gained includes 3 main types:
verbal;
visual;
practical.
The formation of skills and abilities is associated with the practical activities of students. It follows from this that it is necessary to put the type of activity of students as the basis for the methods of forming skills.
By type of student activity(classification according to the type of cognitive activity by I.Ya. Lerner and M.N. Skatkin) methods are divided into:
· reproductive;
partial search;
· problematic;
research;
explanatory and illustrative.
All of the above methods refer to the methods of organizing educational and cognitive activity (Yu.K. Babansky's classification).
Considering the method of stimulating educational activity in the lessons of artistic labor and fine arts, it is effective to use the method of forming cognitive interest. Also, do not forget to use the method of control and self-control.
Methods of organization and implementation of educational and cognitive activities - a group of teaching methods aimed at organizing the educational and cognitive activity of students, identified by Yu.K. Babansky and includes all existing teaching methods according to other classifications in the form of subgroups.
1. Verbal teaching methods
Verbal methods make it possible to convey a large amount of information in the shortest possible time, pose a problem to the trainees and indicate ways to solve them. With the help of the word, the teacher can bring into the minds of children vivid pictures of the past, present and future of mankind. The word activates the imagination, memory, feelings of students.
The verbal teaching methods include a story, a lecture, a conversation, etc. In the process of their application, the teacher sets out and explains the educational material through the word, and the students actively learn it through listening, memorization and comprehension.
Story. The storytelling method involves an oral narrative presentation of the content of the educational material. This method is applied at all stages of schooling. In fine arts lessons, it is used by the teacher mainly to communicate new information (interesting information from the life of famous artists), new requirements. The story must meet the following didactic requirements: be convincing, concise, emotional, accessible for understanding by primary school students.
Very little time is allotted for the teacher's story in the lessons of artistic labor and fine arts, and, therefore, its content should be limited to a short one, strictly correspond to the objectives of the lesson and the practical labor task. When using new terms in the story, the teacher must pronounce them expressively and write them down on the board.
Several types of story :
o introduction story;
o story - presentation;
o story-conclusion.
The purpose of the first is to prepare students for the perception of new educational material, which can be carried out by other methods, such as conversation. This type of story is characterized by relative brevity, brightness, amusing and emotional presentation, which makes it possible to arouse interest in a new topic, arouse the need for its active assimilation. During such a story, the tasks of the students' activities in the lesson are reported.
During the story-presentation, the teacher reveals the content of the new topic, carries out the presentation according to a certain logically developing plan, in a clear sequence, highlighting the main thing, with illustrations and convincing examples.
The story-conclusion is usually held at the end of the lesson. The teacher summarizes the main ideas in it, draws conclusions and generalizations, gives a task for further independent work on this topic.
During the application of the storytelling method, such methodological techniques as: presentation of information, activation of attention, methods of accelerating memorization, logical methods of comparison, comparison, highlighting the main thing.
Conditions for effective use the story is a careful thinking of the plan, the choice of the most rational sequence of disclosure of the topic, the successful selection of examples and illustrations, maintaining the emotional tone of the presentation.
Conversation. Conversation is a dialogic teaching method in which the teacher, by posing a carefully thought-out system of questions, leads students to understand new material or checks their assimilation of what they have already studied.
The conversation is one of the oldest methods of didactic work. It was masterfully used by Socrates, on whose behalf the concept of “Socratic conversation” originated.
In the lessons of artistic work and fine arts, the story often turns into a conversation. The conversation is aimed at obtaining new knowledge and consolidating it through an oral exchange of thoughts between the teacher and the student. The conversation contributes to the activation of children's thinking and is more convincing when combined with a demonstration of natural objects, with their image.
Depending on the specific tasks, the content of the educational material, the level of creative cognitive activity of students, the place of conversation in the didactic process, various types of conversations .
Widespread in the teaching of fine arts and artistic work is heuristic conversation(from the word "Eureka" - I find, open). In the course of a heuristic conversation, the teacher, relying on the students' knowledge and practical experience, leads them to understand and assimilate new knowledge, formulate rules and conclusions.
Used to communicate new knowledge informing conversations. If the conversation precedes the study of new material, it is called introductory or introductory. The purpose of such a conversation is to arouse in students a state of readiness for learning new things. The need for an ongoing conversation may arise in the course of practical work. Through the "question - answer" students receive additional information. Fixing or final conversations are applied after learning new material. Their purpose is to discuss and evaluate students' work.
During the conversation, questions can be addressed to one student ( individual conversation) or students of the whole class ( frontal conversation).
Interview requirements.
The success of the interviews largely depends on the correctness of the questions. Questions are asked by the teacher to the whole class so that all students prepare for the answer. Questions should be short, clear, meaningful, formulated in such a way as to awaken the student's thought. You should not put double, prompting questions or leading to guessing the answer. You should not formulate alternative questions that require unambiguous answers such as "yes" or "no".
In general, the conversation method has the following Benefits : activates students, develops their memory and speech, makes students' knowledge open, has great educational power, is a good diagnostic tool.
Disadvantages of the conversation method : takes a lot of time, requires a stock of knowledge.
Explanation. Explanation - a verbal interpretation of patterns, essential properties of the object under study, individual concepts, phenomena.
In the lessons of fine arts and artistic work, the explanation method can be used in the introductory part of the lesson to get acquainted with the execution of various seams, together with the demonstration of the product, when getting acquainted with various methods of working with a brush, etc.
In preparation for work, the teacher explains how to rationally organize the workplace; when planning, explains how to determine the sequence of operations.
In the process of explanation, the teacher acquaints students with the properties of materials and the purpose of tools, with rational labor actions, techniques and operations, new technical terms (at the lessons of artistic labor); with methods of working with a brush and the sequence of drawing, building objects (at drawing lessons).
Requirements for the method of explanation. The use of the explanation method requires an accurate and clear formulation of the problem, the essence of the problem, the question; consistent disclosure of cause-and-effect relationships, argumentation and evidence; use of comparison, comparison and analogy; attracting vivid examples; impeccable logic of presentation.
Discussion. Discussion as a teaching method is based on the exchange of views on a particular issue, and these views reflect the participants' own opinions, or are based on the opinions of others. It is advisable to use this method when students have a significant degree of maturity and independence of thinking, are able to argue, prove and substantiate their point of view. It also has a great educational value: it teaches you to see and understand the problem more deeply, to defend your life position, to reckon with the opinions of others.
This method is more suitable for use in high school. But if elementary school students have the above features (strong classes), then it makes sense to start introducing this method (for example, when getting acquainted with the work of artists, namely their works).
Briefing. This method is understood as an explanation of the methods of labor actions, their accurate display and safe performance (artistic labor).
Types of instruction:
By the time of the event:
Introductory - is carried out at the beginning of the lesson, includes the formulation of a specific labor task, a description of the operations is given, an explanation of working methods is carried out.
Current - carried out during practical activities, includes an explanation of the mistakes made, finding out the reasons, shortcomings in the work, correcting mistakes, explaining the correct techniques, conducting self-control.
The final one includes the analysis of the work, the characteristics of the mistakes made in the work, the grading of the students' work.
· By coverage of students: individual, group, classroom.
· According to the form of presentation: oral, written, graphic, mixed.
2. Visual teaching methods
Visual teaching methods are understood as methods in which the assimilation of educational material is significantly dependent on the visual aids and technical means used in the learning process.
Visual methods are used in conjunction with verbal and practical teaching methods.
Visual teaching methods can be conditionally divided into 2 large groups :
· illustration method;
demonstration method.
Demonstration(lat. demonstratio - showing) - a method expressed in showing the whole class at the lesson various visual aids.
The demonstration consists in a visual-sensual acquaintance of students with phenomena, processes, objects in their natural form. This method serves mainly to reveal the dynamics of the phenomena under study, but is also widely used to get acquainted with the appearance of an object, its internal structure or location in a series of homogeneous objects. When demonstrating natural objects, they usually start with their appearance (size, shape, color, parts and their relationships), and then move on to the internal structure or individual properties that are specially highlighted and emphasized (the operation of the device, etc.). Demonstration of works of art, samples of clothing, etc. also begins with a holistic perception. The show is often accompanied by a schematic sketch of the considered objects. Demonstration of experiments is accompanied by drawing on the board or showing diagrams that facilitate understanding of the principles underlying the experience.
This method is truly effective only when students themselves study objects, processes and phenomena, perform the necessary measurements, establish dependencies, due to which an active cognitive process is carried out - things, phenomena are comprehended, and not other people's ideas about them.
The objects of the demonstration are : visual aids of a demonstration nature, pictures, tables, diagrams, maps, transparencies, films, models, layouts, diagrams, large natural objects and preparations, etc.;
Demonstration is used by the teacher mainly when studying new material, as well as when summarizing and repeating already studied material.
Conditions for the effectiveness of the demonstration are: carefully thought-out explanations; ensuring good visibility of the demonstrated objects to all students; wide involvement of the latter in the preparation and holding of the demonstration.
Illustration as a method of teaching interaction is used by the teacher in order to create in the minds of students with the help of visual aids an accurate, clear and clear image of the phenomenon being studied.
Main function illustration consists in figuratively recreating the form, essence of the phenomenon, its structure, connections, interactions to confirm theoretical positions. It helps to bring all analyzers and the mental processes of sensation, perception, and representation associated with them into a state of activity, as a result of which a rich empirical basis arises for the generalizing and analytical mental activity of children and the teacher.
Illustrations are used in the process of teaching all subjects. As an illustration, natural and artificially created objects are used: models, models, dummies; works of fine art, fragments of films, literary, musical, scientific works; symbolic aids such as maps, diagrams, graphs, diagrams.
The learning result of using illustrations is manifested in ensuring the clarity of the initial perception of the subject being studied by students, on which all subsequent work and the quality of assimilation of the studied material depend.
Such a division of visual aids into illustrative or demonstration ones is conditional; it does not exclude the possibility of classifying individual visual aids as both illustrative and demonstrative (for example, showing illustrations through an epidiascope or overhead scope). The introduction of new technical means in the educational process (video recorders, computers) expands the possibilities of visual teaching methods.
At the lesson of artistic work, students perform the main part of the products according to graphic images. These include:
Artistic drawing - a real image of an object, is used if the object itself cannot be shown due to its absence, small or large sizes; makes it possible to identify the material and color (used in the lessons of artistic work and fine arts);
Technical drawing - a graphic image, which is made arbitrarily, by hand, using drawing and measuring tools; all structural elements are transmitted with approximate preservation of dimensions and proportions (used in art classes);
Sketch - a conditional reflection of an object, which is made without the use of drawing and measuring tools with an approximate preservation of dimensions and proportions (used in the lessons of artistic work and fine arts);
Drawing - a graphic representation of an object with the help of drawing and measuring objects on a certain scale, with accurate preservation of dimensions, using the methods of parallel proportions, contains data on the size and shape of the object (used in art classes);
A technical card is an image that can contain a drawing of a product, tools, materials and fixtures can be indicated, but there is always a sequence of operations and work methods (used in art classes).
Requirements for using visual methods: the visualization used should be appropriate for the age of the students; visibility should be used in moderation and should be shown gradually and only at the appropriate moment in the lesson; observation should be organized in such a way that all students can clearly see the object being demonstrated; it is necessary to clearly highlight the main, essential when showing illustrations; think over in detail the explanations given during the demonstration of phenomena; the demonstrated visualization must be exactly consistent with the content of the material; involve the students themselves in finding the desired information in a visual aid or a demonstration device.
A feature of visual teaching methods is that they necessarily involve, to one degree or another, their combination with verbal methods. The close relationship between the word and visualization follows from the fact that "the dialectical way of cognizing objective reality involves the use of living contemplation, abstract thinking and practice in unity."
There are various forms of communication between words and visualization. And to give some of them full preference would be a mistake, since depending on the characteristics of the learning objectives, the content of the topic, the nature of the available visual aids, as well as the level of preparedness of students, it is necessary in each case to choose their most rational combination.
The use of visual teaching methods in technology lessons is narrowed to a minimal use of verbal teaching methods.
3. Practical teaching methods
Practical teaching methods are based on the practical activities of students. These methods form practical skills and abilities. Practical methods include exercises, practical work.
Exercises. Exercises are understood as repeated (multiple) performance of a mental or practical action in order to master it or improve its quality. Exercises are used in the study of all subjects and at various stages of the educational process. The nature and methodology of the exercises depends on the characteristics of the subject, the specific material, the issue under study and the age of the students.
Exercises subdivided according to their nature on the:
· oral;
· written;
· educational and labor;
· graphic.
When performing each of them, students perform mental and practical work.
According to the degree of independence students during the exercise allocate :
· exercises to reproduce the known in order to consolidate;
· reproducing exercises;
· exercises to apply knowledge in new conditions-training exercises.
If, when performing actions, the student speaks to himself or aloud, comments on the upcoming operations, such exercises are called commented. Commenting on actions helps the teacher to detect typical mistakes, make adjustments to the actions of students.
Features of the use of exercises.
oral exercises contribute to the development of logical thinking, memory, speech and attention of students. They are dynamic, do not require time-consuming record keeping.
Written exercises are used to consolidate knowledge and develop skills in their application. Their use contributes to the development of logical thinking, the culture of writing, independence in work. Written exercises can be combined with oral and graphic.
To graphic exercises include the work of students in drawing up diagrams, drawings, graphs, posters, stands, etc.
Graphic exercises are usually performed simultaneously with written ones.
Their use helps students to better perceive, comprehend and memorize educational material, contributes to the development of spatial imagination. Graphic works, depending on the degree of independence of students in their implementation, can be of a reproducing, training or creative nature.
Exercises are effective only if a number of rules are observed.
Requirements for the exercise method: conscious approach of students to their implementation; observance of the didactic sequence in the performance of exercises - first, exercises for memorizing and memorizing educational material, then - for reproduction - for the application of previously learned - for independent transfer of what has been learned to non-standard situations - for creative application, which ensures the inclusion of new material in the system of already acquired knowledge , skills and abilities. Problem-search exercises are also extremely necessary, which form students' ability to guess, intuition.
At the lesson of artistic labor, students, along with polytechnic knowledge, master general labor polytechnic skills: to equip a place, design a product of labor, plan a labor process, and carry out technological operations.
When using practical methods, skills and abilities are formed.
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Actionstechniquesoperationskillskills. |
Actions - are carried out by students at a slow pace with careful consideration of each element performed.
Techniques - require further reflection and improvement in the process of special exercises.
Operations are combined techniques.
Skills - knowledge that is applied in practice, understood as the conscious performance of specified actions by students with the choice of the correct methods of work, but knowledge may not be brought to the level of skills.
Skills are actions that are brought to a certain extent to automatism and are performed in ordinary standard situations.
Skills are developed by reusable exercises of the same type without changing the type of activity. During work, the teacher focuses on the formation of labor skills in children. Skills are manifested by the actions of a person in an unfamiliar situation. For the formation of skills, various exercises are carried out that allow you to transfer the method of action to a new situation.
Primary school students in art classes form three main groups of skills:
1. Polytechnic skills - measuring, computing, graphic, technological.
2. General labor skills - organizational, design, diagnostic, operator.
3. Special labor skills - processing different materials in different ways.
4. The formation of skills is always associated with practical activities.
This is a brief description of teaching methods, classified by sources of knowledge. The main disadvantage of this classification is that it does not reflect the nature of the cognitive activity of students in learning, does not reflect the degree of their independence in educational work. Nevertheless, it is this classification that is most popular with practicing teachers, methodologists and is used in technology and fine arts lessons.
4. Reproductive learning methods
The reproductive nature of thinking involves the active perception and memorization of the information provided by the teacher or other source of educational information. The application of these methods is impossible without the use of verbal, visual and practical teaching methods and techniques, which are, as it were, the material basis of these methods. These methods are mainly based on the transfer of information using words, the demonstration of natural objects, drawings, paintings, graphic images.
To achieve a higher level of knowledge, the teacher organizes the activities of children to reproduce not only knowledge, but also methods of action.
In this case, much attention should be paid to instruction with a demonstration (at art classes) and an explanation of the sequence and methods of working with a show (at art classes). When performing practical tasks, reproductive, i.e. the reproductive activity of children is expressed in the form of exercises. The number of reproductions and exercises when using the reproductive method determines the complexity of the educational material. It is known that in the lower grades, children cannot perform the same training exercises. Therefore, elements of novelty should be constantly introduced into the exercises.
In the reproductive construction of the story, the teacher formulates facts, evidence, definitions of concepts in a ready-made form, focuses on the main thing that needs to be learned especially firmly.
A reproductively organized conversation is conducted in such a way that the teacher relies on the facts already known to the students, on previously acquired knowledge, and does not set the task of discussing any hypotheses or assumptions.
Practical works of a reproductive nature are distinguished by the fact that in the course of their work, students apply the previously acquired or newly acquired knowledge according to the model.
At the same time, in the course of practical work, students do not independently increase their knowledge. Reproductive exercises especially effectively contribute to the development of practical skills and abilities, since the transformation of skill into a skill requires repeated actions according to the model.
Reproductive methods are used especially effectively in cases where the content of the educational material is predominantly informative, is a description of the methods of practical actions, is very complex or fundamentally new so that students can carry out an independent search for knowledge.
In general, reproductive methods of teaching do not allow to develop the thinking of schoolchildren to the proper extent, and especially independence, flexibility of thinking; to develop students' skills in search activity. With excessive use, these methods contribute to the formalization of the process of mastering knowledge, and sometimes just cramming. It is impossible to successfully develop such personality traits as creative approach to business, independence by reproductive methods alone. All this does not allow them to actively use technology in the classroom, but requires the use of teaching methods along with them that ensure the active search activity of schoolchildren.
5. Problematic teaching methods.
The problem method of teaching provides for the formulation of certain problems that are solved as a result of the creative and mental activity of students. This method reveals to students the logic of scientific knowledge; creating problem situations, the teacher encourages students to build hypotheses, reasoning; conducting experiments and observations, it makes it possible to refute or approve the assumptions put forward, to independently draw reasonable conclusions. In this case, the teacher uses explanations, conversations, demonstrations, observations and experiments. All this creates a problem situation for students, involves children in a scientific search, activates their thinking, forces them to predict and experiment. But at the same time, it is necessary to take into account the age characteristics of children.
The presentation of educational material by the problem story method assumes that the teacher, in the course of the presentation, reflects, proves, generalizes, analyzes the facts and leads the students' thinking, making it more active and creative.
One of the methods of problem-based learning is heuristic and problem-search conversation. In the course of it, the teacher poses a series of consistent and interrelated questions to the students, answering which they must make any assumptions and then try to independently prove their validity, thereby making some independent progress in the assimilation of new knowledge. If during a heuristic conversation such assumptions usually concern only one of the main elements of a new topic, then during a problem-search conversation, students resolve a whole series of problem situations.
Visual aids with problematic teaching methods are no longer used only to enhance memorization, and to set experimental tasks that create problem situations in the classroom.
Problematic methods are used mainly for the purpose of developing skills in educational and cognitive creative activity, they contribute to a more meaningful and independent mastery of knowledge.
This method reveals to students the logic of scientific knowledge. Elements of the problem methodology can be introduced at the lessons of artistic work in the 3rd grade.
So, when modeling boats, the teacher demonstrates experiments that pose certain problems for students. A piece of foil is placed in a glass filled with water. Children watch the foil sink to the bottom.
Why does foil sink? Children put forward the assumption that foil is a heavy material, so it sinks. Then the teacher makes a box out of foil and carefully lowers it upside down into the glass. Children observe that in this case the same foil is kept on the surface of the water. Thus, a problematic situation arises. And the first assumption that heavy materials always sink is not confirmed. So, the point is not in the material itself (foil), but in something else. The teacher offers to carefully consider again a piece of foil and a foil box and establish how they differ. Students establish that these materials differ only in shape: a piece of foil has a flat shape, and a foil box has a voluminous hollow shape. What are empty objects filled with? (By air). And air has little weight.
He is light. What can be the conclusion? (Hollow objects, even from heavy materials, like metal, filled with (light (air, do not sink.) Why don’t large sea boats made of metal sink? (Because they are hollow) what will happen if a foil box is pierced with an awl? (She sink.) Why? (Because it will fill with water.) What will happen to the ship if its hull gets a hole and fills with water? (The ship will sink.)
Thus, the teacher, creating problem situations, encourages students to build hypotheses, conducting experiments and observations, enables students to refute or confirm the assumptions put forward, and independently draw reasonable conclusions. In this case, the teacher uses explanations, conversations, demonstrations of objects, observations and experiments.
All this creates problem situations for students, involves children in scientific research, activates their thinking, forces them to predict and experiment. Thus, the problematic presentation of educational material brings the educational process in a general education school closer to scientific research.
The use of problematic methods in the lessons of artistic labor and fine arts is most effective for intensifying activities to resolve problem situations, educational and cognitive activities of students.
6. Partial-search method of teaching
Partial search, or heuristic method got its name, because students can not always solve a complex problem and therefore part of the knowledge is communicated by the teacher, and part they get on their own.
Under the guidance of a teacher, students reason, solve emerging cognitive situations, analyze, compare. As a result, they develop conscious knowledge.
To develop independence and creative initiative, the teacher uses various techniques.
At the lessons of labor at the first stage, children perform tasks according to technological maps with a detailed description of operations and methods of work. Then flow charts are made with partially missing data or stages. This forces children to independently solve some tasks that are feasible for them.
So, in the process of partial search activity, students first get an idea about the product, then plan the sequence of work and carry out technological operations to implement projects into a finished product.
