Examples of painting works. Approximate list of coursework topics (Painting). Technique of the old masters

1st year students of the specialty “Painting”

for independent homework on still life painting

List of homework

in still life painting

Exercise 1. Still life of household items using grisaille technique

Exercise 2. Still life of household items in color.

Exercise 3. Still life of household items similar in color

Exercise 4. Still life of household items, contrasting colors

Exercise 5. Still life of white objects.

Exercise 6. Still life in the interior.

Exercise 7. Still life in the open air.

Explanatory note

In the painting curriculum for 1st year students of the Painting specialty, a significant place is devoted to still life: 36 hours in the 1st semester and 132 hours in the 2nd semester. Another 50% of this time is devoted to independent homework. Sequential development of still lifes is provided, starting with simple full-scale settings and ending with complex thematic still lifes. In productions composed of everyday objects, problems related to the study of chiaroscuro and the tonal solution of form, color relationships and coloring are solved, that is, those means of expression that the artist uses when creating a work.

Simple, clear geometric shapes that underlie the study of still life provide an opportunity for 1st year students to become familiar with the means and methods of constructing a three-dimensional image on a plane in connection with the environment.

Mastering the technique of watercolor painting is a mandatory requirement of the program for the 1st year. Watercolor has great visual potential, is convenient and efficient, and allows the use of a variety of technical techniques.

Both in classroom practical classes and in independent homework, special attention is paid to acquiring knowledge and skills in constructing a form, the ability to see and convey the varied state of nature depending on lighting conditions and the correct methodological sequence of working on still life painting.

When performing a still life sketch, the number of stages is determined by the complexity of the full-scale setting, however, the main stages are considered to be the following:

1) compositional placement of the image of the entire group and individual objects on the plane of the sheet;

2) linear constructive solution of the form, taking into account their proportions, movement and spatial position;

3) determination of the overall color tone; transfer of general large tonal and color relationships, proportional to nature;

4) modeling the volumetric shape of objects, identifying gradations of light and shade and their pictorial elaboration, taking into account aerial perspective;

5) a generalizing stage of work on completing the sketch; identifying the main and secondary elements in the color structure of the sketch; subordination of all parts of the image to the whole.

A cycle of homework on still life painting, in close connection with homework on drawing and composition, leads to the development of artistic observation, imaginative thinking, creative imagination, sense of color and color relationships.

Ultimately, students should acquire a solid knowledge of still life painting necessary for independent work.

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On the topic: methodological developments, presentations and notes

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Extracurricular independent work of students is the planned educational, educational and research work of students, carried out during extracurricular time according to instructions...

1) Selecting a topic:

In my thesis, I turned to one of the types of fine art - painting. The theme of the work was landscape. It is appropriate to quote the statement of the famous Russian landscape artist I.I. Shishkina: “The painting must be a complete illusion, and this cannot be achieved without a comprehensive study of the selected motifs to which the artist feels the greatest attraction, which remain in his childhood memories, that is, the landscape must be not only national, but also local.” (Abeldyaeva I.G. School of Fine Arts. Issue 5. - M., 1962).

The criterion for choosing the topic was my personal attitude to the local seascape. The desire to convey in the picture a sunny state, the view of Tsemes Bay familiar from childhood, complemented by modern buildings of the seaport.

2) Collection of material:

a painting is the creation of a holistic image of nature, it is an artistic generalization, a transformation of nature with the help of the artist’s imagination. It is impossible to transform picturesquely what you have no idea about. Therefore, the creation of a landscape is always preceded by long work on sketches from life. “You should look at nature simply, carefully, trying to understand its general impression, and from there go to the details...” (Masters of Soviet Art on Landscape, 1965).

To complete the work, preparatory material was collected. These are sketches, pencil sketches, pictorial short-term and long-term studies made from life.

(Appendix A, Fig. A1-A6). The main advantages of a landscape sketch are the transfer of a certain state of illumination of nature, the influence of the air environment and significant space. The sketches were completed at different times of the year, at different times of day.

3) compositional and coloristic solution:

The compositional integrity of a pictorial sketch depends on the relationship between the main and the secondary, on linking the entire image into a single work. When identifying the compositional center, the artist has to consciously generalize the details, weaken the tone and color strength of objects moving away from the compositional center, and subordinate all tonal and color relationships to the main thing.

4) cardboard (preparatory drawing):

Having clarified the idea in sketches and sketches, having found a linear and color composition, you need to start drawing the entire composition on cardboard or paper (Appendix A, Fig. A7). The cardboard is made to life size using pencil and charcoal. In it, the compositional solution, the nature of the shape and proportion of objects, the tasks of aerial and linear perspective are honed and brought to completion, the layout of the landscape is determined, and the compositional center is worked out. After this, the drawing from the cardboard (through tracing paper or with gunpowder) is transferred to the canvas.

5) Canvas painting:

After compositional searches and making cardboard, you can begin painting on canvas, starting with underpainting, clarifying tonal and color relationships, laying shadows, working out details. Next comes the generalization and completion of the work (Appendix A, Fig. A8-A14).

Anna Klimova
Project “Amazing Possibilities of Painting”

Project« Amazing painting possibilities»

Relevance project

Advanced pedagogical experience shows that at the present stage of development of society it is not enough to simply teach a child something. Activity, independence, initiative, creativity are leading in determining the direction of personal development in modern conditions. The implementation of independent, practical and creative activities of children in the field of artistic and aesthetic development is aimed, first of all, at the comprehensive development of the child’s personality.

The influence of art on the formation of a person’s personality and development is very great. V. A. Sukhomlinsky wrote: “During childhood, thought processes should be as closely connected as possible with living, bright, visual objects of the surrounding world. The emotional richness of perception is the spiritual charge of children’s creativity.”

By getting acquainted with outstanding works of art, preschoolers learn to understand the harmony of nature, learn the culture and history of Russia, learn the norms of behavior and spiritual values accepted in society, get acquainted with the life and work of people in various fields of activity, a special place painting plays a role in speech development. By using painting thinking develops activity: the ability to make generalizations based on analysis, compare and explain, develop inner speech (inner speech helps the child plan and express his judgments, correlate conclusions that arise as a result of perceiving the artist’s plan, and it also contributes to the manifestation of his own intellectual and emotional associations). Art contributes to the perception of different feelings and the formation of the initial foundations of a worldview. Children enrich their moral experience, their moral consciousness is formed. They learn to compare their experiences with the experiences of people depicted by the artist, and transfer those perceived into the genre painting ways of relationships between people in real life situations.

It seems important that the formation of a comprehensively developed personality of a preschooler occurs in a single process of familiarizing children with fine arts, folk art, culture, aesthetic values, and the nature of their native land. Work painting rich in their ideological content and perfect in artistic form. Therefore, they form the artistic taste of preschoolers, the ability to understand and appreciate beauty, not only in art, but also in life, nature, and everyday life. Painting recreates all the richness and diversity of the world with spatial depth, volume, color, light and air.

Thus, a contradiction arises between painting possibilities as a means of comprehensive development of the personality of a preschooler and its insufficient use in the pedagogical process.

Target project: Comprehensive development of preschool children in the process of familiarization with painting.

Tasks project:

1. To introduce children to Russian artists and their works and to arouse in children a sustained interest in painting;

2. Encourage parents and children to actively interact with teachers, stimulating the desire to seek additional information on the topic;

3. Develop a system of classes to familiarize children with painting(long-term planning for the academic year);

4. Increase the level of knowledge of teachers and parents about the possibilities of painting's impact for the comprehensive development of the child.

Type project

In terms of time – long-term;

Duration project– September – April (2013-2014 academic year)

According to the dominant project activity - practice - oriented;

By the nature of contacts – intragroup;

By the number of participants – collective;

Children's age: 5-6 years;

Participants project - teachers, older children, parents;

Product design activities - long-term planning, a cycle of classes, materials and additional information on the topic.

Expected results

1. Formation of a system of knowledge about artists and their works in children;

2. Systematization of methodological information;

3. Selection of literature and development of a long-term plan for introducing children to painting;

4. Systematic use in work of cycles of classes to familiarize children with painting;

5. Saturation of the methodological base with additional information and materials for classes to familiarize children with painting.

Main stages project

1 – creation of a practice-oriented problem

Coming to a lesson to familiarize children with painting, I am exhibiting reproductions of an autumn landscape. During the lesson, we listen to music, read excerpts from poems that help perception pictorial painting. Children correlate musical and literary works with reproductions and justify their choice, but there is only one reproduction (Savrasov A.K., "Autumn. Village by the stream", for which there is no suitable music and poem. Rises question: "What to do?".