In fine arts lessons, as an example of using the partial search method of teaching, you can plan the work in such a way that the first step is to get an idea about the subject itself, then draw up a sequence of drawing it (place the steps depicted on the board in the correct sequence, fill in the gaps in the steps of the sequence and etc.).
7. Research method of teaching
The research method should be considered as the highest stage of students' creative activity, in the course of which they find solutions to new problems for them. The research method forms students' knowledge and skills that have a high degree of transfer and can be applied in new work situations.
The use of this method brings the learning process closer to scientific research, where students get acquainted not only with new scientific truths, but also with the methodology of scientific search.
Naturally, the content of the research method in science differs from the research method in teaching. In the first case, the researcher reveals to society new, previously unknown phenomena and processes; in the second, the student discovers phenomena and processes only for himself, which are not new for society. In other words, in the first case, discoveries are made on the social plane, and in the second, on the psychological plane.
The teacher, putting before the students a problem for independent research, knows both the result and the ways of solving and types of activities that lead the student to the correct solution of the problem posed. Thus, the research method in the school does not aim to make new discoveries. It is introduced by the teacher in order to instill in students the character traits necessary for further creative activity.
Consider the elements of the research method using a specific example.
At the lesson of art work, the teacher sets the task for the children - to choose paper for making a boat, which should have the following features: it should be well painted, be dense, durable, thick. At the disposal of each student there are samples of writing, newsprint, drawing, household (consumer) paper and tracing paper, brushes, jars of water. In the process of simple research, from the available types of paper, the student chooses for the manufacture of the hull of a boat model such paper that has all of the listed features. Let's say that the first student starts checking the sign of coloring. Passing a brush with paint over samples of writing, newsprint, drawing, consumer paper and tracing paper, the student establishes that writing, drawing, consumer paper and tracing paper are thick papers, newsprint is loose. The student concludes that newsprint is not suitable for the hull of a boat. By tearing up existing paper samples, the student establishes that writing and consumer paper is fragile. This means that these species are not suitable for the manufacture of a boat hull.
Next, the student carefully examines the remaining types of paper - drawing paper and tracing paper - and establishes that drawing paper is thicker than tracing paper. Therefore, for the manufacture of the hull of the boat, it is necessary to use drawing paper. This paper has all the necessary features: it is well colored, dense, durable, thick. Checking the types of paper should begin with a sign of strength. After this check, only two types of paper would remain at the disposal of the student: tracing paper and drawing paper. Checking the sign of thickness made it possible for the student to immediately choose the drawing paper necessary for the boat from the remaining two types. When using the research method, as the considered example of choosing paper shows, the student is not given a ready-made solution to the problem. In the process of observations, trials, experiments, simple research, the student independently comes to generalizations and conclusions. The research method actively develops the creative abilities of students, introduces students to the elements of scientific research.
The research method actively develops the creative abilities of students, introduces them to the elements of scientific research.
8. Explanatory and illustrative teaching method
Explanatory-illustrative, or informational-receptive methods include storytelling, explanation, work with textbooks, demonstration of pictures (verbal, visual, practical).
The teacher communicates the finished information by various means, and the students perceive it and fix it in memory.
However, when using this method, the skills and abilities to use the acquired knowledge are not formed. Knowledge is presented in finished form.
This method of teaching fine arts and artistic work will be effective if this method is not used in its only form. When this method is combined with others, for example, partially search, research, reproductive, problematic, practical, students will work actively, they will develop thinking, attention, and memory.
9. Methods of independent work
Methods of independent work and work under the guidance of a teacher are distinguished on the basis of an assessment of the degree of independence of students in the performance of educational activities, as well as the degree of control of this activity by the teacher.
When a student performs his activities without direct guidance from the teacher, they say that the method of independent work is used in the educational process. When the methods are applied with the active control of the actions of students by the teacher, it is classified as methods of educational work under the guidance of a teacher.
Independent work is carried out both on the instructions of the teacher with mediocre management of it, and on the student's own initiative, without instructions and instructions from the teacher.
By using various types of independent work, students need to develop: some of the most general methods of its rational organization, the ability to rationally plan this work, clearly set a system of tasks for the upcoming work, single out the main ones among them, skillfully choose ways to solve the tasks set most quickly and economically, skillful and operational self-control over the performance of the task, the ability to quickly make adjustments to independent work, the ability to analyze the overall results of the work, compare these results with those planned at the beginning of it, identify the causes of deviations and outline ways to eliminate them in future work.
In the lessons of fine arts and art work, to increase the effectiveness of the learning process, as well as to achieve all the goals, these methods are used almost constantly in combination with other methods listed above. The choice of methods depends on the content of the educational material, the age and individual characteristics of the students, etc.
10. Methods for stimulating the educational activity of schoolchildren in the learning process. Methods of formation of cognitive interest
Interest in all its forms and at all stages of development is characterized by:
· positive emotions in relation to activity;
the presence of the cognitive side of these emotions;
The presence of a direct motive coming from the activity itself.
In the learning process, it is important to ensure the emergence of positive emotions in relation to learning activities, to its content, forms and methods of implementation. The emotional state is always associated with the experience of emotional excitement: response, sympathy, joy, anger, surprise. That is why the processes of attention, memorization, comprehension in this state are connected to the deep inner experiences of the individual, which make these processes proceed intensively and therefore more effective in terms of the goals achieved.
One of the methods included in the method of emotional stimulation of learning is the method of creating entertaining situations in the lesson - the introduction of entertaining examples, experiments, paradoxical facts into the educational process.
Entertaining analogies also act as a technique that is part of the methods of forming interests in learning, for example, when considering an airplane wing, analogies are drawn with the shape of the wings of a bird, dragonfly.
Emotional experiences are evoked by applying the technique of surprise.
The unusual nature of the facts presented, the paradoxical nature of the experience demonstrated in the lesson, the grandiosity of the figures - all this invariably evokes deep emotional experiences in schoolchildren.
One of the methods of stimulation is the comparison of scientific and worldly interpretations of individual natural phenomena.
To create emotional situations during the lessons, the artistry, brightness, and emotionality of the teacher's speech are of great importance. This once again reveals the difference between the methods of organizing cognitive activity and the methods of stimulating it.
Educational games . The game has long been used as a means of arousing interest in learning.
In the educational and educational period of age, teaching and education should be the main interest of a person’s life, but for this the pupil must be surrounded by a favorable sphere. If, however, everything that surrounds the pupil pulls him away from the teaching in a completely opposite direction, then all the efforts of the mentor will be in vain to inspire him with respect for the teaching.
That is why education is so rarely successful in those rich, high-society homes, where the boy, escaping from a dull classroom, hastens to prepare for a children's ball or for a home performance, where much more vivid interests await him, which prematurely took possession of his young heart.
As we can see, the great Russian teacher Konstantin Dmitrievich Ushinsky, speaking about the fact that only small children can learn by playing, but, nevertheless, wants to interest older children in learning. But how to instill a love of learning if not a game.
Teachers have a hard time: after all, you cannot force a student to do something that is not interesting for him. And the child will not be able to repeat the same exercise dozens of times for the sake of a distant, not entirely clear goal. But play all day long - please! The game is a natural form of its existence. Therefore, it is necessary to teach in such a way that classes delight, captivate, and amuse the children.
The teaching of fine arts and artistic work is impossible without the use of various kinds of game situations in the lesson, with the help of which the teacher forms specific skills and abilities in schoolchildren. The clearly limited learning task of the task allows the teacher to accurately and objectively assess the quality of the students' assimilation of the material.
In order to maintain the productive working capacity of children throughout the lesson, various cognitive situations, games, activities should be introduced into their activities, since the assimilation of the subject is facilitated if different analyzers are involved.
The alternation of all types of activities during the lesson makes it possible to more rationally use the study time, increase the intensity of the work of schoolchildren, ensure continuous assimilation of new and consolidation of the material covered.
Didactic exercises and game moments included in the system of pedagogical situations arouse in children a special interest in learning about the world around them, which has a positive effect on their productive visual activity and attitude to classes.
It is advisable to use didactic exercises and game situations in those lessons where understanding the material is difficult. Studies have shown that during play situations, visual acuity in a child increases significantly.
Games, game moments, elements of fabulousness serve as a psychological stimulator of neuro-psychological activity, potential abilities of perception. L.S. Vygotsky remarked very subtly that “in play, a child is always above his usual behavior; he is in the game, as it were, head and shoulders above himself.
Games contribute to the understanding of the design features of the shape of objects, form the ability to compare, find optimal solutions, develop thinking, attention, and imagination.
For example:
1. Compose images of individual objects from geometric shapes.
Using the geometric figures depicted on the board, students draw objects in the albums (as a variant of this exercise, individual tasks for each student).
2. Make compositions from ready-made silhouettes "Whose composition is better?".
From the finished silhouettes, make a still life. The game can be played as a competition between two (three) teams. Work is carried out on a magnetic board. The game develops compositional thinking, the ability to find optimal solutions.
The inclusion of gaming moments in the lessons allows you to correct the psychological state of students. Children perceive psychotherapeutic moments as a game, and the teacher has the opportunity to change the content and nature of tasks in a timely manner, depending on the situation.
Educational discussions. The methods of stimulating and motivating learning include creating a situation of cognitive dispute. The dispute causes increased interest in the topic. Some teachers skillfully use this method of activating the teaching. They, firstly, use the historical facts of the struggle of different scientific points of view on a particular problem. The inclusion of students in situations of scientific disputes not only deepens their knowledge on relevant issues, but also involuntarily attracts their attention to the topic, and on this basis causes a new surge of interest in learning.
Teachers also create educational discussions at the time of studying ordinary educational issues in any lesson. For this, students are specifically invited to express their opinions about the causes of a particular phenomenon, to substantiate one or another point of view.
Creating situations of success in learning. One of the effective methods of stimulating interest in learning is to create situations of success in the educational process for schoolchildren who experience certain difficulties in learning. It is known that without experiencing the joy of success it is impossible to truly count on further success in overcoming educational difficulties. Situations of success are also created by differentiating assistance to schoolchildren in completing educational tasks of the same complexity. Situations of success are also organized by the teacher by encouraging intermediate actions of schoolchildren, that is, by specially encouraging him to make new efforts.
An important role in creating a situation of success is played by ensuring a favorable moral and psychological atmosphere in the course of performing certain educational tasks. A favorable microclimate during study reduces the feeling of insecurity, fear. The state of anxiety is replaced by a state of confidence.
Here's another thing that is important in order to lead students to good results in their studies.
If we want the student's work to be successful, so that he can deal with difficulties and in the future acquire more and more positive features in his work, then for this we need to imagine what contributes to the success of the work, and what causes failure. A huge role in success is played by that mood, that general cheerful state of mind among the students, that efficiency and calm, so to speak, liveliness, which form the pedagogical basis of any successful work of the school. Everything that creates a boring atmosphere - despondency, hopelessness - all this is a negative factor in the successful work of students. Secondly, the teacher's method of teaching is of great importance: usually our classroom method of teaching, such that students work in the same method and on the same topic, quite often leads to the fact that the class is stratified: a certain number of students , for which the method proposed by the teacher is suitable, succeeds, while the other part, for which a slightly different approach is needed, lags behind. Some students have a fast pace of work, while others are slow; some students grasp the appearance of forms of work, while others must thoroughly understand everything before they begin to work at all.
If students understand that all the efforts of the teacher are aimed at helping them, then cases of mutual assistance that are very valuable for working in the class may appear among them, cases of students turning to the teacher for help will be intensified, the teacher will advise more than give directives and put forward a demand and, in the end, the teacher himself will learn to really help both the whole class and each student individually.
When we observe the work of a student, when we approach him with our instructions, demands or advice, then we must know what a tremendous role arousing interest in the work of the student plays, and this is the account that should stimulate the work of the student, i.e. Accounting for the student's work should arouse his interest in the work.
To whom, if not to his senior comrade, the teacher, will the student turn for help? And we must help them understand a lot - in various life situations, in themselves, in all sorts of conflicts. But becoming such a friend is not easy. In order to gain authority and respect from your students, you need to understand your children well, to see in them not only future masters to whom you pass on your experience, but, first of all, in everyone - a Person, a Personality. If you manage to win respect, authority among your pupils, this is a great happiness for the teacher.
The main sources of interest in educational activities include the creation of a situation of novelty, relevance, bringing the content closer to the most important discoveries in science, technology, to the achievements of modern culture, art, and literature. To this end, teachers select special techniques, facts, illustrations, which at the moment are of particular interest to the entire public of the country. In this case, students are much more clearly and deeply aware of the importance and significance of the issues being studied and therefore treat them with great interest, which allows them to be used to increase the activation of the cognitive process in technology lessons.
11. Methods of control and self-control in training
Methods of oral control. Oral control is carried out by individual and frontal questioning. In an individual survey, the teacher poses several questions to the student, answering which he shows the level of assimilation of educational material. With a frontal survey, the teacher selects a series of logically interconnected questions and puts them in front of the whole class, calling for a short answer from one or another student.
Methods of self-control. An essential feature of the current stage of improving control at school is the comprehensive development of students' skills of self-control over the degree of assimilation of educational material, the ability to independently find mistakes, inaccuracies, and outline ways to eliminate detected gaps, which is especially used in technology lessons.
Conclusions. All the main methods of teaching fine arts have been listed above. The effectiveness of their use will be achieved only with the integrated use of these methods.
The primary school teacher should give priority to methods that make the work active and interesting, introduce elements of play and entertainment, problematic and creativity.
The comparative possibilities of teaching methods allow adequate age, mental and physical strength, existing experience of educational work, educational fitness of students, formed educational skills and abilities, development of thought processes and types of thinking, etc. use them at different levels and stages of learning.
It is always important to remember and take into account the age-related characteristics of the psychological and mental development of children.
M.: 1999. - 368 p.
The manual in an accessible form tells about the basics of visual activity. It includes both theoretical information about materials and techniques, as well as detailed recommendations for completing assignments in drawing, painting, design, modeling and architecture. The material is presented in a systematic, accessible and visual way. The text is accompanied by illustrations that increase the information content of the textbook, help to extract information not only from the text, but also visually. The book is also recommended for students of pedagogical colleges.
Format: pdf
The size: 30.5 MB
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CONTENT
Introduction 3
Part I. THEORETICAL AND PRACTICAL BASIS OF TEACHING FINE ARTS 8
Chapter I. THEORETICAL FOUNDATIONS OF TEACHING DRAWING 8
§ 1. Drawing - type of graphics 9
§ 2. From the history of figure 17
§ 3. Perception and image of form 22
§ 4. Light and shadow 26
§ 5. Proportions 30
§ 6. Perspective 34
SCHOOL OF DRAWING 47
§one. Practical tips 48
Graphic art materials and techniques 48
Transfer of the invoice of objects 54
§ 2. Methods of work on drawing individual objects and gypsum 55
Cube Drawing Sequence 57
Ball Drawing Sequence 58
Cylinder Drawing Sequence 58
Pyramid Drawing Sequence 59
Sequence for drawing a hexagonal prism 59
The sequence of drawing a jug. Pencil 60
§ 3. Technique of work on drawing the folds of drapery 61
§ 4. Methodology for working on drawing a plaster ornament 63
§ 5. Methodology for working on drawing a still life 65
The sequence of drawing a still life from geometric bodies 67
The sequence of drawing a still life from household items 69
§ 6. Methods of work on drawing a human head 70
Sequence of drawing the head of a plaster model 70
Live Model Head Drawing Sequence 72
§ 7. Methodology for working on drawing a human figure 74
Sequence of drawing a human figure 77
§ 8. Methods of work on drawing nature 78
Drawing herbs, flowers and branches 78
Drawing trees 82
Landscape painting 86
Landscape drawing sequence 89
Drawing animals and birds 89
Practical tasks 97
Chapter II. THEORETICAL FOUNDATIONS OF TEACHING PAINTING 98
§ 1. Painting - the art of color 98
§ 2. From the history of painting 104
§ 3. Variety of genres of painting 114
Portrait 114
Still life 116
Landscape
Animal genre
historical genre
Battle genre
mythological genre
household genre
§ 4. Perception and symbolism of color
§ 5. Color and synthesis of the arts
§ 6. Fundamentals of color science
About the nature of color 137
Primary, secondary and complementary colors
Basic color characteristics
Local color
Color contrasts
color mixing
coloring
Types of color harmonies
§ 7. Composition in painting
Rules, techniques and means of composition
Rhythm
Selection of the plot-compositional center
SCHOOL OF PAINTING
§ I. Practical advice
Picturesque art materials "and" work techniques 163
sequence of execution of a painting 166
& I. Technique of working on a picturesque image of a still life 168
Still life image sequence. Grisaille 172
The sequence of images of a still life from household items. Watercolor
The sequence of images of a still life from household items. Gouache
§ 3. Methodology for working on a pictorial image of a human head
Sequence of performing a pictorial study of the head of a living model
§ 4. Methods of working on a picturesque "image of a human figure.
Sequence of performing a pictorial study of a human figure
§ 5 Methodology for working on a pictorial depiction of a landscape (plein air)
The sequence of the image of the landscape. "Watercolor in damp 179
The sequence of the image of the landscape. Watercolor 180
The sequence of the image of the landscape. Gouache
Practical tasks
Chapter III. THEORETICAL FOUNDATIONS OF TEACHING FOLK AND APPLIED ARTS 181
KW™T I dec°Ra™vn°-applied art in the value system of culture
§ 2. Composition in folk and arts and crafts 192
§-3. Ornament art
Types and structure of ornaments 196
Diversity and Unity of Ornamental Motifs from Different Countries
and peoples 199
Stylization of natural forms 204
§ 4. Folk art crafts 207
Painting on wood 207
Khokhloma 207
Gorodets 209
Paintings of the Northern Dvina and Mezen 210
Ceramics 213
Gzhel ceramics 213
Skopino ceramics 215
Russian clay toy 216
Dymkovo toy 216
Kargopol toy 217
Filimonov toy 217
Russian wooden toy 218
Russian North toy 219
Nizhny Novgorod "toporshchina" 220
Polkhov-Maidanskie tarararushki 221
Sergiev Posad toy 222
Bogorodsk toy 223
Nesting dolls (Sergiev Posad, Semyonov, Polkhov-Maidan) 225
Russian artistic varnishes 226
Fedoskino 227
Palekh, Mstera, Kholuy 228
Zhostovo 229
Pavloposad shawls 230
§ 5. Folk costume 232
SCHOOL OF FOLK AND APPLIED ARTS 235
§ 1. Methodology for the development of decorative painting 235
Khokhloma painting 236
Gorodets painting 240
Polkhov-Maidan painting 241
Mezen painting 241
Zhostovo painting 242
Gzhel painting 244
§ 2. Methods of work on modeling and painting folk clay toys 246
Dymkovo toy 247
Kargopol toy 249
Filimonov toy 249
§ 3. Methodology for working on a thematic decorative composition 250
Practical tasks 254
Chapter IV. THEORETICAL FOUNDATIONS OF TEACHING DESIGN 256
§ 1. Design - the art of organizing a holistic aesthetic environment 257
§ 2. From the history of design 272
§ 3. Basics of shaping 278
§ 4. Color in design 283
§ 5. Composition in design 286
SCHOOL OF DESIGN 288
§ 1. Methodology for working on tasks in graphic design 288
§ 2. Methods of work on the design and modeling of design objects 290
Practical tasks 294
Part II METHODOLOGY OF TEACHING FINE ARTS IN PRIMARY SCHOOL
§ 1. Pedagogical conditions for successful teaching of fine arts in elementary school 295
§ 2. Methods of teaching fine arts in grades I-IV 312
Methods of teaching drawing, painting, composition in elementary school
Methods of teaching folk and arts and crafts 324
Methodology for teaching design in elementary school
CONCLUSION
Literature 3S7
Fine art is the world of beauty! How can one learn to understand it? To do this, it is necessary to master the language of fine art, to understand its types and genres.
As you know, art forms can be grouped into the following groups: plastic, temporary and synthetic. Plastic arts are spatial arts, works are of an objective nature, are created by processing material and exist in real space.
The plastic arts include: fine arts (graphics, painting, sculpture), architecture, decorative and applied arts, design, as well as works of folk art of a fine and applied nature.
All types of art master the world in a figurative form. Works of plastic arts are perceived visually, and sometimes tactilely (sculpture and arts and crafts). In this they differ significantly from the works of temporary art forms. Musical works are perceived by ear. It takes a certain amount of time to perform a symphony and read a book.
Ballet, in which music and movement merge on the basis of the plasticity of the human body, should not be attributed to the plastic arts. Ballet is considered a synthetic art form.
In the spatial arts, the plasticity of volumes, shapes, lines is essential, and this is precisely what their name is connected with. Plastic arts from the 18th century. called beautiful, graceful, this emphasizes their beauty and perfection of images.
At the same time, since ancient times, plastic arts have been especially closely associated with material production, processing and design of the objective world, the environment surrounding a person, that is, with the creation of material culture. Thus, an artistic thing is perceived as a materialized creativity, an aesthetic exploration of the world.
The art of each era embodies its leading philosophical ideas. As a kind of artistic activity, plastic arts occupy an important place in the spiritual development of reality at all stages of the history of human development, they have access to the widest range of topics.
The plastic arts gravitate toward the synthesis of the arts, that is, the fusion and interaction of architecture with monumental art, sculpture, painting, and decorative and applied arts; painting with sculpture (in reliefs), painting with arts and crafts (in pottery, vases), etc.
The plastic arts, as one of the artistic elements, are an integral part of many synthetic arts (theatre, screen arts). There are attempts to combine painting with music.