2 – putting forward hypotheses to solve the problem

The children suggest inviting a librarian who comes to them weekly and asking him to help compile a selection of poems about autumn. And also, contact the music director with a request to select musical works. Suddenly Valya remembers that not so long ago her sister, a schoolgirl, taught a very beautiful poem about autumn and promises to ask her mother to write it down for us, etc.

3 – distribution into groups

After we have decided what we need for further work, I suggest that the children discuss this problem at home with their parents and involve them in a joint search for information, and perhaps in addition to our plan for solving the problem. Thereby, having discussed problem and ways to solve it again, children and their parents are united in micro-groups to collect the necessary information.

4 – practical resolution Problems:

Creation of a music library of classical music, children's songs;

A selection of works of literature (stories and poems, Russian folklore (Proverbs and sayings);

A selection of illustrations for viewing;

Exhibition of children's works on drawing, applique, modeling and manual labor;

Excursions to the Exhibition Hall, Winter Garden of the CDC "Arctic";

Walks and excursions;

Formation of an electronic catalog of works painting;

Drawing competition "Seasons";

5 – presentation of results

All information collected, with the help of parents, teachers, and a librarian, was accumulated, summarized and systematized. After processing the collected information:

A long-term plan has been written to familiarize children with painting, indicating sources and a selection of additional materials;

A number of notes have been developed classes: “What and how does he speak? painting» , “Colors of evening landscapes. Examination of a painting by I. I. Levitan "Summer evening", "Golden autumn. Examination of a painting by I. I. Levitan "Gold autumn", “Such a different autumn. Examination and comparison of landscape paintings "Gold autumn" I. I. Levitan and "October" E. E. Volkova, "Winter" I. I. Shishkina" and others;

Thematic presentations: "Hello golden autumn", "Signs of Autumn", "Autumn through the eyes of artists", "Russian landscape painting» , "Still life", "Primitive Art", "Landscape painting. Russian landscape artists" and etc. ;

Consultations were held for teachers about the impact painting for child development: "Russian landscape painting» , “Organization of still life perception by preschool children”, “Autumn, sung by poets and painters in works of art”, etc.;

Seminar-workshop for teachers “The nature of winter in the works of artists”;

Thematic week "Winter Fun", "Autumn Sketches";

Folders were put on display for parents “a poetic image of nature in a child’s drawing”, "Art and Education", “Learning to observe nature” and etc. ;

Open session for parents using the collected information “The sorceress Winter is coming...”;

Monitoring the enrichment of children’s knowledge and the level of formation of ideas about painting.

Bibliography

1. Ashikov V. Preschool education in the new century // Preschool education. -2000. - No. 1. - P. 8-11.

2. Raising and teaching children of the sixth year of life. / Ed. Ushakova O. S., Paramonova L. A. - M.: Education, 2001. - 160 p.

3. Grigorieva G. G. Visual activities of preschoolers. - St. Petersburg: Detstvo-Press, 1997. - 224 p.

4. Children and landscape painting. Seasons. We learn to see, appreciate, create beauty. – SPb.: CHILDHOOD – PRESS, 2004. – p. 272 / Program library "Childhood"

5. Zubareva N. M. Children and fine arts. Still life and landscape in the aesthetic education of children aged 5–7 years. M., "Education", 1969. – 111 p.

6. Kazakova T. G. Develop creativity in preschoolers. - M.: Education, 2005. - 146 p.

7. Komarova, T. S. Children's artistic creativity. - M., 2005. - 160 p.

8. Krasnushkin E.V. Fine arts for preschoolers: still life, landscape, portrait. For working with children 4-9 years old. – M.: MOSAIKA-SYNTHESIS, 2012. – 80 p.

9. Medvedev L. G. Formation of a graphic artistic image in drawing classes, 1986.

10. Mikhailova T. Feeling and color. Technology of “emotional mood” of children in the process of mastering technology painting. //Art at school. With. 39, 2010.

11. Panksenov G. I. Painting. Shape, color, image: textbook for students. higher thin educational institutions. - M.: Publishing Center “Academy”, 2008.