The structure of the image of the plastic arts (calligraphy, poster, caricature) may include language material (word, letter, inscription). In the art of the book, graphics are combined with literature. The plastic arts can
even acquire the qualities of temporary arts (kinetic art). But basically the figurative structure of a work of plastic art is built with the help of space, volume, shape, color, etc.
The world around us becomes the subject of the artist's image, fixed by him in plastic images. Their main feature is that, materializing on a flat or other surface, they give us an artistic idea of the variety of objects and their location in space.
The artistry of the plastic image is revealed in the selection of those qualities of the subject-spatial world that make it possible to convey the characteristic expressiveness and highlight the aesthetically valuable.
In this case, we can talk about three different plastic systems. It should be noted that in the visual arts, for a long time, various systems of artistic perception and display of the real world existed simultaneously or replacing each other.
1. Primitive art. The emergence and development of fine arts in primitive society. Methods of teaching drawing in ancient Egypt
The conversion of primitive people to a new type of activity for them - art - is one of the greatest events in the history of mankind. Primitive art reflected the first ideas of man about the world around him, thanks to him knowledge and skills were preserved and transferred, people communicated with each other. The Stone Age (over 2 million years ago to the VI millennium BC), is divided into Paleolithic, Mesolithic and Neolithic. The first works of primitive art were created about 30 thousand years ago. The oldest sculptures are Paleolithic Venuses - primitive female figurines. In addition to women, animals were depicted from stone or bone. Stone Age people gave an artistic appearance to everyday items - stone tools and clay vessels. Later, primitive masters began to pay more attention to details: they depicted wool with strokes, learned to use additional colors) In the XII millennium BC. e. cave art reached its peak. The painting of that time conveyed volume, perspective, bloom proportions of figures, movement. At the same time, huge picturesque canvases that covered the vaults of deep caves. The exact time of the creation of cave paintings has not yet been established. Dozens of large animals are depicted on the walls of the caves: mammoths and cave bears. Mineral dyes mixed with water, animal fat and plant sap made the color of the cave paintings especially bright. (Altamira Cave, Lascaux Cave)
Mesolithic Art. In the Mesolithic era, or the Middle Stone Age (XII-VIII millennium BC), (coastal mountainous regions of Eastern Spain, between the cities of Barcelona and Valencia), figures of people depicted in rapid movement, multi-figure compositions and scenes of hunting with egg white, blood , honey.
Neolithic Art (5000-3000 B.C.) These are, for example, rock paintings of deer, bears, whales and seals found in Norway, reaching eight meters in length. In addition to schematism, they are distinguished by careless execution. Along with stylized drawings of people and animals, there are various geometric shapes (circles, rectangles, rhombuses and spirals, etc.), images of weapons and vehicles (boats and ships). The first rock carvings were discovered in 1847-1850. in North Africa and the Sahara Desert (Tassilin-Ajer, Tibesti, Fezzana, etc.)
bronze (it got its name from the then widespread alloy of metals - bronze). The Bronze Age began in Western Europe about four thousand years ago. in the Bronze Age, all kinds of household items were made, richly decorated with ornaments and of high artistic value. In III-II millennia BC. e. there appeared peculiar, huge structures made of stone blocks, menhirs - vertically standing stones more than two meters high. (Brittany Peninsula in France) dolmens - several stones dug into the ground, covered with a stone slab, originally used for burials. Numerous menhirs and dolmens were located in places that were considered sacred. Especially famous are the ruins in England near the city of Salisbury - the so-called. Stonehenge (II millennium BC). Stonehenge is built from one hundred and twenty boulders weighing up to seven tons each, and thirty meters in diameter.
In other Egypt, a special art school arose and strengthened, training was systematic. The method and system of education for all teachers were the same, because the approved canons prescribed the strictest observance of established norms. They were the first in the history of human culture to lay the foundation for the theoretical substantiation of drawing. Teaching drawing was based on memorizing the developed rules and canons. Although the canons facilitated the study of drawing techniques, they fettered the artist, did not allow him to depict the world as he sees it. Drawing in Dr. Egypt was a general education subject, was closely related to teaching writing. The leading school of the ancient kingdom was the Memphis Court School of Architects and Sculptors, she yavl. Artistic The center, other schools were formed around it. There was even an institute where young men studied. Teachers used special methodical tables. The principles and methods were based on frontality, all drawings are linear, there is no three-dimensionality, perspective, chiaroscuro, there were proportions of standing, sitting, and other figures. A lot of valuable and interesting material for studying the methods of teaching fine arts is given by the monuments of Egyptian culture: paintings on the walls of tombs, palaces, temples, on household items; drawings for reliefs, and, finally, drawings on papyri. The main attention of Egyptian artists was paid to the image of the human figure. The task of the artist of Ancient Egypt did not include a real depiction of life. Life for them was like a temporary phenomenon, the main existence began after death. The artist combines within one image different points of view on the subject: some parts of the figure are depicted in profile (head, legs), others - in front (eye, shoulders). The features of ancient Egyptian painting were, in essence, coloring and for a number of centuries were reduced to filling the silhouette with one color, without introducing additional tones and colored shadows.
2. Methods of teaching fine arts in Ancient Greece (Ephesus, Sicyon, Theban schools)
Having studied teaching methods at Dr. Egypt, the Greeks approached the problem of education and upbringing in a new way. They called for a careful study of earthly life, and not the afterlife. In 432 BC e. in Sicyon, the sculptor Polikleitos wrote an essay on the proportional laws of the human body, studied its internal mobility. The statue "Dorifor" served as a visual aid.
Polygnot called for the reality of the image, owned the means of linear drawing, sought to convey the texture, not knowing chiaroscuro, drawing in full size, polychrome painting. The line played a paramount role, the clarity and clarity of the image were observed.
Apollodorus of Athens and his student Zeus included mixing of colors, gradation, and introduced chiaroscuro into the painting technique. Parrasius betrayed symmetry to painting, was the first to convey facial expressions, and achieved primacy in contours.
By the 4th century BC e. Greek art reaches a high stage of development in Greece, there were several known. schools of drawing: Sicyon, Ephesian and Theban.
Theban sh. - the founder of which was Aristide, or Nicomachus, attached great importance to "chiaroscuro effects, the transmission of life sensations and illusions." The Ephesian school, which is considered to be the founder of Ephranor from Corinth, and according to other sources - Zeuxis, was based on "sensual perception of nature and external beauty." This school strove for illusion, but was not perfect in drawing.
Sikyonskaya sh. -hold. scientific data of natural science and the laws of nature, sought to bring closer and teach the student to honor the laws of the structure of nature. founded by Eupomp, was based on the scientific data of natural science and strictly adhered to the laws of nature. This school demanded "the greatest precision and rigor of drawing". She had a great influence on the methodology of teaching drawing and on the further development of art. art.
Artists learned to convey on the plane not only the volume (three-dimensionality) of objects, but also the phenomena of perspective. Learning to draw from nature, Greek artists also studied anatomy.
Greek artist-educators established the correct method of teaching drawing, which was based on drawing from life. (Policlet. Doryphorus. Marble. V century BC. Neapolitan Museum.)
The fine arts of the ancient world, in comparison with the Egyptian, were enriched with new principles and methods for constructing an image, and at the same time with new teaching methods. Greek artists for the first time in the history of the development of educational drawing introduced chiaroscuro and gave examples of perspective construction of an image on a plane, laying the foundations for realistic drawing from nature.
Greek artist-educators established the correct method of teaching drawing, which was based on drawing from life. For the first time among the Greeks, drawing as an academic subject receives the right direction. In this regard, the Sikyon school of drawing deserves special attention and its actual head is Pamphilus, thanks to which drawing began to be considered as a general educational subject and was introduced in all general education schools in Greece. The merit of Pamphilus is that he was the first to understand that the task of teaching drawing includes not only copying objects of reality, but also the knowledge of the laws of nature. He was the first to understand that drawing develops spatial thinking and figurative representation, which are necessary for people of all professions. After Pamphilus, all the progressive thinkers of Greece began to understand this; they realized that learning the arts contributes to the all-round development of a person.
The era of ancient Greece was the most brilliant era in the history of the development of the fine arts of the ancient world. The value of Greek fine art is extremely great. Here was laid the method of scientific understanding of art. Greek artists-educators urged their students and followers to directly study nature, observe its beauty, and indicate what it is. In their opinion, beauty consisted in the correct proportional proportion of parts, the perfect example of which is the human figure. They said that the proportional regularity of the human body in its unity creates the harmony of beauty. The main principle of the sophists was: "Man is the measure of all things." This position formed the basis of all the art of Ancient Greece.
. Methods of teaching fine arts in ancient Rome
Methods of teaching drawing in ancient Rome
The Romans were very fond of iso. art, especially the works of Greek artists. Portrait art is widely distributed, but the Romans did not introduce anything new into the methodology and teaching system, continuing to use the achievements of Greek artists. Moreover, they lost many valuable provisions of the drawing, failing to save them. The artists of Rome mostly copied the works of the artists of Greece. The setting of teaching was different than in Greek schools:
In Rome, the teacher was more interested in the craft and technical side of the matter, rather to prepare an artist-craftsman (more craftsmen to decorate their homes).
When teaching drawing, copying from samples, mechanical repetition of work methods prevailed, which in turn forced the Roman artist-teachers to move more and more away from the teaching methods used by the artist-teachers of Greece.
In drawing techniques, the Romans first began to use sanguine (a beautiful reddish-brown shade) as a drawing material - it is malleable in work, better fixed on a smooth surface than coal.
The role of ancient culture in the development of realistic art, in the formation and development of the academic system of teaching drawing is especially great. It still inspires us today to search for more effective methods of teaching fine arts, to scientifically develop methods for teaching drawing.
Roman society required a large number of craftsmen to decorate premises, public buildings, the training period was short. the method of teaching drawing is unscientific. the drawing became conditional and schematic.
The era of Roman rule, at first glance, creates all the conditions for the further development of methods for teaching realistic drawing. The Romans were very fond of fine arts. They especially appreciated the works of Greek artists. Wealthy people amassed collections of paintings, and emperors built public pinakotheks (galleries). Portrait art is widely used. Images of people of that era are depicted without any embellishment. With amazing vital truth, they convey the individual character traits of people of the most diverse ages, such as, for example, a picturesque portrait of Pakvius Proculus and his wife, a boy; sculptural portraits - Vitellinus, young Augustus, Julius Caesar, etc.
Many noble nobles and patricians themselves were engaged in drawing and painting (for example, Fabius Pictor, Pedius, Julius Caesar, Nero, etc.).
It seems that everything was created for the further development of fine arts and teaching it. However, in reality, the Romans did not bring anything new to the methodology and system of teaching drawing. They only used the achievements of Greek artists; moreover, they failed to preserve many valuable provisions of the method of teaching drawing. As evidenced by the surviving paintings of Pompeii and the reports of historians, the artists of Rome basically copied the creations of the remarkable artists of Greece. Some paintings are made with great skill, such as "Aldobrandino wedding". However, they could not achieve the high professional skill that the famous artists of Ancient Greece possessed.
A few words about drawing technique. The Romans first began to use sanguine as a drawing material. In the catacombs, traces of the work of Roman artists have been preserved, where they used sanguine to outline the frescoes. Perhaps, to a greater extent than the Greeks, they adopted the technique of Egyptian artists, especially in painting (the use of tempera, work on canvas, papyrus). The methods of teaching and the nature of the training of artists had their own difference from the Greek schools. Greek artist-teachers tried to solve the high problems of art, they called on their students to master art with the help of science, to strive for the heights of art and condemned those artists who approached art in a artisanal way. In the era of the Roman Empire, the artist-teacher thought less about the high problems of artistic creativity, he was mainly interested in the craft and technical side of the matter.
Roman society required a large number of craftsmen to decorate residential premises and public buildings, so the training period could not be delayed. Therefore, when teaching drawing, copying from samples, mechanical repetition of work methods prevailed, which in turn forced the Roman artists to move more and more away from those deeply thought-out teaching methods used by the outstanding artist-teachers of Greece.
4. Drawing in the Middle Ages. Art and religion
In the era of the Middle Ages and Christianity, the achievements of realistic art were forgotten. The artists did not know any of the principles of constructing an image on a plane, which were used in Dr. Greece. Precious manuscripts perished - the theoretical works of great artists, as well as many famous works that could serve as models. Idolatry was subjected to the greatest persecution, all the statues and pictures were broken and destroyed. Together with the statues and paintings, scrolls and records, drawings and rules, the method of teaching drawing was unscientific. The basis of training is mechanical copying of samples, and not drawing from life.
The painters of the first centuries of Christianity still used the artistic forms of ancient painting. In a short time, the traditions of realistic art were forgotten and lost, the drawing became conditional and schematic.
Scientific knowledge of the world was condemned, and any attempt to substantiate observations of nature was suppressed. The study of nature and nature in the academic sense was not practiced.
Wed age-old pictorial art rejected realistic tendencies, since realistic nature evoked an “earthly” feeling, everything was approved or rejected by the church. Wed century-old artists did not work from nature, but according to samples that were stitched into notebooks, they were contour sketches of compositions of various church plots, individual figures, drapery motifs, etc. They were guided by both wall paintings and easel paintings, etc. j. industrial relations at this time contributed to the development of handicraft labor and the creation of corporations. Drawing was taught by a master who did not follow a strict system or clear teaching methods. Most of the students studied on their own, looking closely at the work of the master.
The great masters of Greece strove for a real depiction of nature, the artists of the Middle Ages, obeying church dogmas, moved away from the real world to abstract and mystical creativity. Instead of the charming nakedness of the human body, which inspired and taught Greek artists, heavy, strict and angular draperies appeared, distracting artists from studying anatomy. Neglecting earthly life and caring only about the afterlife, churchmen considered the desire for knowledge to be the source of sin. They condemned the scientific knowledge of the world, and stopped any attempt to substantiate the observations of nature.
The ideologists of medieval fine arts rejected realistic tendencies not because they were against the real interpretation of images, but because a realistically rendered nature evoked an "earthly" feeling in the viewer. A believable depiction of the shape of the real world inspired joy in the soul of the viewer, and this went against religious philosophy. When the real interpretation of the form, sometimes reaching naturalistic illusory, corresponded to the religious plot, it was favorably accepted by the church. We know many works of the Middle Ages that are distinguished by realistic features. They resemble the images of people of that era.
. Drawing in the Renaissance. Renaissance artists and their contribution to the method of teaching drawing (Cennino Cennini, Alberti, Leonardo da Vinci, A. Durer, Michelangelo. The method of cutting. The method of the curtain)
The Renaissance opens a new era not only in the history of the development of art, but also in the field of methods for teaching drawing. At this time, the desire for realistic art, for a truthful transmission of reality, is being revived. The masters of the Renaissance are actively embarking on the path of a realistic worldview, striving to reveal the laws of nature and establish a connection between science and art. In their research, they rely on the achievements of optics, mathematics, and anatomy. Teachings about proportions, perspective and plastic anatomy are in the center of attention of art theorists and practitioners.
During the Renaissance a high respect for drawing was restored. Drawing should have been studied by everyone who was engaged in art.
The first scientific work - "Treatise on Painting" - belongs to Cennino Cennini. the basis of training should be drawing from life. he rightly believes that daily work is required from the student to master the art. at the same time, he pays too much attention to copying the drawings of the masters.
The next work on drawing is "Three Books on Painting", created by the greatest Florentine architect Leon Battista Alberti. This is the most remarkable work of all that was written on the theory of drawing in the Renaissance. A treatise on drawing and the basic rules for constructing an image on a plane. Alberti considers drawing as a serious scientific discipline that has laws and rules that are as accurate and accessible for study as mathematics.
Alberti's work is of particular value from a pedagogical point of view. In his treatise, he gave a number of methodological provisions and guidelines for teaching drawing. He writes that the effectiveness of teaching art lies, first of all, in scientific justification. Alberti pays great attention to the study of anatomy. Alberti suggests building the entire learning process on drawing from life.
He was the first to speak openly about the deep meaning of art, he realized the need to enrich art with the experience of science, to bring science closer to the practical tasks of art. Alberti is great as a scientist and as a humanist artist.
The next most recent work in the field of drawing theory is Leonardo da Vinci's The Book of Painting. This book contains a variety of information: about the structure of the Universe, about the origin and properties of clouds, about sculpture, about poetry, about aerial and linear perspective. There are also instructions on the rules of drawing. Leonardo da Vinci does not put forward new methods and principles, he basically repeats already known provisions.
Leonardo da Vinci, like Alberti, believes that the basis of the method of teaching drawing should be drawing from nature. Nature makes the student carefully observe, study the structural features of the subject of the image, think and reflect, which in turn increases the effectiveness of learning and arouses interest in the knowledge of life.
Leonardo da Vinci attaches great importance to scientific education. Leonardo himself was engaged in serious scientific research. So, studying the anatomical structure of the human body, he performed numerous autopsies of corpses and went in this matter much further than his contemporaries.
Leonardo da Vinci also gives fair methodological guidelines for drawing an object from nature. He points out that the drawing must begin with the whole, and not with the parts. Leonardo pays special attention to the drawing of the human figure. Of interest is the method of consolidating the material covered by drawing from memory
Among the Renaissance artists who dealt with the problems of learning, the German artist Albrecht Dürer occupies a prominent place. His theoretical works are of great value, both in the field of teaching methods and in the field of art problems. Dürer's writings greatly contributed to the further development of the methodology of teaching drawing. Dürer believed that in art one cannot rely only on feelings and visual perception, but basically it is necessary to rely on exact knowledge; he was also concerned about general issues of pedagogy, issues of teaching and raising children. Among Renaissance artists, few thought about it.
When teaching drawing and the laws of constructing a realistic image of objects on a plane, Durer put forward perspective in the first place. The artist himself spent a lot of time studying perspective. The second, most significant work of Dürer - "The Doctrine of the Proportions of Man" - is the fruit of the labors of almost his entire life. Durer summarized all known data on this issue and gave them a scientific development, attaching a huge number of drawings, diagrams and drawings. The artist tried to find the rules for constructing the human figure through geometric proof and mathematical calculations.
Particularly valuable for art pedagogy is the method of form generalization developed by Dürer (later called trimming). The trimming method is as follows. To depict, according to all the rules of linear perspective, the shape of a simple geometric body, such as a cube, even for a novice draftsman is not particularly difficult. It is very difficult to give a correct perspective image of a complex figure, for example, a head, a hand, a human figure. But if you generalize the complex shape to the extreme to straight-line geometric shapes, then you can easily cope with the task. The pruning method helps the novice draftsman to correctly solve the tonal tasks of the drawing. The method of analysis and image construction proposed by Dürer had a striking effect in teaching and was used and developed further in the pedagogical practice of artist-teachers.
Their work in the field of perspective helped artists to cope with the most difficult problem of building a three-dimensional shape of objects on a plane. After all, before them there were no artists who could build a perspective image of three-dimensional objects. Renaissance artists, in fact, were the creators of a new science. They proved the correctness and validity of their positions both theoretically and practically. Renaissance painters also paid much attention to the study of plastic anatomy. Almost all draftsmen were interested in the laws of the proportional ratio of parts of the human body. In each treatise, the proportions of the human face, as well as other parts of the body, were carefully analyzed. Renaissance masters skillfully used the data of their observations in the practice of fine arts. Their works amaze the viewer with a deep knowledge of anatomy, perspective, and the laws of optics. Having put the data of science as the basis of fine art, the artists of the Renaissance paid special attention to drawing. The drawing, they said, contains all the most important things that are required for successful creative work.
The method of drawing from nature with the help of a curtain is based on the principle of strict observance of the laws of perspective. In order for the artist to be able to strictly observe a constant level of vision, and in a drawing - a constant vanishing point, Alberti suggested using a special device - a curtain.
. The Academic System of Art Education in the 16th - 12th Centuries (Pedagogical Ideas of J. A. Comenius, D. Locke, J. J. Rousseau, Goethe)
At the end of the 16th century, new directions appeared in the field of art education and aesthetic education, new pedagogical principles and attitudes. The method of teaching drawing began to be built differently. A century in the history of methods for teaching drawing should be considered as a period of the formation of drawing as an academic subject and the development of a new pedagogical teaching system - academic. The most characteristic feature of this period is the creation of special educational institutions - academies of arts and art schools, where the teaching of drawing was seriously established.
The most famous was the Bologna Academy of Arts, founded by the Carracci brothers. Academy students thoroughly study anatomy - not from books, but by dissecting corpses. Carracci developed a teaching methodology in detail, considering drawing the basis of fine art. In their methodological guidelines, they pointed out that the artist must rely on the data of science, on the mind, because the mind enriches the feeling. academies set as their goal to give serious training in the field of fine arts. They educated young people on the examples of the high art of antiquity and the Renaissance. Tradition has become a characteristic feature of all subsequent academies. Studying the heritage and perceiving the artistic culture of their predecessors, the academies carried all this to the next generation of artists, strictly preserving the great and unshakable foundation on which this tradition was created.
Along with state academies, private schools continued to exist, where students received fairly solid professional training. The workshop of the greatest Flemish artist Peter Paul Rubens (1577-1640) was the largest and most richly equipped with teaching aids. In the 17th century it was the best drawing school among private workshops. Rubens' students were such famous artists and excellent draftsmen. When teaching drawing, Rubens attached particular importance to scientific proof of the laws of perspective, chiaroscuro, and plastic anatomy.