12. Psychology of giftedness in children and teenagers: Textbook/Yu. D. Babaeva, N. S. Leites. - M.: “Academy”, 2000.

13. Sakulina N. P., Komarova T. S. Visual activities in kindergarten. - M.: Education, 2003. - 208s

14. Chumicheva R. M. For preschoolers about painting: Book. for kindergarten teachers garden – M.: "Education", 1992. – 126 p., 16 l. ill.

15. Federal state educational standard for preschool education (approved by order of the Ministry of Education and Science of the Russian Federation dated October 17, 2013 No. 1155)

If there are several publications on a particular issue, you need to familiarize yourself with all publications in order to understand how the point of view on the issue under study has changed.

Collection and processing of factual material (sketches, sketches, sketches and compositional searches)

Collection of factual material is a crucial stage in preparing the practical part of the course work. Its quality largely depends on how qualified and complete the factual material is selected.

subject training disciplines are sketches, sketches, sketches, compositional searches for plastic forms, decorative panels, samples of execution techniques, source images for computer graphics, reproductions of works of art.

Factual material for course work on general professional disciplines– these are data from an experimental study based on the results of practical activities at school.

Collection and processing of natural material (sketches, sketches and sketches), compositional searches are a labor-intensive stage in the course work. In order to speed up the processing and systematization of material and the successful completion of work, students are given the right and opportunity to use educational, scientific laboratories and workshops, library and reading room funds.

Preparation for defense and defense of course work

Completed and properly formatted coursework is submitted to the supervisor no later than two weeks before the defense at the department. The work supervisor checks the work, signs it and presents it to the head of the department. Based on the submitted documents, the head of the department decides on the admission of the work to defense. Permission for admission is issued on the title page of the course work and signed by the head of the department. If the head of the department does not consider it possible to admit the student to the defense, the issue is resolved at a meeting of the department with the participation of the head and the author of the work.

In this case, the decision on admission to defense is made by the head of the department based on the decision of the members of the department.

The work accepted for defense is returned to the student to correct comments and prepare abstracts for defense.

Defense of course work is held at an open meeting of the department, in which scientific supervisors of the work, faculty teachers, students, etc. participate. All those present can ask the defender questions about the content of the work and participate in its discussion.

No more than 20 works are submitted for defense at one meeting. No more than 15 minutes are allotted for the defense of one work, including 5-7 minutes for the student’s report.

The graduate's report (1-1.5 pages) contains:

Work theme;

Goal of the work;

The relevance of the topic being studied, its rationale;

Characteristics of the volume and structure of work;

Sequence of the practical part;

Conclusion.

The report is presented freely and clearly; the student does not read the text, but logically presents his observations and conclusions.

The student’s answers to the questions of those present, their completeness and depth influence the assessment of the course work.

After the author of the work speaks and answers the questions, the leader speaks with his feedback. After discussing the work, the student is given the opportunity to respond to comments made. Course work is assessed on a four-point system: “excellent”, “good”, “satisfactory”, “unsatisfactory”. In doing so, members of the department are guided by the following criteria:

Professionalism of skills and abilities in performing the practical part;

Defense of the work: the student must show how deeply he has comprehended the topic, the ability to navigate scientific problems related to the topic of the work: the student must demonstrate the ability to briefly and clearly express his thoughts, give comprehensive answers to questions, logically and correctly conduct scientific debate;

Design of work: compliance with the design rules recommended by these regulations, spelling, punctuation and stylistic literacy; correct bibliographic design.

The student needs to know that the grade consists of many indicators; the decisive indicator is the defense itself. Discussion of the results of the defense of each work is held at a closed meeting of members of the department. The decision on evaluation is made by a majority vote, the voice of the head of the department is counted as 2 votes. The results of defending coursework are announced on the same day after approval of the defense protocol by the head of the department.

In case of an “unsatisfactory” grade, the student has the right to defend the work again within the next semester after making additions, corrections, and revisions, but no more than once.

The general results of defending coursework are necessarily discussed at the department. Based on the results of the defense, the department can recommend individual works for publication in collections of student scientific works.

The theoretical part of the course work is kept for 2 years from the date of defense in the methodological office of the faculty, where it can be used (on a common basis with educational and scientific literature) by students, teachers, teachers, etc. The practical part is stored in the exhibition fund and is used for exhibitions and as a teaching aid in the classroom.

Withdrawal of materials, changes, and additions to the course work are not allowed. If necessary, the author of the work has the right to make copies of materials available in the work.