For the first time after Pamphilus, the idea of the benefits of drawing as a general educational subject was expressed by the great Czech teacher Jan Amos Comenius (1592-1670) in his Great Didactics. True, Comenius did not yet dare to include drawing in the school curriculum as a compulsory subject. However, the value of these thoughts lay in the fact that they were closely related to issues of pedagogy. Chapter 21 of the Great Didactics, titled "Method of the Arts", states that three requirements must be observed in order to teach the art: correct use; sensible direction; frequent exercise.
Comenius, considering drawing as a general educational subject, does not make sharp differences in the methods and systems of teaching art in general education and special schools. He relies on the already established system of teaching drawing in the academies of arts, on teaching methods that have justified themselves.
Almost simultaneously with Comenius, the general educational value of drawing began to be defended by the English teacher and philosopher John Locke (1632-1704). In his book Thoughts on Education, he writes: “If a boy has acquired a beautiful and quick handwriting, then he should not only support it with careful practice in writing, but also improve his art by drawing. When traveling, drawing will serve the benefit of the young man; often with a few features he will be able to depict buildings, cars, clothes and other things that cannot be explained by any verbose descriptions. But I don't want him to become a painter; it would take more time than he has left from other important activities. However, J. Locke does not give methodological instructions on teaching drawing, he is limited only to general discussions about the benefits of teaching drawing.
The French encyclopedist philosopher Jean Jacques Rousseau (1712-1778) spoke in more detail about drawing as a general educational subject. In his book Emile, Rousseau writes that for the knowledge of the surrounding reality, the sense organs are of great importance, which can be developed in a child by teaching him to draw from life. Rousseau quite rightly points out that drawing lessons should be carried out among nature, since in nature the student can clearly see the phenomena of perspective and understand its laws. In addition, observing nature, the student cultivates his own taste, learns to love nature, begins to understand its beauty. Rousseau believes that learning to draw should take place exclusively by nature. In this regard, Rousseau looks at the method of teaching drawing more seriously than his predecessors. The pedagogical ideas of Comenius, Locke, Rousseau significantly enriched the theory and practice of art. Their theoretical works served as an impetus for the further development of artistic pedagogy.
During this period, the authority of the academy was strengthened not only as an educational institution, but also as a trendsetter in artistic tastes. Recognizing ancient art as the highest example and relying on the traditions of the High Renaissance, almost all European academies begin to create an ideal school of fine arts in the broadest sense of the word. Drawing in the system of art education is still considered as the basis of the foundations. But learning to draw from nature begins with the study of classical samples of antiquity. Only a serious study of ancient Greek sculptures will help a beginner to learn the laws of nature and art, only classical samples will reveal to the artist the ideas of beauty and the laws of beauty, the academies argued.
The position on the benefits of drawing as a general educational subject was expressed by the great Czech teacher ^ Ya A. Komensky in his "Great Didactics". True, Comenius did not yet dare to include drawing in the school curriculum as a compulsory subject. But the value of his thoughts on drawing was that they were closely related to issues of pedagogy. Of particular value to us are Comenius' thoughts on the need to study teaching methods. Almost simultaneously with Comenius, the general educational value of drawing began to be defended by the English teacher and philosopher John Locke. However, not being a specialist, J. Locke could not give methodological instructions in teaching drawing. He limited himself to general discussions about the benefits of education. The French philosopher-encyclopedist ^ Jacques-Jean Rousseau spoke in more detail about drawing as a general educational subject. He believed that drawing should be taught exclusively from nature and that a child should not have any other teacher than nature itself. Johann Wolfgang Goethe expressed many valuable thoughts about the method of teaching drawing. To master the art of drawing you need knowledge, knowledge and knowledge, he said. The pedagogical ideas of Comenius, Locke, Rousseau, Goethe enriched the theory and practice of teaching drawing. Their theoretical works served as an impetus for the further development of pedagogical thought in general and in the field of methods of teaching drawing in particular.
. The role of I.G. Pestalozzi in the development of drawing as a general educational subject. Pupils and followers of J. G. Pestalozzi (I. Schmidt, P. Schmidt, Dupuis brothers)
In the 18th - the first half of the 19th century, drawing began to firmly gain its place in secondary schools. This was started by the Swiss teacher Johann Heinrich Pestalozzi (1746-1827), who was not accidentally called the father of school methodology by art teachers. Pestalozzi considers drawing at school as a general educational subject. All knowledge, in his opinion, comes from number, form and word. The first step to knowledge is contemplation. In order to be able to think correctly, it is necessary to correctly consider the surrounding nature. Drawing is the most perfect way to acquire this skill. A special role, according to Pestalozzi, should belong to drawing in elementary school. In his diary, which deals with the upbringing of his son, drawing occupies the main place. Daily classes begin with drawing. Drawing, argues Pestalozzi, should precede writing, not only because it facilitates the process of mastering the inscription of letters, but also because it is easier to digest.
Pestalozzi himself, according to contemporaries, did not know how to draw, therefore he does not give clear and definite rules for teaching drawing, limiting himself to general pedagogical remarks. But his didactic instructions and pedagogical ideas were so important and vital that they served as the basis for the further development of drawing techniques in secondary schools.
Pestalozzi attaches great importance to teaching methods. The success of learning to draw depends on a properly built system, Pestalozzi says. Artists think little about teaching methods, they follow roundabout ways, so their art is available only to the elite (especially gifted). However, everyone can be taught the basics of drawing, and drawing, which is of great general educational importance, should take its place in school along with other academic subjects.
Pestalozzi fully outlined his views on the method of drawing in the book How Gertrude Teaches Her Children. The merit of Pestalozzi also lies in the fact that he considered it necessary to be guided by the age characteristics of students when developing a training system.
According to Pestalozzi, bringing the educational material into a coherent system, establishing a close connection between knowledge and skills in drawing will definitely develop in students the skills of their conscious application in independent work.
Pestalozzi believes that learning to draw should take place from nature, since nature is accessible to observation, touch and measurement. In accordance with this attitude, he defines the very term "drawing" as the establishment of form through lines; the size of the form, he points out, can be established by precise measurement. It is drawing from nature, according to Pestalozzi, that develops a child: it is enough to teach him to draw from nature models taken from the real life and nature around him; even if these first contours are imperfect, their developmental significance is much greater than drawing from imitations, that is, from ready-made drawings. Pestalozzi attaches great importance to the methods of developing the eye in drawing. The ability to measure is the ABC of observation
his general remarks are of great value. The merit of Pestalozzi lies in the fact that he was the first to combine the science of school teaching with art, raised the question of the need for methodological development of each position of the drawing. He believed that for the development of the eye there should be one method, for understanding forms - another, for technology - a third. This work was carried out by his students and followers.
After Pestalozzi, drawing as a general education subject began to be introduced in all elementary schools. Pestalozzi's pedagogical ideas are further developed. The first such work is the book "Elements of Drawing According to the Ideas of Pestalozzi", written by his student Joseph Schmidt. When teaching drawing, I. Schmidt suggests conducting special exercises: to develop the hand and prepare it for drawing; exercises in creating and finding beautiful forms; exercises to develop the imagination; exercises in geometric drawing of objects; in perspective.
To facilitate the work of students, I. Schmidt suggests placing a sheet of cardboard behind nature, on which a grid of squares is depicted. Drawing a model from life, the student could always check the slope and nature of the contour (silhouette) of the object in relation to vertical and horizontal lines, and the cells helped to find proportions correctly. After the initial drawing course, Schmidt advises moving on to artistic drawing, where the student begins to draw a person, first from a plaster model, and then from a living model. The course ends with life drawing of trees and landscapes.
Another student of Pestalozzi Ramsauer published a work called "Teaching Drawing", which first outlined the idea of drawing on a blackboard. The new method was as follows: all kinds of lines were depicted on a large blackboard in the form of preliminary exercises, exercises were offered to develop the eye - drawing lines to certain points, dividing lines into parts, drawing lines at a certain angle (slope). The next stage was the drawing of geometric figures and the characteristic forms of nature and art. The teacher should depict all this on the blackboard, and the students should follow the emergence and development of each form. The course ended with drawing from nature, first household items, then plaster heads, and finally a living head.
The works of the Berlin art teacher Peter Schmid had a great influence on the development of school methodology. He was the first to introduce into general education schools and developed in detail the method of drawing from life, using various geometric models for this. Schmid initiated the development of the so-called geometric method. Schmid's merit was that he developed a methodology for teaching drawing, based on general pedagogical provisions. According to Schmid, drawing is not only a mechanical exercise of the hand, it is also a gymnastics of the mind, and observation, a general sense of form, and fantasies are also exercised. The sequence of teaching drawing, according to Schmid, should be as follows: first, the image of the simplest form - a parallelepiped, then the image of the curvilinear forms of objects - and so gradually the student is led to drawing from plaster heads and busts. Each task conditions the next one, and the next presupposes the previous one and builds on it.
Schmid considered copying pictures not only not bringing any benefit to the student, but even harmful. He said that copying helps only the acquisition of mechanical skills and does not in the least contribute to the mental development of children.
in the first half of the 19th century, the method of the Dupuis brothers became widespread in secondary schools. Dupuy's drawing teaching methodology was built as follows: first, students study and depict the simplest models (wire) without perspective phenomena - frontally, then - wire models with perspective contractions. This is followed by drawing flat figures, after which - three-dimensional. The methodical sequence in drawing each group of models was the same: first - the frontal image of the model, then - perspective.
The method of teaching drawing by the Dupuis brothers had one more feature - at first, the students drew on black boards with chalk, and when they acquired some skill in drawing, they switched to working on paper. To develop a sense of form, Dupuis introduced classes in clay modeling.
The method of teaching drawing by the Dupuis brothers has not lost its significance at the present time. Separate models developed by him are used by artist-educators. So, teachers of the art and graphics faculty of the Moscow State Pedagogical Institute. V. I. Lenin, when teaching drawing according to the method of D. N. Kardovsky, Dupuis models are used.
. Drawing in Russia of the 18th century. (Preisler, G. A. Gippius)
Until the 18th century, the main method of teaching drawing was the copying method. As a general educational subject, drawing at that time had not yet received wide development; it began to be introduced into educational institutions only at the beginning of the 18th century.
Strengthening the power of Russia, the reforms of Peter 1 caused a general rise in culture in the country. There was a great need for people who could make maps, make drawings and illustrations for books.
In 1711, at the St. Petersburg printing house, Peter I organized a secular school of drawing, where students not only copied the originals, but also drew from life.
Teachers-artists are invited from abroad, with whom contracts are concluded.
Drawing is beginning to be widely introduced into general educational institutions. For the correct organization of the methodology for teaching drawing in these educational institutions, I. D. Preisler's book "Basic Rules, or a Brief Guide to Drawing Art" was published. It was the first serious method manual on drawing in Russia. Of particular interest to us is Preisler's book from a methodological point of view. The manual outlines a certain system for teaching drawing. The book gave instructions not only to novice artists, but also to those who taught drawing.
Training according to the Preisler system begins with an explanation of the purpose of straight and curved lines in the drawing, then geometric shapes and bodies, and, finally, the rules for their use in practice. The author, with a methodical sequence, shows the student how, moving from simple to complex, to master the art of drawing.
Whatever object Preisler suggests for drawing, he first of all tries to help the student cope with the difficulties of analyzing the shape of an object and building it on a plane. It clearly shows how to systematically build an image.).
Like most artist-teachers of that time, Preisler puts geometry as the basis for teaching drawing. Geometry helps the draftsman to see and understand the shape of an object, and when depicted on a plane, it facilitates the construction process. However, Preisler warns, the use of geometric figures must be combined with a knowledge of the rules and laws of perspective and plastic anatomy.
Preisler attaches great importance to the ability to master linear drawing.
Preisler's manual was highly appreciated by his contemporaries, it was reprinted several times both abroad and in Russia. There was no more thorough and clear methodological development of educational drawing at that time, so Preisler's work in Russia was used for a long time not only in general educational institutions, but also in special art schools.
Such an assessment of Preisler's method cannot be considered correct from a historical point of view. It is no coincidence that his work was such a great success for a whole century, although during this time many different manuals and manuals on drawing were published both in Russia and abroad. Of course, today you can find flaws in Preisler's book, but for the sake of historical truth, it must be pointed out that for its time it was the best guide. The knowledge that the student received on the basis of studying Preisler's course helped him to draw from life in the future, as well as draw from memory and from imagination, which is so important for the artist.
So, by the end of the 18th century, drawing as a general educational subject began to become widespread. At this time, Russia becomes a powerful power. In connection with the development of the economic and social life of the country, the need for people who are literate in fine arts, who can draw and draw has sharply increased.
A number of theoretical works appear, where the need to master graphic skills is proved, the importance of drawing as a general educational subject is emphasized.
In 1844, G. A. Gippius published the work “Essays on the theory of drawing as a general educational subject”, dedicated to drawing as a general educational subject. This was the first major work on this topic, it covered both general theoretical issues of pedagogy and fine arts, and issues of teaching methods of drawing.
Much was done during this period in the field of publishing various manuals, manuals and tutorials on drawing.
The book is divided into two parts - theoretical and practical. The theoretical part outlines the main provisions of pedagogy and fine arts. In the practical part, the teaching methodology is revealed.
Gippius strives to scientifically and theoretically substantiate each position of the method of teaching drawing. In a new way, he considers the process of teaching itself. Teaching methods, says Gippius, should not follow a certain pattern; different teaching methods can achieve good results. In this regard, Gippius anticipates the modern understanding of teaching methodology as the art of teaching. To learn how to draw correctly, you need to learn to reason and think, says Gippius, and this is necessary for all people, and this must be developed from childhood. Gippius gives a lot of valuable methodological advice and recommendations in the second part of his book. Teaching methodology, according to Gippius, should be based not only on the data of practical work, but also on the data of science, and above all psychology. Gippius makes very high demands on the teacher. The teacher should not only know and be able to do a lot, but also speak to the students like an actor. The work of each student should be in the field of view of the teacher.
Gippius closely connects the provision of class with equipment and materials with questions of methodology.
The work of G. A. Gippius was a significant contribution to the theory and practice of teaching drawing as a general educational subject, it greatly enriched the teaching methodology.
We do not find such a serious and in-depth study of the issues of teaching methodology in that period in any, even the most prominent representative of pedagogical thought. All of them were limited to a presentation of the general theoretical provisions of pedagogy, on which the methodology should be built; artists-teachers focused on the rules of drawing. Meanwhile, the bulk of teachers needed to reveal the very methodology of teaching, and in this regard, Gippius did a job of great importance. Many researchers of the history of drawing teaching methods omitted these important points in their writings.
9. Art education in the 19th century. Drawing schools. "Drawing course" and visual aids by A. P. Sapozhnikov
A characteristic feature of the artistic life of Russia in the 19th century is an active search for forms and methods of art education and upbringing of members of society. In this regard, the opening of art schools in various cities, the publication of art associations and organizations, the promotion of the arts through exhibition and publishing activities.
In 1804 school charter introduces drawing into all district schools and gymnasiums.
1706-97 there was a drawing school created by Peter<#"justify">The method clearly and simply revealed the most complex provisions related to the construction of a three-dimensional image on a plane and made a revolution in educational work. Since the best way to help the student to correctly build an image of the shape of an object is to simplify it at the beginning of drawing - to determine the geometer. the basis of the shape of the object, and then move on to refinement. Sapozhnikov's method had much in common with the Dupuis method, but was published earlier (Sapozhnikov - in 1834, and Dupuis - in 1842). Almost all modern methods include A. Sapozhnikov's system as the base one.
10. Pedagogical views of P.P. Chistyakova
Features of the art school of drawing P. P. Chistyakov.
P. P. Chistyakov believed that the Academy of Arts of the time of his teaching (1872-1892) needed reform and new methods of working with students, it was necessary to improve the methods of teaching drawing, painting, and composition.
Since 1871, Chistyakov took an active part in the production of drawing in secondary schools.
Chistyakov's teaching system covered various aspects of the artistic process: the relationship between nature and art, the artist and reality, the psychology of creativity and perception, etc. Chistyakov's method brought up not just an artist-master, but an artist-creator. Chistyakov attached decisive importance in his system to drawing, urged to penetrate into the very essence of visible forms, to recreate their convincing constructive model on the conditional space of the sheet. The advantage of Chistyakov's teaching system was integrity, unity at the methodological level of all its elements, logical following from one stage to another: from drawing, to chiaroscuro, then to color, to composition (composition).
He attached great importance to color, seeing in color the most important means of figurative expression, revealing the content of the work.
The composition of the picture is the result of the artist’s training, when he was already able to comprehend the phenomena of life around him, to summarize his impressions and knowledge in convincing images “According to the plot and technique” was Chistyakov’s favorite expression.
Chistyakov's teaching methods for drawing are comparable to those of the famous Munich art schools.
Over the long years of teaching, Chistyakov developed a special "drawing system". He taught to see nature as it exists and as it seems, to combine (but not mix) the linear and pictorial principles, to know and feel the subject, regardless of what needs to be depicted, be it a crumpled sheet of paper, a plaster cast or a complex historical plot. In other words, the main provisions of the "system" were the formula of a "living relationship to nature", and drawing was a way of knowing it.
Chistyakov's methods, quite comparable to the methods of the famous Munich art schools, his ability to guess the special language of each talent, careful attitude to any talent, gave amazing results. The variety of creative personalities of the master's students speaks for itself - they are V. M. Vasnetsov, M. A. Vrubel, V. D. Polenov, I. E. Repin, A. P. Ryabushkin, V. A. Serov, V. I. Surikov and others.
Analyzing the pedagogical activity of P. P. Chistyakov, one can identify the main components of the system of his work, thanks to which a high level of quality in teaching drawing was achieved. It consisted of the interaction of the following components: the goals and objectives of teaching as the starting point for the functioning of the pedagogical system; scientifically substantiated content of educational material; the use of various types and forms of conducting classes, thanks to which the activities of students were organized in the assimilation of artistic literacy in drawing; various forms of control, with the help of which possible deviations from the tasks set were prevented when performing the drawing; the ongoing self-improvement of P. P. Chistyakov himself, which was aimed primarily at improving the positive impact on students. Also, an integral part of the system of work of Pavel Petrovich Chistyakov was built relationships with students, which had a humanistic orientation of activity, aimed at communication with wards, dialogue and respect for the individual. P. P. Chistyakov (1832-1919) is known not only as an artist, but also as an outstanding teacher, whose many years of work at the Academy of Arts largely determined the fate of the realistic school of painting in Russia in the late 19th and early 20th centuries. Chistyakov's works were already recognized in Soviet times and were summarized in a number of art criticism works. Despite the existence of a number of works devoted to the activities of Chistyakov, his pedagogical system is so revolutionary in nature and does not find analogies in the theory and practice of other national art schools. Chistyakov found a bold and consistent solution to the pressing problems of contemporary art based not on rejection, but on the full use of existing traditions, which allowed him to create a school. fundamentally new, which brought up the largest masters of Russian painting of the end of the past - the beginning of this century. Chistyakov's system was not a simple, albeit talented, experiment of a remarkable teacher. With all its aspects, it was built in the perspective of the art that it expressed and served. And this internal dynamite contained in it in the further development of national painting determined that (its individual provisions have retained their significance in our time.! The Chistyakov system is scientific and artistic in the largest and deepest sense of these concepts. This system was based on a complete revision of pre-existing teaching methods and at the same time served to systematize and rethink them on the basis of new ideological premises. The main role in Chistyakov's teaching system was played by the picture plane, which was an intermediary between the natural and the drawing and helped to compare the image with nature. That is why Chistyakov called his system of drawing as a whole "the system of checking drawing." Considering drawing as a serious academic subject; Chistyakov pointed out that the methodology of his teaching should be based on the laws of science and art. The teacher has no right to mislead the student with his subjective reasoning, he is obliged to give reliable knowledge. Chistyakov's ideas concerning the relationship between the teacher and pupils are of great value to us. “A real, developed, good teacher with a stick of a student is not a duet, in case of an error, failure, etc., he tries to carefully explain the essence of doing it deftly. Lead the student on the true path.” When teaching students to draw, one should strive to intensify their cognitive activity. The teacher must give direction, pay attention to the main thing, and the student must solve these problems himself. In order to correctly solve these problems, the teacher needs to teach the pupil not only to pay attention to the subject, but also to see its characteristic sides. In educational drawing, the issues of observation and knowledge of nature play a paramount role. Like teaching drawing, Chistyakov divides the science of painting into several stages. The first stage is the mastery of the figurative nature of color, the development of the young artist's ability to be accurate in determining the color shade and in finding its correct spatial position. The second stage should teach the student to understand the movement of color in form as the main means of conveying nature, the third - to teach how to solve certain plot-plastic problems with the help of color Chistyakov was a true innovator who turned pedagogy into high creativity. Taking into account the modern requirements of art, he not only revised individual points in education, but also completely revolutionized the latter, starting with the question of the relationship of art to reality and ending with professional skills to skill. His teaching system brought up the artist in the true sense of the word. Mastery came as the maturity of the painter, and not as the handicraft basis of his work. The system was based on a deeply realistic, objective reflection of the world through the feelings of the artist and his understanding of life. Chistyakov was one of the first to prove that the artistic image is not a systematization by the painter of what he sees, but an expression of his own experience.
. Drawing in general education and special educational institutions of Russia in the 18th - 19th centuries. Methodology for teaching drawing at the Imperial Academy of Arts
The idea of the importance of art education in primary, secondary and higher educational institutions of various non-artistic specializations and the systematic teaching of students in fine arts, along with other general education subjects - reading, writing, counting - in Russian pedagogy was formulated in the 18th century.
Professional art education in Russia in the 18th century. could be obtained in private workshops (I. Argunova, P. Rokotova), at the School of Drawing, organized by Peter I in 1711 at the St. Petersburg Printing House. Since 1758, the Academy of the Three Most Noble Arts has become the scientific and methodological center of art education.
the methodology for teaching "drawing" was modeled on the Academy of Arts: the assimilation of technical skills in the process of copying samples. As originals for copying by students in schools, the Fundamental Rules, or a Brief Guide to Drawing Art by I. D. Preisler, A. P. Sapozhnikov’s “Drawing Course” were used
Thus, by the end of the XVIII century. drawing as a general educational subject has become widespread. In connection with the rapid development of industry and urban planning, an increase in the number of industrial enterprises, the need for people who are literate in fine arts, able to draw and draw has increased, which affected the inclusion of the subject "Drawing" in the curricula.
The Academy of Arts is a higher specialized educational institution, its role in the life of Russia was leading. Initially, academies of arts were private studios and creative communities of art masters, their goal was to preserve and develop the highest traditions of art, guide the formation of aesthetic views, criteria and norms of artistic creativity and create on this basis an art school, professional education.
In Russia, the first Academy of Arts was formed in 1757 in St. Petersburg as the "Academy of the Three Most Noble Arts" - painting, sculpture and architecture. In 1764, the Imperial Academy of Arts was established with an Educational School attached to it. Throughout its history, the St. Petersburg Academy has been the main Russian center of art education. The largest Russian architects, sculptors, painters, engravers underwent a strict, exacting training at the Academy.
From the very beginning, the Academy of Arts was not only an educational and educational institution, but also a center of art education, as it regularly organized exhibitions. Under her, museums and a scientific library were founded, which are still part of the structure of the academy.
An important area of activity of the Academy of Arts in the 20th century. was the training of art critics and teachers of art history for museums and educational institutions of Russia. In 1944, the Institute of Painting, Sculpture and Architecture, created on the basis of the Russian Academy of Arts, was named after the great Russian painter I. E. Repin.
At the institute, relations were maintained, developed and developed on the basis of the continuity of the tradition of the St. Petersburg school. Pupils of the academy brought up new talented students, and also carried educational traditions to the cities of Russia. The role of the Academy of Arts in the development of Russian art education in the life of Russia was leading.
. Studies of the fine arts of children in the late 19th - early 20th centuries (Biogenetic concept of the fine arts of children and the theory of free education. K. Ricci, Lamprecht, G. Kershensteiner)
Art education is considered as part of artistic culture. Children's drawing is part of the thin. culture, and the child is the protagonist of the cultural process. Consideration of a child's drawing in a historical aspect, as a phenomenon of art. culture. suggests: 1st analysis in terms of content and methods of thin. education; 2nd place of the child and his creativity in the thin. culture; 3-psychological features of age-related development; 4 the influence of pedagogical individuality - the interaction of the student and his mentor in art. Georg Kershensteiner's book "The Development of the Child's Artistic Creativity", published in Russia in 1914, became the first fundamental study of the drawings of school children from 6 to 13. Particular attention is paid to artistic expression, manifested in free and decorative drawing at different ages of children. The aim of the study was to study the development of drawing ability in addition to systematic external influences.
German scientists have established: differentiation of the sexes in the sense of artistic talent; different attitudes of the children of the city and the countryside; connection of intellectual development with the ability of a graphic image.
Russia in the late 19th and early 20th centuries was characterized by an increased interest in the methods of teaching drawing both in special and general educational institutions.
Started studying child psychology. Corrado Ricci 1911 He drew attention to the fact that children chose a person as one of the central objects of the image. . Ricci compared children's creativity with the art of prehistoric and primitive eras, which served as the basis for the application of the biogenetic theory of explaining the development of children's fine arts. Comparison of children's creativity with the history of art led to the identification of developmental stages common to all children, developed in the studies of Kershensteiner 1914, which were later interpreted by Lamprecht 1909 as the discovery of forms of children's drawing: 1st stage - schemes - shapeless doodles and primitive. Stage 2 sense of form and line is a mixture of formal and schematic, Stage 3 is a believable image - the stage of silhouettes and contours. 4 stage plastic image. Kershensteiner evaluated children's drawings on social grounds - urban or rural. . argued that the development of the picture must go through all 4 stages. Regardless of age, he must overcome each previous step. The negation of the learning beginning led to the absence of image construction. He was against the geometrical method. The theory of free education.
Exploring the methods of teaching drawing at the turn of the century, one must take into account that at that time drawing included - drawing from life, decorative, thematic and conversations. This period would be very difficult and controversial. The clarity and severity of the picture is noticeably reduced. A number of research papers appear, the psyche of the child is being studied. Kershensteiner. During this period, everything is mixed. Free education, disagreement between the supporters of the geometric and natural method and the formalists. representatives of the geometrical defend the academic direction, representatives of the natural method adhere to the theory of free education. Drawing classes at school began to be considered too narrowly. Some theorists say that there is nothing to study at the school of fine arts - they say this is the task of an art school. Introducing children to the visual arts, it is necessary to provide them with more opportunities for independent creativity. in this regard, in the visual activity, we do not see the difference in age at all. All works are equally naive and helpless in art, they are all united by the general term children's drawing. In many schools, the strict teaching system is broken, drawing as a general education subject is losing its knowledge. Picasso wrote: that we are assured that children should be given freedom, but in fact they are forced to make children's drawings. They teach it. Formalist bourgeois art had its influence on the methods of teaching in secondary schools. The whole system and methodology of teaching of this period was aimed at developing the individuality of each student and the inviolability of his artistic personality. School is not needed - in school, the artist loses his natural qualities. . many in a strict realistic drawing saw the fetters that limited the creative possibilities of the artist. Adherents of free education were against the academic study of nature, against the school in general. Everyone, from the Impressionists to the Abstractionists, goes under the slogan - down with school, freedom of creativity. Formalist currents had a detrimental effect on the art school and on the methods of teaching drawing. Separating form from content, denying the cognitive significance of art, led art to nonsense. But there were schools and individual artists who continued to uphold the principles of realistic art.
From the second half of the 19th century, school methodology began to be developed more deeply and seriously. True, during this period there were many disputes between Methodists about the advantage of one method over another. The aesthetics of art has always influenced the method of teaching drawing at school. Sometimes this influence was also negative, as, for example, the influence of formalist art. Neglect of the basics of realistic drawing, avoidance of the real world, rejection of the school - these are the main provisions of formalist art that have caused serious damage to the development of methods for teaching drawing in a general education school. Drawing as a general educational subject is losing its significance. Interest in children's drawing is limited only to the study of children's creativity. Art critics begin to sing about it, artists imitate children. There is talk about the preservation of the childish, naive immediacy of the perception of the world, about the fact that education in general has a harmful effect on the development of the child.
By the 30s 20th century in. leading theorists on art. parenting become: in Germany-G. Kershensteiner, in America - J. Dewey, in our country - A. V. Bakushinsky. Despite the different approach to the problem being solved and its different interpretation, they are all inspired by the general idea, the idea of "free education", the assertion of the child's personality with his right to express his feelings and thoughts, the removal of the teacher from the leadership. Mastering graphic literacy, especially at the initial stage of education, according to them, is not necessary for children. Drawing from life as one of the means of understanding the world around us, drawing as the basis of art is losing its significance every year. Some theorists of children's creativity are beginning to state that in a general education school, children should not be taught graphic, graphic literacy, this is a bad task. schools, but to promote the overall aesthetic development of the child. In the 50s. 20th century In many schools of foreign countries, the strict teaching system is broken, drawing as a general education subject is losing its significance. Drawing as such completely disappeared, and therefore the methodology for teaching drawing in general education schools was gone. The main theme of all international symposiums is aesthetic education, the problem of the all-round development of a person.
. Soviet period of art education. Art education in the first decade of Soviet power. The state of teaching drawing and fine arts in the Soviet school of the 20s - 30s (Formalistic and realistic trends in artistic life. Russian Academy of Sciences. Formation of the system of higher graphic education. Pedagogical system of D. N. Kardovsky)
First Experiences Soviet society in the late 1920s and early 1930s felt shortcomings in the system of art education. Weakening of ties with the traditions of the academic school of fine arts. In the early 1920s, in many schools, children were not taught correct, realistic drawing. The abstract-schematic direction of education not only negated the significance of the methodology, but also distorted the goals and objectives of teaching drawing in a general education school. Drawing not only did not give children anything for mental development, but essentially interfered with their aesthetic education. In the 1920s, drawing methods were being developed in schools in a variety of areas, but two of them were widely used: the method of developing "free creativity" and the "complex" method of teaching.
All conditions have been created in our country for the development of fine arts and art education. The abolition of estates, the democratization of the school, the separation of the school from the church led to the restructuring of all school education. The workers of public education were given the task of restructuring the content, forms and methods of teaching. A prominent representative of "free education" and the biogenetic theory underlying it was A. V. Bakushinsky. In the late 1920s and early 1930s, formalist methods began to be subjected to fair criticism. The revision of the content of programs and curricula led to a restructuring of the methods of teaching drawing at school. The 1931 program was based on drawing from nature. Along with it, the program assigned a place to drawing on themes, according to the idea, to decorative drawing. Great importance was attached to conversations about art. The art school stood in the way of realistic art. The question of creating a new academy of arts was raised. A firm line in building a new school, a new system of teaching required that serious attention be paid to the training of teaching staff. In 1937, the Leningrad Institute of Painting, Sculpture and Architecture and the Moscow Institute of Fine Arts were opened. In these educational institutions, academic drawing took a leading place. The majority of artist-teachers comes to the conclusion that drawing from nature should be the basis of any teaching method, which ensures high professional training of artists.
Kardovsky D. N. - made a great contribution to the methodology, encouraged students to build a three-dimensional form on a plane and analyze it. At the beginning of the drawing, you need to strive to break the entire figure into a plane, chop off the shape, until a large shape emerges, you do not need to draw details. Particularly important is the constructive connection between the parts of the forms of objects. Kardovsky was opposed to mindless sketching of chiaroscuro. Kardovsky courageously defended the positions of realistic art and protected the youth from the influence of formalism. Thanks to his firm convictions, a clear and methodically developed system of teaching drawing, Kardovsky had a large number of students and ardent followers.
. Formation of the system of higher artistic and graphic education. The state of teaching drawing and fine arts in the Soviet school from the 40s to the 60s of the XX century (Research work in the field of visual activity of children - N. N. Volkov, L. S. Vygotsky, E. I. Ignatiev, V. I. Kirienko, V. S. Kuzin)
After the Great Patriotic War, art education was reformed in our country. On August 5, 1947, a resolution of the Council of Ministers of the USSR "On the transformation of the All-Russian Academy of Arts into the Academy of Arts of the USSR" was adopted. The government entrusted the Academy of Arts with steadily developing Soviet fine arts in all its forms on the basis of "the consistent implementation of the principles of socialist realism and the further development of the best progressive art traditions of the peoples of the USSR, and, in particular, the Russian realistic school." This testifies to the maturity of Soviet art pedagogy, which had all the data to further improve the methods of teaching fine arts. During this period, the drawing began to be recognized as the basis of the fine arts. His training should begin as early as possible. As a rule, the beginning of it should precede the study of painting and sculpture. The system of teaching drawing must necessarily include "regular drawing from a posing nude in an environment specially created for this, not pursuing any other goals than acquiring mastery in drawing", that is, specifically "academic" drawing. In order to streamline methodological work in schools in the 1950s, the idea arose of creating special textbooks on drawing. Previously, drawing textbooks for secondary schools were not published either in Russia or abroad. Since 1959, a network of art and graphic faculties has been created at pedagogical institutes.
N. Yu. Vergiles, N. N. Volkov, V. S. Kuzin, V. P. Zinchenko, E. I. Ignatiev and others devoted their works to the study of the problems of perception in the process of visual activity. In these works, perception is defined as the creative ability to isolate an object from its environment, comprehend the most significant details, characteristic features of the object, as well as the detection of structural relationships leading to the creation of a clear image.
. The Russian school and art pedagogy from the 1960s to the present (E. I. Shorokhov, T. Ya. Shpikalova, V. S. Shcherbakov, B. M. Nemensky, M. N. Sokolnikova, Yu. A Poluyanov, B. P. Yusov)
Russia in the late 19th and early 20th centuries was characterized by an increased interest in the methods of teaching drawing both in special and general educational institutions. Preisler - "Basic Rules, or a Brief Guide to Drawing Art" Was published in two languages, German and Russian. It outlines a certain system of teaching drawing. The book gave guidance to artists and teachers. Begins by explaining the purpose of drawing straight and curved lines, then the geom. figures and bodies, the rules for their use in practice. Geometry is the basis for teaching drawing. However, the use of geometric figures must be combined with the application of the rules and laws of plastic anatomy perspective. In his book he provides many visual aids. Attaches great importance to the linear pattern. In 1834, A.P. Sapozhnikov published the "Drawing Course" - the first textbook for educational institutions, compiled by a Russian artist. The drawing course began with an introduction to various lines, angles, and then geometric shapes. The value of Sapozhnikov's method lay in the fact that it was based on drawing from life and analyzing its form. The new method proposed by Sapozhnikov found wide application, until the publication of his book, copying of the original reigned. I used the method of simplifying the form at the initial stage of drawing. The teacher should explain the student's mistakes verbally. G. A. Gippius publishes the book “Essays on the Theory of Drawing as a General Subject”. All the advanced ideas of pedagogy were concentrated in it. The book is divided into two parts - theoretical and practical. In the book, he theoretically substantiates each position of the teaching methodology. The methodology should not be template, should be based on practical and scientific data. Chistyakov had a great influence on the development of teaching methods and his ideas about the relationship between the teacher and students, which consisted in knowing the student, his character and preparation, finding an approach to the student, and teaching him to look at nature correctly.
Vladimir Sergeevich Kuzin - Corresponding Member of the Russian Academy of Education, Dr. Ped. sciences, professor. In his program, the leading place is given to drawing from life, that is, to teach to see objects and phenomena as they exist. He is the head of the group of authors of the state program on fine arts.
Boris Mikhailovich Nemensky - artist, teacher, laureate, state prize, corresponding member of the Academy of Pedagogical Sciences. His methodology is based on the inner world of the child, on his feelings, emotions, perceptions. the world around through the soul of the child. At the moment, some schools are engaged in its program called Fine Arts and Artistic Work. Methods of teaching fine arts in educational institutions in currently developing very intensively. Many interesting developments in such authors such as E. I. Kubyshkina, V. S. Kuzin, T. S. Komarova, B. M. Nemensky, E. E. Rozhkova, N. N. Rostovtsev, N. M. Sokolnikova, E. V. Shorokhov, A. S. Khvorostov, T. Ya. folk and decorative arts. Textbooks published for the first time in years in visual arts for primary and secondary schools.
. Prospects for art education and aesthetic education of children
Natalya Mikhailovna Sokolnikova is a modern teacher-methodologist who has combined in her works all the best in the methods of teaching fine arts that have appeared in recent years. Equally pays attention to drawing from life and DPI, and the emotional development of students. The art education of schoolchildren is the process of mastering by children a body of knowledge, skills, and the formation of worldview attitudes in the field of art and artistic creativity. The artistic education of schoolchildren is the process of developing in children the ability to feel, understand, evaluate, love art and enjoy it; art education and upbringing is inseparable from encouraging children to artistic and creative activity, to the creation of aesthetic, including artistic, values. Aesthetic education in a secondary school is a purposeful process of forming a creatively active personality, capable of perceiving and evaluating the beautiful, perfect, harmonious and other aesthetic phenomena in life, nature, art, from the standpoint of an understanding of the ideal that is accessible to her, to live and create “according to the laws of beauty”. The system of artistic and aesthetic education in a general education school is a lively, purposeful, organized process of artistic and aesthetic education, development, and upbringing of children, taking into account the age of students, based on a combination of modern methodological principles. The system of aesthetic education of primary school students is built taking into account the age-related psychological and pedagogical characteristics of children. Whether we are talking about the requirements for a moral and aesthetic ideal, taste, aesthetic judgments that should be characteristic of a younger student, teenager, youth, or about the nature, genres, criteria for evaluating creative (including artistic and creative) activity, each time the optimal requirement and the solution of the problem should be correlated with the age capabilities of the child. Aesthetic education harmonizes and develops all the spiritual abilities of a person, necessary in various areas of creativity. It is closely connected with moral education, since beauty acts as a kind of regulator of human relationships. Thanks to beauty, a person often intuitively reaches for the good.
Aesthetic education, familiarizing people with the treasury of world culture and art - all this is just a necessary condition for achieving the main goal of aesthetic education - the formation of a holistic personality, a creatively developed individuality, acting according to the laws of beauty.
Aesthetic education is carried out at all stages of the age development of the individual. The earlier a person enters the sphere of purposeful aesthetic influence, the more reason to hope for its effectiveness. . The experience gained through communication and activity forms in preschool children an elementary aesthetic attitude towards reality and art.
The system of aesthetic education is called upon to teach to see the beauty around oneself, in the surrounding reality. In order for this system to influence the child most effectively and achieve its goal, B. M. Nemensky singled out its following feature: “The system of aesthetic education should be, first of all, unified, uniting all subjects, all extracurricular activities, the entire social life of the student, where each subject, each type of occupation has its own clear task in the formation of the aesthetic culture and personality of the student. But every system has a core, a foundation on which it relies. We can consider art as such a basis in the system of aesthetic education: music, architecture, sculpture, painting, dance, cinema, theater and other types of artistic creativity. The reason for this was given to us by Plato and Hegel. Based on their views, it became an axiom that art is the main content of aesthetics as a science, and that beauty is the main aesthetic phenomenon. Art contains great potential for personal development.
Beauty gives pleasure and pleasure, stimulates labor activity, makes meeting people pleasant. The ugly repels. Tragic teaches compassion. The comic helps fight shortcomings.
One of the true human needs is the need for beauty as a natural human desire for harmony, integrity, balance and order. The fact that this is precisely the vital need of a person is evidenced by the results of research by anthropologists, who found that at a certain stage in the development of the human brain, he simply needed aesthetic impressions and experiences that contributed to the formation of a holistic perception in a person, both of the world and of himself. Knowing the upbringing, educational, developmental effect of aesthetic impressions, sages from ancient times advised to surround the growth of a child with beauty and goodness, the growth of a young man - with beauty and physical development, the growth of youth - with beauty and teaching. Beauty should be present at all stages of the formation of a person, contributing to its harmonious development and improvement. Indeed, beauty, along with truth and goodness, invariably acts as part of the original triad of values, representing the fundamental foundations of being.
The same initial and true is the human need for creativity, self-expression, affirmation of oneself in the world by introducing into it a new one created by him. It is the creative position that provides a person with the stability of his existence, because it makes it possible to adequately and timely respond to all new situations in the constantly changing world. Creativity is a free activity to which a person cannot be forced: he can create only because of an internal need for creativity, an internal impulse, which acts as a more effective factor, whose any external pressure or coercion.
Here it is found that many of the true human needs are either of an aesthetic nature or include a necessary aesthetic component. Indeed, in terms of returning a person to his true nature, to true being, to the realization of his real needs, not the last place belongs to aesthetic culture and aesthetic education leading to it (although not providing it with necessity) and aesthetic education. An aesthetic attitude to the world has always existed as an all-encompassing, universal and purely human behavior, and an aesthetic assessment is the most holistic, as if completing the perception of an object in the fullness of its givenness and connection with the environment. .
The role of aesthetic education in the formation of a creative position is that it not only contributes to the development of feelings, the formation of human sensibility and its enrichment, but also enlightens, substantiates - rationally and emotionally - the need for a creative attitude to the world. It is aesthetic education that shows the role of aesthetic feelings in shaping the picture of the world and develops these feelings.
. Methodology as a science. Methods and techniques for teaching fine arts in a secondary school
The methodology is both a combination of accumulated experience, new approaches, and the search for means of spiritual and emotional development of students, and the teacher himself. And then teaching methods are most likely a system of unified activity of the teacher and students in mastering a certain part of the content of the program. It is realized by techniques, specific actions of the teacher and student, various forms of their communication.
Under the method of teaching, we mean the way the teacher works with students, with the help of which a better assimilation of educational material is achieved and academic performance is increased. The choice of teaching methods depends on the learning goals, as well as on the age of the students. Teaching method (from other Greek. way) is the process of interaction between teachers and students, as a result of which the transfer and assimilation of knowledge, skills and abilities provided for by the content of training occurs. Reception of training (teaching reception) - short-term interaction between the teacher and students, aimed at the transfer and assimilation of specific knowledge, skills, skills. According to the established tradition in domestic pedagogy, teaching methods are divided into three groups: - Methods for organizing and implementing educational and cognitive activities: 1. Verbal, visual, practical (According to the source of the presentation of educational material). 2. Reproductive explanatory and illustrative, search, research, problematic, etc. (according to the nature of educational and cognitive activity). 3. Inductive and deductive (according to the logic of presentation and perception of educational material); - Methods for monitoring the effectiveness of educational and cognitive activity: Oral, written checks and self-tests of the effectiveness of mastering knowledge, skills and abilities; - Methods for stimulating educational and cognitive activity: Certain incentives in formation of motivation, sense of responsibility, obligations, interests in mastering knowledge, skills and abilities. In the practice of teaching, there are other approaches to the definition of teaching methods, which are based on the degree of awareness of the perception of educational material: passive, active, interactive, heuristic and others. These definitions require further clarification, since the learning process cannot be passive and is not always a discovery (eureka) for students. The passive method is a form of interaction between students and the teacher, in which the teacher is the main actor and manager of the lesson, and students act as passive listeners, subject to the teacher's directives. Communication between the teacher and students in passive lessons is carried out through surveys, independent, tests, tests, etc. From the point of view of modern pedagogical technologies and the effectiveness of students learning the educational material, the passive method is considered the most ineffective, but, despite this, it also has some pros. This is a relatively easy preparation for the lesson on the part of the teacher and the opportunity to present a relatively large amount of educational material in the limited time frame of the lesson. Given these advantages, many teachers prefer the passive method to other methods. It must be said that in some cases this approach works successfully in the hands of an experienced teacher, especially if students have clear goals aimed at a thorough study of the subject. Lecture is the most common type of passive lesson. This type of lesson is widespread in universities, where adults study, fully formed people with clear goals to deeply study the subject. The active method is a form of interaction between students and the teacher, in which the teacher and students interact with each other during the lesson and the students here are not passive listeners, but active participants in the lesson. If in a passive lesson the teacher was the main actor and manager of the lesson, then here the teacher and students are on an equal footing. If passive methods implied an authoritarian style of interaction, then active methods more suggest a democratic style. Many between active and interactive methods put an equal sign, however, despite the generality, they have differences. Interactive methods can be considered as the most modern form of active methods Interactive method (Interactive (“Inter” is mutual, “act” is to act) - means to interact, be in a conversation, dialogue with someone. In other words, unlike active methods , interactive ones are focused on a wider interaction of students not only with the teacher, but also with each other and on the dominance of the activity of students in the learning process.The place of the teacher in interactive lessons is reduced to the direction of students' activities to achieve the goals of the lesson.The teacher also develops a lesson plan (usually, these are interactive exercises and assignments during which the student studies the material). Therefore, the main components of interactive lessons are interactive exercises and assignments that are performed by students. An important difference between interactive exercises and assignments from ordinary ones is that when performing them, students not only and not so much reinforce the already studied material, how many learn a new one.
. Goals and objectives of teaching fine arts in a secondary school
The development of a creative person, her artistic abilities is directly related to the purpose and objectives of teaching the subject of art.
Its main PURPOSE is to familiarize with spiritual culture as a way of transferring universal human values from generation to generation, with the perception and reproduction of which, in its activity, a person’s creative and moral self-development takes place, the integrity of his inner world is preserved. So, joining the spiritual culture, a person simultaneously joins his natural essence, developing his basic - universal - abilities: To holistic, imaginative thinking; To empathy with the outside world; To creative activity.
The realization of this goal is carried out by the aesthetic education of a person by means of art and artistic pedagogy. They are based on art education and artistic activity. Only in their totality can we imagine the realization of the goals of aesthetic education. These are two different ways of developing human consciousness, not replacing, but complementing each other.
The criteria for evaluating the creative development of a person in the field of aesthetic education are revealed in accordance with the tasks of forming a harmoniously developed person. Three interrelated directions in it: A) the preservation of the moral integrity of the individual; B) the development of its creative potential; C) ensuring the harmonious correlation of social and unique features in it.
All this is naturally realized in the artistic activity of man.
The child in his cognitive and creative activity assimilates, first of all, its meaning, associated with an emotional and evaluative attitude to life. Art is a means of accumulation, concentration of that life experience of mankind, which is connected with the tasks of developing the moral and creative potential of people. Therefore, one of the main goals of art is, based on the universal forces of man, to develop his moral ideal, creative attitudes, aesthetic emotions, and feelings.
The art program at the school provides for 4 main types of work - drawing from life, thematic drawing, decorative drawing, conversations about art, which are closely related and complement each other in solving the tasks set by the program.
The tasks of art classes include: To develop visual perception of students. Develop the ability to observe, establish similarities and differences, classify objects according to shape and texture. To cultivate aesthetic and artistic abilities, to teach to draw from nature, on themes, to perform illustrations and decorative drawings, to develop graphic and pictorial skills. Develop mental and abstract thinking.
The leading type of drawing is fig. from nature a cat. leads to the general development of a person - develops imagination, mental, spatial and abstract thinking, eye, memory.
School course of art. art aims to:
Prepare well-rounded, educated members of society,
Aesthetically educate children, develop their artistic taste.
Help children learn about the world around them. observation, to accustom to think logically, to realize what has been seen.
To teach how to use drawing in labor and social activities
To give students the basic knowledge of realistic drawing. To instill skills and abilities in fine arts, to acquaint with the basic technical methods of work.
To develop the creative and aesthetic abilities of students, to develop spatial thinking, figurative representation and imagination.
To acquaint schoolchildren with outstanding works of Russian and world fine art. To instill interest and love for art. activities.
The subject of teaching methods of fine arts is closely related to special and psychological and pedagogical disciplines. The methodology as a subject of study considers the features of the teacher's work with students. The methodology is understood as a set of rational methods of training and education. This is a special department of pedagogy, which studies the rules and laws of building the educational process. The methodology can be general, it considers teaching methods inherent in all subjects and private - methods and techniques used in teaching any one subject.
The methodology of teaching fine arts as a science theoretically generalizes practical experience, offers such teaching methods that have already justified themselves and give the best results. The purpose of the course is to form the foundations and professional and pedagogical consciousness of a teacher of fine arts. The objective of the course is knowledge of the history, theory, methods of scientific research in the field of teaching fine arts, the acquisition of intellectual and practical skills to solve the problems of teaching fine arts, creating the foundations for the subsequent formation of a creative approach to the activities of a teacher of fine arts, the formation of a sustainable interest in the profession of a teacher of fine arts. The method of teaching is understood as the way the teacher works with students, in which the best assimilation of educational material is achieved and academic performance increases.
The teaching method consists of separate teaching methods: - according to the source of knowledge acquisition (visual, practical, verbal, gaming) - according to the method of obtaining knowledge (reproductive, information-receptive, research, heuristic) - according to the nature of the activity (method of organization and implementation of educational and cognitive activities, the method of control and self-control, the method of stimulating and motivating learning) - by type of occupation
Classes of fine arts from 1-9 grades. The task of the lessons is to teach to draw from nature, on themes, to perform illustrations and decorative drawings, to develop graphic and pictorial skills. The main type of drawing in fine arts is drawing from nature - it develops mental and abstract thinking, is a method of visual education, teaches you to think, purposefully conduct observations, arouses interest in the analysis of nature, thereby preparing the student for further educational work.
Thematic drawing - the image of the phenomena of the surrounding world and the illustration of literary works, play a big role in the development of creative imagination. Most of the drawings on the topic are accompanied by sketches and sketches from life. Develops imaginative thinking, imagination, independence in work, perseverance.
DPI is closely related to drawing from nature. At the lessons of the DPI, children get acquainted with the basics of artistic design, study the ornamental creativity of peoples. Decorative drawing develops aesthetic and artistic taste, develops creative abilities. A specific feature of DPI is the decorative processing of forms depicted from nature. Decorative design is carried out on the basis of certain rules and laws, compliance, symmetry, color combinations.
Conversation about art At these lessons, children get acquainted with the life and work of outstanding masters, develop aesthetic perception, artistic taste, receive basic knowledge of foreign and Russian art
) BM Nemensky "Fine art and artistic work" (grades 1-9) Purpose: the formation of artistic culture among students, as an integral part of spiritual culture, created by many generations.
Contents and Weds: an introduction to the worst culture, including the study of the main types of art. arts: (painting, graphics, sculpture), DPI (folk art, folk crafts, modern decorative art). game tasks are introduced on the topic, connection with music, history, work. In order to experience creative communication, collective tasks are introduced into the program. Practice implies a high level of theoretical training of the teacher. Nemensky B. M. “Fine art and artistic work grades 1-9. » The tasks set by him are aimed at the aesthetic development of students, increasing interest in fine arts, developing imagination and observation, realizing the creative abilities of students, aimed at studying traditional Russian culture. It is a holistic integrated course that includes all the main types: painting, graphics, sculpture, folk decorative art, architecture, design, entertainment and screen arts. Includes three types of thin. activities: constructive (architecture, design), visual (painting, graphics, sculpture), decorative applied. The semantic core of the program is the role of art in the life of society. There is a connection with music, literature, history, labor. For the purpose of experience. Communication is provided for collective classes. Grade 1 “You depict, decorate, build” a playful, figurative form of communion. Grade 2 - "You and Art" Grade 3 "Art around us" familiarization with the culture of your people. Grade 4 - "Every nation is an artist." The design of the program: The first stage is the elementary school, the pedestal of all knowledge, the second stage is the connection of life with types and genres of art. The third stage is world art.
) V. S. Kuzin "Fine art" (grades 1-9)
Purpose: development of art in children. abilities, poor taste, creative imagination, spatial thinking, aesthetic feelings.
Content and media: drawing from life, from memory and imagination of objects and phenomena of the world, the creation of graphic compositions on topics, conversations about art. art. The leading place is drawing from nature. Kuzin and Kubyshkina - developed a textbook on fine arts, revised in accordance with modern general educational standards and the fine arts program for a four-year elementary school. The first part of the textbook is called "Learning to draw" - it is devoted to the practical side of teaching schoolchildren, the basics of fine arts, drawing from life, thematic drawing, painting, composition, modeling, decorative work, appliqué. The second part of the "Magic World" - from it, schoolchildren will learn about the types and genres of fine arts, about outstanding Russian artists. The textbooks are accompanied by workbooks for grades 1-4, as well as a guide for the teacher, which gives brief recommendations on how to conduct a lesson.
Implementation is available to specialists of various levels prof. preparation.
) T. Ya. Shpikalova: "Fine art and bad work" (grades 1-6)
Goal: personal development based on a holistic aesthetic culture.
Content and media: the program is integrated on the basis of art. art and the worst work. The content is built on the basis of value concepts: person, family, home, people, history, culture, art. It is a comprehensive approach to the development of artistic information based on the knowledge of students in the field of humanities and natural sciences. It is aimed at mastering the basics of the artistic image of folk art and fine arts, as well as artistic and design activities. To implement this program, it is desirable to have a specialization in decorative applied direction. Shpikalova T. Ya. - the main goal of the program is to promote the upbringing of a highly artistic - educated student personality, the formation of the foundations of a holistic aesthetic culture through the development of historical memory, the creative abilities of the child's inclinations. The team of authors of the program combines fine arts and artistic work, the art of words and songs, based on folk art, in an integrated course. The structure of the program is not usual, the content is revealed according to the types of folk art. The first block is devoted to folk arts and crafts, the second - to oral folk art. Folk DPI includes the following sections of the training course: the basics of the artistic image; ornament in the art of the peoples of the world, structure and types; folk ornament of Russia, creative study in the process of image; artistic work on the basis of acquaintance with folk and DPI. Oral folk art includes the following sections: educational material for listening; educational material for independent reading; folklore holidays. All sections of the program include an approximate list of artistic and didactic games, exercises and creative works. The teacher is provided with great opportunities for pedagogical and artistic creativity in the preparation and conduct of such forms of lesson work as lessons of a generalizing type, lessons - holidays, as forms of teamwork, lessons of form creation and experimentation. The game is considered as one of the leading methodological techniques in organizing the creative work of younger students in the classroom. SOKOLNIKOVA The content of the Fine Arts program corresponds to the following goals: - introducing schoolchildren to the world of fine arts, developing their creativity and spiritual culture; - mastering primary knowledge about the world of plastic arts: fine arts, decorative and applied arts, architecture, design; about the forms of their existence in the daily environment of the child; - education of emotional responsiveness and culture of perception of works of professional and folk art; moral and aesthetic feelings: love for the native nature, its people, the Motherland, respect for its traditions, heroic past, multinational culture.
The main didactic principles of teaching fine arts at school (To reveal the essence of the principles of activity and consciousness, the principle of accessibility and strength, the principles of nurturing education, the principle of scientific character, the principle of systematicity and consistency in teaching fine arts)
Methodology - a set of methods of training and education. Teaching techniques-moments, from the cat. the teaching method is formed. From a set of techniques and teaching methods united by a common direction, a training system is formed. Properly organized, methodically competent use of didactic principles and teaching methods in art lessons. art contributes to the increase. effectiveness of teaching and upbringing. process: Increases activity, interest, Development of love for art, Develops reproduction. , attention, imagination, thinking, memory, speech, etc. Learned. knowledge, outgrowing. in skills and abilities. Forms the ability to apply knowledge in practice.
Important didactic principles in connection with the methodology of the teacher. basics of iso. arts at school
the principle of scientific character: the connection between science and the subject
principle of visibility: supported by visual perception.
The principle of consciousness and activity of students
The principle of connection between theory and practice
The principle of the strength of the assimilation of knowledge
The principle of systematic and consistent
The principle of nurturing education
Forms a moral, legal, aesthetic, physical personality. culture and life, communication. Educates the intellect-e development and, the individual. Cognitive abilities, taking into account the interests of the trainees. The principle of the system and follow. learning: the continuity and connection of new material with the past, the expansion and deepening of knowledge. New account. the material recalls what was previously perceived, clarifies and supplements it, requires a strict rule not to move on to new educational material until the previous one has been mastered and consolidated
The essence of the principle of consciousness and activity is the skillful use of a variety of techniques that contribute to arousing the need and interest in mastering knowledge, giving the educational process a problematic character. For the conscious and active mastery of knowledge, it is necessary: to accustom schoolchildren to posing questions, both to the teacher, and for independent answers and resolutions; to develop in students an independent approach to the material being studied, to think deeply about those theoretical conclusions and concepts, worldview and moral and aesthetic ideas that are in its content. It is impossible to solve this problem if the teacher fails to excite and maintain the cognitive activity and consciousness of students in the learning process.
The essence of the principle of systematicity and consistency is to ensure the consistent assimilation by students of a certain system of knowledge in different fields of science, the systematic passage of schooling. Ensuring the systematic and consistent learning requires students to deeply comprehend the logic and system in the content of the acquired knowledge, as well as systematic work on repetition and generalization of the studied material. One of the common reasons for student failure is their lack of a system in their academic work, their inability to be persistent and diligent in learning.
The principle of strength reflects the peculiarity of learning, according to which the mastery of knowledge, skills, worldview and moral and aesthetic ideas is achieved only when, on the one hand, they are thoroughly comprehended, and on the other hand, they are well learned and stored in memory for a long time. . The strength of learning is achieved, first of all, when students perform a full cycle of educational and cognitive actions in the learning process: the initial perception and comprehension of the material being studied, its subsequent deeper comprehension, did some work on memorizing it, applying the acquired knowledge in practice, as well as in their repetition and systematization. For a solid assimilation of knowledge, systematic testing and evaluation of students' knowledge is of great importance.
The essence of the scientific principle is that the content of education at school should be scientific and have an ideological orientation. To implement it, the teacher needs to: deeply and conclusively reveal each scientific position of the material being studied, avoiding mistakes, inaccuracies and mechanical memorization by students of theoretical conclusions and generalizations; to show the importance of the studied material for understanding contemporary socio-political events and their correspondence to the interests and aspirations of the people.
The essence of the principle of accessibility lies in the need to take into account the age and individual characteristics of students in the educational process and the inadmissibility of its excessive complexity and overload, in which mastering the material being studied may be overwhelming.
Making learning accessible means: correctly, taking into account the cognitive age capabilities of students, to determine its content, the amount of knowledge, practical skills and abilities that students of each class need to master in each academic subject. Correctly determine the degree of theoretical complexity and depth of study of program material. Correctly determine the amount of study time allocated for the study of each academic subject, taking into account its importance and complexity, and ensuring its deep and lasting assimilation. Curricula and textbooks need to be improved. The teacher must use bright factual material in the learning process, present it compactly and intelligibly, connect it with life and skillfully lead students to theoretical conclusions and generalizations. Take into account the individual characteristics of mental activity and memory of students, as well as the level of their preparation and development.
The principle of connection between theory and practice provides that the learning process encourages students to use the acquired knowledge in solving problems, analyze and transform the surrounding reality, developing their own views. For this, an analysis of examples and situations from real life is used. One of the directions for the implementation of this principle is the active involvement of students in socially useful activities at school and beyond.
. The principle of visualization in teaching fine arts. Visual aids for art lessons. Types of visual aids. Requirements for visual aids
The essence of the principle of visibility is due to a number of factors: the visibility of learning stems from the fact that it acts for students as a means of knowing the world around them, and therefore this process is more successful if it is based on direct observation and study of objects, phenomena or events.
The cognitive process requires the inclusion of various organs of perception in the acquisition of knowledge. According to Ushinsky, visual learning increases the attention of students, contributes to a deeper assimilation of knowledge.
The visibility of learning is based on the peculiarities of children's thinking, which develops from the concrete to the abstract. visualization increases students' interest in knowledge and makes the learning process easier. Many complex theoretical provisions with the skillful use of visualization become accessible and understandable to students. Visual aids include: real objects and phenomena in their natural form, machine models, dummies, illustrative aids (paintings, drawings, photographs), graphic aids (diagrams, graphs, charts, tables), various technical means (educational films, programmed education, computers).
Visualization functions: helps to recreate the form, essence of the phenomenon, its structure, connections, interactions to confirm theoretical positions;
helps to bring into a state of activity all analyzers and the mental processes of sensation, perception, and representation associated with them, as a result of which a rich empirical basis arises for the generalizing and analytical mental activity of children and the teacher;
forms students' visual and auditory culture;
gives the teacher feedback: by asking questions, students can judge the assimilation of the material, the movement of students' thoughts towards understanding the essence of the phenomenon.
Types of educational visualization
Natural material models (real objects, dummies, geometric bodies, models of objects, photographs, etc.)
Conditional graphic images (drawings, sketches, diagrams, graphs, maps, plans, diagrams, etc.)
Sign models, mathematical, chemical formulas and equations and other interpreted models
Dynamic visual models (movies and television films, transparencies, cartoons, etc.)
22. Lesson as the main form of organizing the educational process in fine arts at school. Lesson types. The structure of the lesson of fine arts. Teaching and educational tasks of the lesson. Modern requirements for the preparation and conduct of fine arts lessons
Cla ?ssno-uro ?system ?ma study ? niya - the prevailing in modern education and the ubiquitous organization of the learning process, in which, in order to conduct training sessions, students of the same age are grouped into small teams (classes) that retain their composition for a set period of time (usually an academic year), and all students work on mastering the same material. The main form of education is the lesson. A lesson is a lesson conducted by a teacher with a constant composition of students of the same level of training, united in a class subgroup or team. Lessons alternate, according to a fixed schedule, and include frontal, brigade and individual work of schoolchildren using different teaching methods. The duration of the lesson in the workshops is two academic hours (45 minutes each). education, based on the curriculum and the plan of organization of education "one class - one year", arose at the beginning of the 16th century in Europe.For example, the urban school of the reformer Johann Agricola (Eisleben curriculum) (1527), developed by the humanist and educator Philipp Melanchthon, the organization system German schools and universities (Saxon Charter) (1528), Strasbourg Gymnasium Johann Sturm (1537), Württemberg curriculum of the Swabian reformer John Brenz (1559), etc. The Czech teacher Jan Amos Comenius, summarizing the experience of progressive schools, colleges and universities in Europe , developed a class-lesson-subject system contained in his theory of universal universal education and upbringing. The class-lesson system is currently part of traditional education. Having fulfilled its historical mission, this system begins to lose effectiveness in modern socio-cultural and economic conditions. The main disadvantages of the class-lesson-subject system should be recognized: the inability to take into account the many social factors affecting the child, the impossibility of the child's creative self-development, the inability to absorb information and technological innovations, the inability to keep up with the pace of changes in society, and others. The most drastic modernization of the classroom system (Brown, Trump, Parkhurst and others) was based on a different selection of content. The most radical rejection of the subject system, carried out by the reformers (Kilpatrick, Linke, Decrol, etc. ), was reduced to a different differentiation of content. Thus, they did not solve the problem in essence and, at best, improved the class-lesson-subject system in certain socio-political and economic conditions. Types and structure of lessons. The structure of the lesson is a set of elements of the lesson that ensures its integrity and the preservation of the main characteristics of the lesson in various options. Structural elements of the lesson. I. Organization of the beginning of the lesson (2 minutes). To interest children, draw their attention to the lesson, inform the topic and purpose of the lesson. II. Checking homework (3 minutes). the level of learned material of the previous topic and preparation for the perception of new information. III. Main part. Learning new material (20 minutes). Scientific, exciting, accessible presentation of new material with the involvement of students. IV. Primary consolidation of knowledge (5 minutes). You can use special tasks after explaining the new material. Conduct a conversation to develop skills and apply knowledge. V. Summing up the lesson (2 minutes). Find out what the children learned in the lesson, what they learned new and argue the assessment of students' knowledge. VI. Information about homework (3 minutes). Reporting homework and explaining how to complete it. Types. The most common and used in practice classification was introduced by B. P. Esipov and identified the following types of lessons: 1. Learning new material. 2. A lesson in consolidating knowledge and developing skills and abilities. 3. Lesson of generalization and systematization of knowledge. 4. Lesson of control and correction of knowledge, skills and abilities of students. 5. Combined or mixed lesson. Type 1: Learning new material. Lesson type: - lecture, - lesson with conversation elements, - lecture with presentation elements, lesson, conference, excursion, research work. The purpose of the lesson: the study of new knowledge and their primary consolidation. Type 2: Lesson to consolidate knowledge and develop skills and abilities. Lesson type: - workshop, - excursion - laboratory work - business game, - discussion lesson. The purpose of the lesson: Secondary consolidation of acquired knowledge, development of skills and abilities for their application. Type 3: Lesson of generalization and systematization of knowledge. Lesson type: - seminars, conference, generalized lesson, interview lesson, discussion lesson, dispute. The purpose of the lesson: Generalization of students' knowledge in the system. Checking and evaluating students' knowledge. This type of lesson is used when repeating large sections of the studied material. Type 4: Lesson of control and correction of knowledge, skills and abilities of students. Type of lesson: exam - test, Purpose of the lesson: To determine the level of knowledge, skills and abilities of students and to identify the quality of students' knowledge, reflection of their own activities. Type 5: Combined or mixed lesson. Type of lesson: - practice - conference - seminar - control lecture - lecture, Purpose of the lesson: Development of skills for independent application of knowledge in a complex and transferring them to new conditions. Lesson structure. I. Organizing the beginning of the lesson (2). To interest, draw attention to the lesson, communicate the topic and purpose of the lesson. II. Check up to h (3). A certain level of learned material from the previous topic and preparing students for the perception of new information (depending on the form of education, it may not be present). III. Main part. Learning new material (20). Scientific, exciting, accessible presentation of new material with the involvement of students. IV. Primary consolidation of knowledge (5). You can use special tasks after explaining the new material. Conduct a conversation to develop skills and apply knowledge. V. Summing up the lesson (2 minutes). Find out what the children learned in the lesson, what they learned new and argue the assessment of students' knowledge. VI. Information about homework (3 minutes). Reporting homework and explaining how to complete it.
. Types of visual activity and their significance in the mental, moral, aesthetic, physical development of schoolchildren. (Drawing, modeling, application, design)
Main activities:
Image on a plane and in volume (from nature, from memory and from representation);
decorative and constructive work;
application;
volume-spatial modeling;
design and constructive activity;
artistic photography and video filming;
perception of the phenomena of reality and works of art;
discussion of the work of comrades, the results of collective creativity and individual work in the classroom;
study of artistic heritage;
selection of illustrative material for the topics studied;
listening to musical and literary works (folk, classical, modern).
Mental education is focused on the development of a person's intellectual abilities, interest in knowing the world around him and himself.
It assumes:
development of willpower, memory and thinking as the main conditions for cognitive and educational processes;
formation of a culture of educational and intellectual work;
stimulating interest in working with books and new information technologies;
as well as the development of personal qualities - independence, breadth of outlook, the ability to be creative.
The tasks of mental education are solved by means of training and education, special psychological trainings and exercises, conversations about scientists, statesmen from different countries, quizzes and competitions, involvement in the process of creative search, research and experiment.
Ethics is the theoretical basis of moral education.
The main tasks of ethical education are:
accumulation of moral experience and knowledge about the rules of social behavior (in the family, on the street, at school and other public places);
reasonable use of free time and the development of moral qualities of the individual, such as an attentive and caring attitude towards people; honesty, tolerance, modesty and delicacy; organization, discipline and responsibility, a sense of duty and honor, respect for human dignity, diligence and work culture, respect for the national heritage.
In the process of moral education, such methods as persuasion and personal example, advice, wishes and approving feedback, a positive assessment of actions and deeds, public recognition of a person's achievements and merits are widely used. It is also advisable to conduct ethical conversations and debates on examples of works of art and practical situations. At the same time, the spectrum of moral education implies both public censure and the possibility of disciplinary and deferred punishments.
The purpose of aesthetic education is the development of an aesthetic attitude to reality. Aesthetic attitude implies the ability to emotional perception of beauty. It can manifest itself not only in relation to nature or a work of art. For example, I. Kant believed that contemplating a work of art created by the hand of a human genius, we join the "beautiful". However, only a raging ocean or a volcanic eruption we perceive as "sublime", which man cannot create. (Kant I. Criticism of the ability of judgment. M. 1994.) Thanks to the ability to perceive the beautiful, a person is obliged to bring the aesthetic into his personal life and the lives of others, into everyday life, professional activities and the social landscape. At the same time, aesthetic education should protect us from going into "pure aestheticism." In the process of aesthetic education, artistic and literary works are used: music, art, cinema, theater, folklore. This process involves participation in artistic, musical, literary creativity, organizing lectures, conversations, meetings and concert evenings with artists and musicians, visiting museums and art exhibitions, studying the architecture of the city. The aesthetic organization of labor, the attractive design of classrooms, auditoriums and educational institutions, artistic taste, manifested in the style of clothing of pupils, students and teachers, is of educational importance. This also applies to the social landscape of everyday life. Cleanliness of entrances, landscaping of streets, original design of shops and offices can serve as examples.
The main tasks of physical education are: proper physical development, training of motor skills and the vestibular apparatus, various procedures for hardening the body, as well as the education of willpower and character, aimed at increasing a person's working capacity. The organization of physical education is carried out through physical exercises at home, at school, university, in sports sections. It assumes the presence of control over the regime of studies, work and rest (gymnastics and outdoor games, hiking trips and sports competitions) and medical and medical prevention of diseases of the younger generation. For the upbringing of a physically healthy person, it is extremely important to observe the elements of the daily routine: long sleep, high-calorie nutrition, a thoughtful combination of various activities.
. Patterns of the manifestation of the creative abilities of schoolchildren in the lessons of fine arts. Fundamentals of research work in the field of visual activity of children.
The creativity of students is understood as an independent solution of new tasks assigned to them. In drawing classes, all the prerequisites for the development of creativity are laid. Its manifestation can be associated not only with the solution of a complex image problem, as in a thematic composition, but also with the simplest monosyllabic task, solved in a sketch from nature, from memory and representation. To bring the child to the independence of solving a new problem, to discoveries is my job.
Systematic work in the visual arts develops such personal qualities as spatial thinking, a keen sense of color, vigilance of the eye, forms the qualities of a person’s intellect, which are important, ultimately, not only for creating a drawing, sketch or model of an object, but also for any specialty which the student chooses later. These qualities include, first of all, figurative representation and logical thinking, they are the condition for creativity in any human activity. These qualities are already manifested in children of primary school age in their visual arts, which become a need for a developing personality. To a greater extent, these classes contribute to the manifestation of the individuality of the student, which creates especially favorable conditions for the development of creative abilities.
When supervising visual activity, I need to remember that this is not an ordinary training session, in which they just learn something, learn something, but an artistic and creative activity that requires children to have a positive emotional attitude, the desire to create an image, a picture, applying for this mental and physical effort. Without this, success is impossible.
I attach great importance in the education and upbringing of children to communication with nature. It is nature in all its beauty that inspires people to create: depict, decorate, build.
Nature endowed children with the ability to vividly, emotionally empathize with the new, to perceive the world holistically. Unlike adults, children do not have the tools to express what they feel. This complex ideological and emotional content of the object at first lives only in the soul of the child, it is “invisible”, does not have a finished appearance. It must be imagined, that is, it must be given an appropriate imagery and form in which the idea will become visible, tangible, accessible to other people. To do this, I need to enrich the arsenal of ways for children to express themselves, I need to give the child the opportunity to learn about the world and manipulate it.
Sometimes one comes across the opinion that a child works creatively when the teacher gives him complete freedom in drawing on topics: choosing a topic, moment, image form. The wider this choice, the more favorable conditions are created for the manifestation of his initiative. For example, when working on an illustration, a fairy tale is indicated from which he can choose any moment. Or even more broadly: he can choose any fairy tale. However, in these cases there is no specific task that should stimulate the child to actively search for visual means in solving the answer to the visual task assigned to him. In other words, the task given to him is so broad and ambiguous that any image can mean that the task is completed. Experience shows that in these cases children choose the path of least resistance. They depict what they saw in the drawings of their comrades, in book illustrations, or what the teacher tells them with a drawing on the blackboard. But such a performance of the drawing does not require great activity, willpower, memory strain and other components of a genuine search.
This means that not all forms of teaching develop creative abilities in children. The unity of educational and creative stimulation must be carried out through tasks that introduce students to elementary concepts and ideas about reality and features of the image on the plane, by developing various skills to master the basics of a realistic image. These tasks include a variety of elementary exercises. They can be caused by different educational tasks in working from nature, from memory and from imagination, in decorative work. Along with short-term, simple exercises-etudes, I also include more complex complex tasks, where several tasks are solved simultaneously. On the other hand, the narrowing and concretization of thematic tasks is necessary, that is, I set specific visual tasks for the children, which they must solve on their own. Under these conditions, both lines (literacy training and creativity development) are being successfully implemented. The initiative of the child, his creative search must take place in all tasks.
An important condition for the development of the creative imagination of children is the use of various materials and techniques, as well as a change in the types of visual activity.
The most effective construction of the content of education is variable, because it allows the use of a differentiated approach to students, enables students to realize their skills in accordance with their individual abilities.
Mastering as many different techniques as possible allows you to enrich and develop the inner world of the child, to show creative imagination - the ability to create a sensual image that reveals the inner content.
It is necessary to awaken in the child a personal interest in art. In this I am helped by tasks that require the expression of my own sense of attitude, mood, and intention.
Creative tasks are open in nature, do not have the correct answer. There are as many answers as there are children. My role is not only to understand and make a variety of decisions, but also to show the children the legitimacy of these differences.
The use of computer technology makes it possible to develop interest in the fine arts in a new quality. To achieve the best results in learning and developing creative abilities, computer technologies are indispensable, because they have more capabilities, allow you to get the maximum result at a minimum cost.
The use of a computer in art lessons allows you to actively develop the creative and cognitive abilities of each student; creates an emotional mood, which, in turn, has a positive effect on the development of artistic creativity.
All interesting findings on the development of children's imagination are systematized for the organization of subsequent collective and personal exhibitions of children's works.
. The teacher as an organizer and leader of the educational process in fine arts
Art teacher. develops aesthetic taste, artistic knowledge and skills, cultivates the desire for knowledge to perfection in order to make everything around better and more beautiful. The teacher sets educational tasks for the student, organizes his observations in the process of constructing an image according to a certain system, teaches the analysis of nature in the process of constructing an image, indicates the path for the fastest assimilation of educational material, teaches to analyze, directs attention to the most important features of the structure, carefully monitors the work of the student’s thought , constantly guiding it, supporting it. without losing sight of his work. From the first grade, he lays down the foundations of knowledge and skills of a realistic image for students, takes them away from naive and primitive drawing.
After the explanation, the teacher walks around the class and observes the work of the children. Having noticed an error, draws the attention of a student or several students to it and explains the cause of the error.
When presenting educational material, it is necessary that all students understand the topic, keep the attention of students, skillfully presenting the topic of the lesson, complicating tasks over time. When teaching drawing from nature, the teacher pays attention to the issues of observation, perception and analysis of nature, illustrates the explanations with drawings on the blackboard or teaching aids. Pedagogical drawing activates work, increases interest: in art. You can use the method: preliminary preparation of the blackboard for the lesson, outlining the dimensions and proportions of the future image with dots, and, already during the lesson, quickly reproduce the drawing using these guidelines.
Clear planning of work on lessons ensures the distribution of educational material in tech. total account. year, the intensity of the lessons is determined by the amount of educational material. Such a system makes it possible to effectively use the study time, clearly plan the work on the program for the whole year. During the lesson, the teacher gives the necessary concepts, reveals the sequence of presentations of the educational material, methods of using visual aids, in the summary of the lesson it is necessary to state the methodology of working with the class in as much detail as possible.
. Planning and organization of teaching and educational work in the fine arts for the academic year and quarter. Illustrated calendar-thematic plan of fine arts lessons
The main functions of a teacher of fine arts at school: educational, educational and organizational.
The success of any business depends on its organization. The organization of the educational process means the planning of the entire material of the subject from a lesson to a year and all years of study. In order to achieve systematic, consistent and acceptable knowledge, skills and abilities, you need to plan work with children over the years. For this purpose, they make a thematic plan for the year (another name is the calendar-thematic plan).
Forms of thematic plan:
the time sheet is a table with sections: class, quarter, lesson number, lesson topic, practical task, task completion materials, note;
the illustrated form is a mosaic of drawings located in a logical system (see Figure 1), thanks to illustrations that reveal the topic of the lesson, image materials, the level of difficulty of the task, makes the thematic plan clear;
the combined form is a system of cards (see Figure 2), which contain not only general information about the planned lesson, which is required for thematic planning, but part of the lesson planning information (lesson equipment, lesson plan, teaching and upbringing methods and techniques) .
Requirement for a thematic plan for fine arts:
Moral orientation of the content of classes.
Compliance of the planned material with the program.
Availability of the planned material for the age of children.
Consistent increase in the complexity of learning tasks, the acceptability of the material of the lessons.
The presence of inter-subject and inter-lesson connections (block-thematic principle of planning).
Compliance with the natural and social calendar.
When drawing up a thematic plan, consider the following:
) number of lessons per year - 35;
) the number of lessons in the quarters: in the I and II quarters - 8 lessons each, in the III quarter - 12 lessons, in the IV quarter - 7 lessons.
) time limits of academic quarters: I quarter: September 1 - November 5; II quarter: November 10 - December 30; III quarter: January 12 - March 22; IV quarter: April 1 - May 30.
The creativity of the teacher finds expression, first of all, in the logic of constructing blocks of lessons from the proposed topics of lessons by programs.
For example: The block of fine arts on the topic "People's holiday" may include lessons with the following topics:
"Landscape of the native land" (thematic drawing).
"Features of the decor of the national dwelling and costumes of the peoples living in the territory of the region" (a conversation with sketches of elements of the decor of the home and costume).
"Decorative still life", composed of household items (drawing from nature).
"Sketches of the human figure in motion from nature".
"People's festive festivities" ("Fair") (individual, group or collective work on a thematic panel) Modern requirements for the management of an educational institution require competent approaches to the organization of the educational process from the administrative and pedagogical corps. The curriculum is a normative document that determines: 1) the content of basic knowledge and skills in each academic subject; 2) the logic and sequence of studying topics; 3) the total amount of time to study certain topics. Curricula are divided into several main types: 1) standard programs; 2) work programs; 3) copyright programs. At the level of an educational institution, unified approaches to the development and design of work programs for teachers have been developed. Working program of training courses and disciplines. The work program is a regulatory and managerial document of an educational institution that characterizes the system for organizing the educational activities of a teacher. The main documents that determine the requirements for the level of training of students and the minimum content of education are: the state educational standard (federal and national-regional components); the basic curriculum of schools in the Russian Federation, including the distribution of the content of education by educational areas, academic disciplines; standard (exemplary) educational programs for each academic discipline of the basic curriculum. The peculiarity of the work program lies in the fact that it is created for a specific (specific) educational institution, and the individuality lies in the fact that it is developed by a teacher for his activity. Thus, the work program of the teacher should show how, taking into account the specific conditions, educational needs and characteristics of the development of students, the teacher creates an individual pedagogical model of education based on state standards. The work program of a subject is an individual teacher's tool that provides the most optimal and effective content, forms, methods and techniques for organizing the educational process for a particular class in order to obtain a result that meets the requirements of the standard. Thematic plan For the teacher, thematic planning is the main document in the activity. It is compiled for a certain period of time, but most often for a year. The main purpose of this document is to plan the lesson activity of the teacher. Planning is most often presented in the form of a table, which has several mandatory items: lesson number, lesson topic, purpose and objectives of the lesson, lesson content, additional material, homework. The thematic plan should also indicate: - Control, laboratory, practical work (number), a list of excursions - Requirements for the level of preparation of students for each topic (knowledge, skills), etc. General requirements for planning: compliance with the content of programs;
compliance with the volume of hours included in the program, curriculum;
alternation of types of occupations;
compliance with the events of the life of society and students;
compliance with the principles of didactics. The outline plan should reflect the following points:
§ the place of the lesson in the system of classes; topic of the lesson; the class in which it is held; the goals of education, development and upbringing; the type of lesson; teaching aids (including software); the structure of the lesson, indicating the sequence of its stages and the approximate distribution of time; the content of the educational material; the system of exercises and tasks for organization of students' activities; teaching methods at each stage of the lesson; forms of organization of students' educational activities; homework.
Lesson topic: Class: Objectives: educational - Lesson type: Teaching tools:
educational - to master the concept ..., develop skills ..., develop application skills ..., generalize and systematize knowledge about ...
educational - education of morality, activity, diligence, ...
developing - the development of an algorithmic style of thinking, combinatorial ...
Lesson types:
a lesson in the study and primary consolidation of new knowledge a lesson in the formation of skills
a lesson on the application of knowledge, skills and abilities a lesson on the generalization and systematization of knowledge
lesson of control and correction of knowledge, skills combined lesson
. Pedagogical drawing at the lessons of fine arts at school. Types of pedagogical drawing. Requirements for the implementation of pedagogical drawings
The main thing in pedagogical drawing is the conciseness of the image, its simplicity and clarity. The drawings on the chalkboard should convey the main point of the teacher, omitting everything incidental and secondary. In drawing classes, the visualization of learning is paramount, being one of the main means of information about the material being studied. Based on the visual impression received during examination, accompanied by an explanation from the teacher, students get a complete picture of the material being studied, it is easier for them to understand, comprehend, and remember the main thing in the topic of the lesson.
Visual teaching methods
The drawing on the blackboard helps to understand what is seen, affects the mental development of the child, the correctness of his judgments.
A sketch of a teacher in the margins of a student's drawing is needed if an error in the drawing is seen in one or two students and there is no point in diverting the attention of the whole class.
Correcting mistakes in a student's drawing by the teacher's hand is of great educational importance. Watching the teacher work in his album, the student remembers all the details of this process, and then tries to do as the teacher said.
Demonstration of drawings by outstanding artists will play a big role in learning, because the student, looking at a drawing made by the hand of a great master, sees what expressiveness can be achieved by drawing with an ordinary pencil. .
The principle of visibility requires such a presentation of the material (educational) in which the concepts and ideas of students become clearer and more specific. The main attention in teaching drawing from nature is drawn to the correct image of nature, to the correct transmission of perspective phenomena, features of chiaroscuro, and object designs. To facilitate these basic tasks, it is desirable to install special models (made of wire and cardboard) next to nature, so that the painter can clearly see and clearly understand this or that phenomenon, understand the design of the shape of the object, its characteristic features.
The main visual aids used in drawing lessons from life:
schematic drawings and tables;
casts of classical sculptures, wire models;
special models and devices for demonstrating perspective and chiaroscuro;
drawings and tables of the methodical sequence of work on the image;
reproductions of paintings and drawings by masters;
films that reveal the technique of working with a pencil and a brush;
special devices - "Color wheel" and "Tone circle" for the development of children's sense of color and tone.
. Visibility as a means of activating the visual activity of schoolchildren
The principle of visibility lies in the visual perception of an object in any type of drawing class: drawing from life, drawing on topics, DPI, conversations about art.
Drawing from nature is a method of visual learning. We consider visualization in teaching drawing from nature as the leading means of teaching.
The best means of visual learning is the teacher's drawing on the blackboard, on a piece of paper, or in the margins of the student's work. It helps to understand what he saw, affects the correctness of the work. The main thing is the conciseness of the image, simplicity and clarity.
Visualization is more effective than verbal explanation. Ya. A. Comenius proclaimed the principle of visualization the "golden rule of didactics". Methodical tables clearly reveal the sequence and features of the execution of the drawing, the possibilities of the technique of execution, by what means to achieve emotional expressiveness.
Of great educational and educational importance is the demonstration of illustrations of paintings by prominent artists from methodological manuals, on the examples of which you can clearly show how to analyze nature,
When drawing from nature, the main attention is paid to its correct transmission. To facilitate the task, it is desirable to install special models next to nature in order to understand the design of the shape of the object and its characteristic features. Visualization: diagrams, drawings, tables, plaster models, models made of wire, plexiglass and cardboard help the student to correctly see the form, structure, color and texture. The sequence above the picture should be considered as the disclosure of specific learning tasks.
. Problem learning. Methods of problem learning. Lesson types
Depending on the purpose, on the task of the school, teaching can be problematic and not problematic. .
The main functions of problem-based learning. Based on the task of the general education school and on the basis of the conclusions from the comparison of the traditional type of education with the problem-based one, it is possible to formulate the main functions of problem-based learning. They can be divided into general and special. The following general functions of problem-based learning can be indicated: the assimilation by students of a system of knowledge and methods of mental and practical activity, the development of the intellect of students, that is, their cognitive independence and creative abilities, the formation of dialectical thinking of schoolchildren, the formation of a comprehensively developed personality. In addition, problem-based learning also has the following functions: the development of skills for the creative assimilation of knowledge (the use of a system of logical techniques or individual methods of creative activity), the development of skills for the creative application of knowledge (the application of acquired knowledge in a new situation) and the ability to solve educational problems, the formation and accumulation of experience creative activity (mastering the methods of scientific research, solving practical problems and artistic reflection of reality), the formation of learning motives, social, moral and cognitive needs.
The method of monologue presentation. The teacher reports the facts in a certain sequence, gives them the necessary explanation, demonstrates experiments in order to confirm them. The use of visual aids and technical teaching aids is accompanied by an explanatory text. The teacher reveals only those connections between phenomena and concepts that are required to understand this material, introducing them in the order of information. The alternation of facts is built in a logical sequence, however, in the course of presenting the attention of students to the analysis of cause-and-effect relationships, it is not specified. The facts "for" and "against" are not given, the correct final conclusions are immediately reported. If problem situations are created, then only in order to attract the attention of students, to interest them. In order to create a problem situation, the teacher most often only changes the order of the reported facts, demonstrations, experiments, showing visual aids and, as additional content elements, uses interesting facts from the history of the development of the concept under study or facts that tell about the practical application of acquired knowledge in science and technology. The role of the student when using this method is rather passive, the level of cognitive independence necessary for working with this method is low.
Reasoning method of teaching. If the teacher aims to show an example of the study of the formulation and solution of a holistic problem, then he uses the reasoning method. At the same time, the material is divided into parts, the teacher for each stage provides a system of rhetorical questions of a problematic nature in order to attract students to a mental analysis of problem situations, exposes objective contradictions of the content, but he himself resolves sentences of a narrative and interrogative type, informational questions (i.e. such questions, answering which it is necessary to reproduce already known knowledge, give information about known knowledge) are not posed, the narration is conducted in the form of a lecture. The method of restructuring the material for work by this method differs primarily in that a system of rhetorical questions is introduced into the content as an additional structural element. The order of the reported facts is chosen in such a way that the objective contradictions of the content are presented especially emphasized, convex, arouse the cognitive interest of students and the desire to resolve them. . Having chosen the reasoning method of teaching, the teacher, in the process of organizing the assimilation process, uses the explanatory method of teaching, the essence of which is that it "includes the teacher's communication of the facts of this science, their description and explanation, that is, it reveals the essence of new concepts with the help of words, visualization and practical action."
Dialogic method of presentation. If the teacher sets himself the task of involving students in direct participation in the implementation of a method for solving a problem in order to activate them, increase their cognitive interest, draw attention to what is already known in the new material, he, using the same content construction, supplements its structure with information questions, answers to given by students. The use of the dialogical method of teaching provides a higher level of cognitive activity of students in the process of learning, since they are already directly involved in solving the problem under the cruel control of the teacher.
Heuristic method of presentation. The heuristic method is used where the teacher aims to teach students the individual elements of problem solving, to organize a partial search for new knowledge and ways of action. Using the heuristic method, the teacher applies the same construction of educational material as in the dialogical method, but somewhat supplements its structure by setting cognitive tasks and assignments for students at each individual stage of solving an educational problem. Thus, the form of implementation of this method is a combination of heuristic conversation with the solution of problematic tasks and assignments. The essence of the heuristic method is that the discovery of a new law, rule, etc. is not made by the teacher with the participation of students, but by the students themselves under the guidance and with the help of the teacher.
research method. The concept of the research method was most fully disclosed by I. Ya. Lerner, who referred to the research method a method that organizes the process of assimilation by “solving problems and problematic tasks. Its essence is that the teacher constructs a methodological system of problems and problematic tasks, adapts it to a specific situation of the educational process, presents it to students, thereby managing their learning activities, and students, solving problems, provide a shift in the structure and level of mental activity, gradually mastering the procedure of creativity, and at the same time they creatively assimilate the methods of cognition. When conducting a lesson using the research method, the same construction of the material is again used and the elements of the structure of the heuristic method and the order of questions, instructions, tasks are taken. If in the process of implementing the heuristic method these questions, instructions and tasks are of a proactive nature, that is, they are posed before solving the sub-problem that makes up the content of this stage, or in the process of solving it and performs a guiding function in the solution process, then in the case of using the research method, questions are posed in at the end of the stage, after the majority of students have solved the sub-problem.
Method of programmed tasks. The method of programmed tasks is the setting by the teacher of a system of programmed tasks. The level of effectiveness of the exercise is determined by the presence of problem situations and the possibility of independent formulation and solution of problems. The application of programmed tasks is as follows: each task consists of individual frame elements; one frame contains part of the studied material, formulated in the form of questions and answers, or in the form of a presentation of new tasks, or in the form of exercises. As a result of the work carried out, we can conclude that at this stage of human development, problem-based learning is simply necessary, since problem-based learning forms a harmoniously developed creative personality capable of thinking logically, finding solutions in various problem situations, able to systematize and accumulate knowledge, capable of high introspection , self-development and self-correction.
fine arts artistic education
30. Methods of teaching fine arts at different levels of school education (Continuity of preschool educational institutions and elementary school, elementary school and middle level, middle and senior level of secondary school)
Purposeful and coordinated guidance of the child's visual activity, taking into account both the previous artistic development and the subsequent one, is a necessary condition for successful aesthetic education.
Observance of continuity in teaching children the fine arts determines a clear definition of the amount of knowledge, skills and abilities that younger students should master in separate lessons, on separate topics, sections throughout the school year based on the amount of knowledge, skills and abilities that they received art classes in kindergarten or in the family. Particular attention should be paid to the definition of specific links between the main organizational forms of teaching children the fine arts in preschool and primary school age.
Schools and kindergartens have common goals and objectives in teaching children the basics of visual literacy. Continuity of the content of visual arts classes in senior groups of kindergarten and elementary school:
The kindergarten regularly holds classes in drawing, modeling, appliqué and design. The school has art classes. Sculpting, applique and designing in the primary grades are carried out at the lessons of labor training. The fine arts program for grades I-III notes the need to harmonize the tasks and content of these lessons. 2. The types of drawing in the senior groups of the kindergarten and in the primary grades of the school are the same. There are only some differences in their names.
In the programs of the kindergarten and primary school, the skills and abilities necessary for the visual activity of the child are coordinated. 4. An analysis of the specific tasks of the programs of the senior groups of the kindergarten allows us to conclude that a child entering school from a kindergarten is fully prepared for the successful passage of educational material, for further drawing up creative compositions, illustrations, patterns. He is prepared for the perception and further study of form, space, patterns of color science and composition. Thus, the tasks provided for by the programs, exemplary tasks and the content of knowledge, skills and abilities in fine arts in kindergarten and in primary grades, the general development of a six-seven-year-old child make it possible to ensure continuity in the fine arts of preschoolers and younger schoolchildren. However, this requires the following conditions to be met:
Mandatory consideration by the primary school teacher of the training in drawing that the child receives in kindergarten, taking into account the level of development of his artistic and creative abilities and aesthetic susceptibility. 2. The orientation of the primary school teacher towards the further consolidation and development of the ideas and impressions of children accumulated by them in preschool age. 3. Orientation of the teacher to converge the methods of teaching children the fine arts in the primary grades with the methods of teaching children to draw in kindergarten. 4. Widespread use in primary classes of various visual materials: pencils, watercolors, gouache, crayons, sanguine, pastels, felt-tip pens, ink, colored tinted paper. The use of all these means will make it possible to more successfully develop aesthetic taste, understanding of beauty, creative independence and imagination in children, especially since all these materials are widely recommended in kindergartens and are used by children with pleasure.
Thus, strict observance of the educational tasks provided for by the education program in kindergarten and the fine arts program in primary grades will ensure continuity in the visual activity of preschoolers and younger schoolchildren, which is a necessary condition for the mental development of children, the formation of their emotional and aesthetic attitude to reality. The principle of continuity implies that educational activities, especially at the initial stage, are carried out under the direct supervision of the administration. Solving the problem of succession, work is carried out in three directions:
. joint methodological work of primary school teachers and subject teachers in the middle level;
. work with students;
. work with parents.
Continuity between elementary school and 5th grade suggests the following areas:
. educational programs;
. organization of the educational process;
. uniform requirements for students;
. lesson structure.
I propose a work plan for the continuity between primary and basic general education, which has been successfully used in our school for several years now. The work plan is complemented by annexes.
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METHODOLOGY OF TEACHING FINE ARTS
Short course of lectures
Kemerovo 2015
This publication is a teaching aid for preparing for the interdisciplinary state exam in the professional module "Pedagogical activity" and includes a short course of lectures on the history of methods of teaching fine arts, theory and methodology of organizing a modern fine art lesson
It is intended for students of the direction of training specialists in the specialties 54.02.05 "Painting: easel painting", 54.02.01 "Design in culture and art", 54.02.02 "DPI and folk crafts: art ceramics"
Compiled by: A.M. Osipov, artistic director,
teacher GOU SPO "KOHK",
E.O. Shcherbakova, methodologist of the State Educational Institution SPO "KOHK".
Deputy Director for R&D T.V. Semenets
Kemerovo Regional Art College, 2015
Topic 1. Goals and objectives of artistic and pedagogical education……………………...……....4
Topic 2. Methods of teaching fine arts as a subject of study……………6
Topic 3. Methods of teaching drawing in the Ancient World and the Middle Ages……………..…………..8
Topic 4. The value of the methodological provisions of the art of the Renaissance………………..……11
Topic 5. Models of art education of the New Age in Western Europe………….14
Topic 6. Formation of the national school of art pedagogy in the XVIII–XIX centuries….…18
Topic 7. Academic system of art education in Russia. ………………...……22
Topic 8. Methods of teaching drawing in the Soviet school………………………………………………25
Topic 9. Analysis of the program of B.M. Nemensky “Fine Arts
and artistic work”………………………………………..…………………………………………….28
Topic 10. Curricula and programs………………………………………….…………………………31
Topic 11
Topic 12. Lesson as the main form of organization of the educational process……………..……………….36
Topic 13. Methodical forms of completing the lesson. ………………...………………………………..39
Topic 14. The main methodological provisions for conducting visual activities with preschoolers 42
Topic 15
Topic 16
Topic 17
Topic 18
Topic 19. Lessons-conversations on the history of fine arts and the methodology for their conduct ...
Topic 20. The role of visual materials in the process of teaching fine arts 55
List of used literature……………………………………………………………………………….58
The teacher of fine arts must himself be proficient in visual literacy, the basics of which he teaches, must be able to methodically correctly explain and clearly show the process of depicting an object, a particular technique, the rules for working with a pencil or brush. Practice shows that if the teacher himself is poorly versed in fine arts, draws poorly, does not know how to connect the patterns of perspective, color science, composition with the practice of drawing, then his students do not have this knowledge and skills.
The teacher's systematic visits to art exhibitions and workshops of artists, museums, communication with the artistic intelligentsia, regular reading of books and magazines on fine arts, creative work is a necessary condition for improving the scientific, theoretical, and professional level of the teacher.
The method of teaching fine arts as a science theoretically generalizes practical experience, formulates the laws and rules of teaching, highlights the technology of the most effective methods, and offers them for implementation. The methodology is based on the scientific data of pedagogy, psychology, aesthetics and art history.
Of course, in the living process of teaching, each teacher develops his own methodology of work, but it must be built in accordance with the general goals and objectives of modern teaching of fine arts, which were not developed immediately, before that the methodology went through a difficult path of development.
The methodology of teaching fine arts as a science summarizes practical experience, offers such teaching methods that have already justified themselves and give the best results.
The 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 worked not from nature, but according to samples that were stitched into notebooks, they were contour sketches of compositions of various church subjects, individual figures, drapery motifs, etc. They were guided by both wall paintings and easel paintings. Drawing was taught by a master who did not follow a strict system or clear teaching methods. Most of the students studied on their own, looking closely at the work of the master.
Preisler puts geometry at the basis of teaching drawing. Geometry helps the draftsman to see and understand the shape of an object, and when depicted on a plane, it facilitates the construction process. However, Preisler warns, the use of geometric figures must be combined with a knowledge of the rules and laws of perspective and plastic anatomy.
Preisler's manual was highly appreciated by his contemporaries, it was reprinted several times both abroad and in Russia. There was no more detailed and clear methodological development on educational drawing at that time, so Preisler's work in Russia was used for a long time not only in general educational institutions, but also in special art schools.
Of course, today you can find flaws in Preisler's book, but for the sake of historical truth, it must be pointed out that for its time it was the best guide. The knowledge that the student received on the basis of studying Preisler's course helped him to draw from life in the future, as well as draw from memory and from imagination, which is so important for the artist.
In 1834 the first textbook by A.P. Sapozhnikov - a fateful publication for Russian art. A. P. Sapozhnikov’s drawing course begins with an acquaintance with various lines, then he introduces you to angles, after which he masters various geometric shapes. Before starting to draw three-dimensional objects, Sapozhnikov suggests demonstrating the law of perspective to students using special models, again starting with lines, then moving on to various surfaces and, finally, to geometric bodies. Next comes an acquaintance with the laws of chiaroscuro, also with the help of showing models. When the drawing of simple geometric bodies is well mastered, Sapozhnikov suggests moving on to drawing complex bodies: first, groups of geometric bodies are given, then the tasks gradually increase in complexity up to drawing plaster heads. To show the construction of the human head, the author proposes to use a wire model specially made by him, which should always be near the plaster head, in a similar turn and position.
The value of Sapozhnikov's method lies in the fact that it is based on drawing from nature, and this is not just a copy of nature, but an analysis of the form. Sapozhnikov set as his goal to teach those who draw from life to think, analyze, reason.
The positive aspects of A.P. Sapozhnikov’s teaching methods have not lost their significance in our time, they are used by domestic methodologists. Concise and simple in a military way, the system formed the basis of the methods of the Soviet school and became the state one.
Studying the history of drawing techniques, you need to familiarize yourself with the work of G. A. Gippius . In 1844 he published the work "Essays on the Theory of Drawing as a General Subject". It was the first major work on the methodology of teaching drawing in a secondary school. All the advanced ideas of pedagogy of that time were concentrated here. The book is divided into two parts - theoretical and practical. The theoretical part outlines the main provisions of pedagogy and fine arts. In the practical part, the teaching methodology is revealed.
Gippius strives to scientifically and theoretically substantiate each position of the method of teaching drawing. In a new way, he considers the process of teaching itself. Teaching methods, says Gippius, should not follow a certain pattern; different teaching methods can achieve good results. To learn how to draw correctly, you need to learn to reason and think, says Gippius, and this is necessary for all people, and this must be developed from childhood. Gippius gives a lot of valuable methodological advice and recommendations in the second part of his book. Teaching methodology, according to Gippius, should be based not only on the data of practical work, but also on the data of science, and above all psychology. Gippius makes very high demands on the teacher. The teacher should not only know and be able to do a lot, but also speak to the students like an actor. The work of each student should be in the field of view of the teacher. Gippius closely connects the provision of class with equipment and materials with questions of methodology.
The work of G. A. Gippius was a significant contribution to the theory and practice of teaching drawing as a general educational subject, it greatly enriched the teaching methodology. We do not find such a serious and in-depth study of the issues of teaching methodology in that period in any, even the most prominent representative of pedagogical thought.
In 1804, school regulations introduced drawing into all district schools and gymnasiums. Due to the lack of teachers in 1825 in Moscow, on the initiative of Count S. G. Stroganov, the School of Technical Drawing was founded, where there was a department that trained drawing teachers for a general education school. In 1843, the Ministry of Public Education issued a circular proposal to replace teachers of drawing, drafting and penmanship who did not have a special artistic education in county schools with students from the Stroganov school. Until 1879, this school was the only educational institution that specially trained drawing teachers.
Since the second half of the 19th century, not only outstanding artists-teachers, but also ordinary school teachers began to pay special attention to teaching methods. They understood that without special methodological training it is impossible to successfully conduct pedagogical work.
In 1864, drawing was excluded from the number of compulsory subjects by the charter of secondary educational institutions. In 1872, drawing was again included in the range of subjects in real and city schools. In the same year, 1872, "Free Sunday Drawing Classes for the People" were established. Teaching in these classes was conducted at first under the supervision of Professor of Painting V.P. Vereshchagin and Academician of Architecture A.M. Gornostaev. In order to develop methods for teaching drawing in general education schools, a special commission was created at the Academy of Arts. This commission included outstanding artists: N.N. Ge, I.N. Kramskoy, P.P. Chistyakov. The commission was also involved in drawing up a program for secondary schools.
Features of the art school of drawing P. P. Chistyakov. Russian artist and professor of the Academy of Arts P. P. Chistyakov believed that the Academy of Arts of the time of his teaching (1872-1892) needed reform and new methods of working with students, it was necessary to improve the teaching methods of drawing, painting, and composition.
Chistyakov's teaching system covered various aspects of the artistic process: the relationship between nature and art, the artist and reality, the psychology of creativity and perception, etc. Chistyakov's method brought up not just an artist-master, but an artist-creator. Chistyakov attached decisive importance to the drawing in his system, urged to penetrate into the very essence of visible forms, to recreate their convincing constructive model on the conditional space of the sheet. .
The advantage of Chistyakov's teaching system was integrity, unity at the methodological level of all its elements, logical following from one stage to another: from drawing, to chiaroscuro, then to color, to composition (composition).
He attached great importance to color, seeing in color the most important means of figurative expression, revealing the content of the work.
The composition of the picture is the result of the artist’s training, when he was already able to comprehend the phenomena of life around him, to summarize his impressions and knowledge in convincing images “According to the plot and technique” was Chistyakov’s favorite expression.
Analyzing the pedagogical activity of P. P. Chistyakov, one can identify the main components of the system of his work, thanks to which a high level of quality in teaching drawing was achieved. It consisted of the interaction of the following components:
· goals and objectives of teaching as the starting point of the pedagogical system;
scientifically substantiated content of educational material;
The use of various types and forms of conducting classes, thanks to which the activities of students in mastering artistic literacy in drawing were organized;
various forms of control, with the help of which possible deviations from the tasks set were prevented when performing the drawing;
· the constant self-improvement of P. P. Chistyakov himself, which was aimed primarily at improving the positive impact on the trainees.
Also, an integral part of the system of work of Pavel Petrovich Chistyakov was built relationships with students, aimed at communication with wards, dialogue and respect for the individual. “A real, developed, good teacher does not blow the student’s stick, in case of an error, failure, etc., he tries to carefully explain the essence of the matter and deftly lead the student onto the true path.” When teaching students to draw, one should strive to intensify their cognitive activity. The teacher must give direction, pay attention to the main thing, and the student must solve these problems himself. In order to correctly solve these problems, the teacher needs to teach the pupil not only to pay attention to the subject, but also to see its characteristic sides. Chistyakov's methods, his ability to guess the special language of each talent, 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, 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: “The classes were divided into morning, from 9 to 11, and evening, from 5 to 7 hours. During the morning classes, everyone was engaged in their specialty, and in the evening everyone, no matter what class they were, drew with a French pencil . After a month, the drawings were exhibited in the classrooms for the consideration of professors; it was like an exam. In addition, figures were exhibited every week, plaster heads, in relation to which it was required that the contours from them be made the most faithful, although the shading was not completed. For monthly examinations, or examinations, these weekly works could not be presented by students, since the professor examined them during the week, but some works, exclusively prepared for the monthly exam, were already exhibited by the appointed date without fail.
The students of the academy were divided into groups according to age:
1st group - from 6 to 9 years old,
2nd - from 9 to 12,
3rd - from 12 to 15 years old,
4th - from 15 to 18 years.
1st group: In the first group, in addition to general education disciplines, drawing from originals, plasters and from nature was practiced. Drawing began with an acquaintance with technique and technology. The pencil had to be held further away from the peeled end, which gave more freedom and mobility to the hand. Engravings from the drawings of outstanding masters, drawings of 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 life. By the end of the year, the students began to copy from the originals drawings of heads, parts of the human body and naked human figures (academies), first plaster, and then living. Ornaments and plaster heads were drawn from nature.
3rd group: The third group studied perspective, drawing from originals, plasters and from life, painting, sculpture, architecture, engraving art. Plaster figures of Antinous, Apollo, Germanicus, Hercules, Hercules, Venus Medicea were painted from nature. Here the student painted from plaster casts until he had the necessary professional skills. After that, he could move on to drawing live nature in a natural class.
To thoroughly memorize the figure, the student had to draw the same setting several times. To thoroughly memorize the figure, the student had to draw the same setting several times. It is known that K. P. Bryullov made forty drawings from the Laocoon group. The skill was so great that some academics could start drawing from anywhere.
When teaching drawing, great importance was attached to personal demonstration. The instructions of that time indicated that the teachers of the academy should draw the same nature as the students - so the pupils would see how the process of constructing a drawing should proceed and what quality should be achieved.
In one of the archival documents we read: “To prescribe to professors and teachers of adjuncts that all adjuncts be at their appointed hours for drawing nature, also to watch how Fontebasse works.” We read the same in the instructions of A.I. Musin-Pushkin: artists, of which one is to set nature and correct student work, and the other at the same time draw or sculpt with them himself.
Unfortunately, this progressive method of training future artists later fell into disuse in pedagogical practice. If in modern educational institutions a student is obliged to complete the course program during the year, regardless of success, then in the academy of the 18th century, as well as in the first half of the 19th century, the pupil could move from one class to another, for example, from plaster figure to full-scale, only having achieved certain success. .
4th group: Pupils of the fourth group drew naked living nature and studied anatomy. Then came the class of mannequin and composition, as well as copying paintings in the Hermitage.
A great contribution to the methodology of teaching drawing was made by artists and teachers of the Academy of Arts A. P. Losenko and V. K. Shebuev.
A.P. Losenko began teaching at the academy in 1769. An excellent draftsman and a wonderful teacher, who paid much attention not only to practice, but also to the theory of drawing. His bright pedagogical activity very soon won universal recognition. Starting with Losenko, the Russian academic school of drawing received its own special direction.
Losenko made it his task to give a scientific and theoretical substantiation of each provision of academic drawing, and above all in drawing the human figure. For this purpose, he began to thoroughly study plastic anatomy, look for 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 to do homework by children, visit cultural institutions (exhibitions, galleries, museums, etc.), participation of children in creative events, competitions and cultural and educational activities of an educational institution. The assessment marks all stages of work: collection of material, sketch, cardboard, final work. It is necessary to enable the student to penetrate deeper into the subject of the image, creating conditions for the manifestation of his creative individuality.
Lesson types.
The most common and used in practice classification was introduced by B.P. Esipov and identified the following types of lessons:
1 type: Learning new material.
Lesson type.
