Modern concepts of teaching fine arts in elementary school. Coursework: Features of the methodology of teaching fine arts in elementary school

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, and detailed recommendations for tasks 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.

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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
§1. 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
Scenery
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 ornamental motifs 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 primary 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 spatial arts ah, the plasticity of volumes, shapes, lines is of essential importance, 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 most wide circle 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 existed simultaneously or replacing each other various systems artistic perception and display of the real world.

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Introduction

Chapter 2

2.3 Non-traditional drawing techniques used in art lessons

Conclusion

Bibliography

Application

pictorial personality schoolboy

Introduction

Today, the problem of developing the creative personality of younger students is socially significant. Almost all human material and spiritual culture is a product of people's imagination and creativity.

The relevance of our work lies in the fact that present stage development of pedagogical science, the problem of the formation of an aesthetic, spiritual culture of a person, his creative development is the dominant of civilized development.

Currently, education focuses on general subjects, forgetting about the development of emotional processes, creative abilities of younger students. Thus, inhibiting the spiritual development of children.

Education in the fine arts, not only through perception, but also through practical activities, spiritually enriches.

First of all, it is necessary to create conditions for the creative development of the child - to teach him to work with a variety of artistic materials, to teach him to understand the language of fine art, to use the means artistic expressiveness and constantly enrich children's visual representations and improve their experience.

Then, gradually, through the development of visual literacy in an interesting and accessible, sometimes playful, form, the child is prepared to solve creative problems. Such training using a variety of modern techniques and non-standard drawing techniques helps everyone to open up the best way. Some are more inclined towards the graphic embodiment of images, while others choose pictorial materials to create them. It is important that both of them are given the opportunity to improve their skills in one of the activities and at the same time gain knowledge in the subject "Fine Arts".

The task of the teacher is only to develop a sense of proportion, the aesthetic taste of the child, in order to avoid thoughtless copying of samples, to help each child find a creative face.

Acquaintance with different styles, trends and techniques in the visual arts, with the work of outstanding Russian and foreign artists enriches the inner world, helps inner searches.

The purpose of the course work is to study the methodological system of teaching visual activity, aimed at developing the creative personality of a younger student.

to study the methods used in the lessons on visual activity and their classification;

to determine the influence of visual activity on the development of a creative personality in children of primary school age;

to note the educational and upbringing value of the lessons on fine arts;

to consider various non-traditional drawing techniques used in the lessons of fine arts.

Object: the process of development of the creative personality of a child in primary school age.

Subject: methods and principles for the development of the creative personality of younger schoolchildren in the lessons of fine arts.

Thus, on the one hand, the increased need modern society in a creative amateur personality, and on the other hand, the lack of development of creative principles (imagination) among younger students.

Chapter 1. Theory and methods of organizing visual activity of younger students

1.1 History of teaching methods for visual activity

Interest in drawing academic discipline appeared in Rus' a very long time ago. Already in the 11th century, book graphics and miniatures reached a very high level of development. This suggests that, along with reading and writing, students mastered the visual range, which helped to develop the perception of text and images in unity.

For the first time, drawing as a general educational subject appeared at the beginning of the 18th century. During this period, they begin to look at drawing as one of the means that contribute to the development of figurative representation and skills that can be applied in any profession. Educational institutions did not aim to educate professional artists. They taught drawing for general educational purposes.

In 1735, a textbook on drawing by I. D. Preisler “The Fundamental Rules, or Quick Guide to drawing art. Preisler training begins with drawing straight and curved lines, geometric shapes and three-dimensional bodies, after which the student proceeds to drawing parts of the human body, then the head, and finally the whole figure. Since earlier the drawings from this book were simply copied, this method was called "copy".

Russian Academy of Arts early XIX century moved to the forefront among the art academies of Europe. The students of the academy were such artists as A.E. Egorov, K.P. Bryullov.

In 1834 A.P. Sapozhnikov published "Drawing Course" - the first textbook for general education educational institutions which has since been reprinted several times. Training begins with getting to know different lines, then angles, then mastering geometric shapes. Next comes an acquaintance with chiaroscuro, with the help of showing models. Then the transition to drawing complex bodies. The second part of the "Drawing Course" is devoted to drawing the human figure, as well as some rules of composition. The value of Sapozhnikov's method lies in the fact that it is based on drawing from nature, and this is not just copying, but an analysis of the form. Sapozhnikov made it his goal to teach those who draw from life to analyze and reason. This method has found the widest application not only in secondary schools, but also in special art schools.

Sapozhnikov pointed out that the best way to help the student to correctly build the forms of any object is the method of simplifying it at the initial stage of drawing. First, the student must determine the geometric basis of the shape of the object, and then move on to refinement.

Since 1903 it was allowed to teach drawing in all educational institutions.

In order to develop methods for teaching drawing, a program was created for secondary educational institutions (the commission at the Academy of Arts dealt with this issue: I.N. Kramskoy, P.P. Chistyakov, N.N. Ge), she demanded:

“- students must draw from life in such a way that there is a strict sequence in the choice of models, starting with wire lines and figures, up to plaster heads;

The initial drawing of geometric figures and bodies should be interspersed with drawing objects similar to them from the environment;

Copying from originals must be stopped as harmful to beginners and time consuming; acquaintance with the perspective should be only visual, and in no case should the explanation of its rules precede the observation of the students themselves.

The outstanding artist-teacher P.P. Chistyakov. He believed that training should take place both at the initial stage and at the highest stage on the basis of uniform principles, on a scientific basis.

He categorically rejected the copy method: “... the main drawback should be recognized as almost universal copying from originals, and students work unconsciously, often from bad samples and almost uselessly spend too much time finishing the drawing to the detriment of essential study”

Of great value to us are the ideas of Chistyakov concerning the relationship between the teacher and pupils, namely the use of an individual approach. “In the event of a mistake or failure, he tried to carefully explain the essence and deftly guide the student to the true path.”

Russia at the beginning of the 20th century was characterized by an increased interest in the methodology of teaching drawing in general educational institutions. The student is required not only technical skill or knowledge of geometric and ornamental forms, but also the development of observation, creative imagination, memory of shapes and colors; a close connection of drawing with all subjects of the curriculum is required, that is, it becomes their indispensable companion.

Formalism, which developed in art, began to exert its influence not only on young artists, but also on teachers in secondary schools. Formalism brought confusion both to the method of teaching drawing and to the system art education. In particular, the method of "free education" began to be widely promoted.

The teacher should never force the individuality of the child, on the contrary. He should try to determine what genre the child is most capable of. Encouraging him in this direction, the teacher should teach him the main techniques of drawing.

Since there were almost no theoretical works on teaching methods in Russia, teachers were invited to get acquainted with the works of foreign experts such as F. Kuhlman, A. Baumgart, J. Augsburg, L. Tadd.

Such a wide and widespread enthusiasm for children's creativity had its positive aspects. The method of teaching drawing began to receive a scientific and theoretical justification, they began to look at the visual activity of children more seriously, and drawing at school as an important educational process.

Among the well-known artists-teachers who influenced the development of the Soviet methodology for teaching drawing in schools, D.N. Kardovsky. It is to him that we owe the emergence of higher educational institutions that train drawing teachers for secondary schools. He defended the positions of realistic art and protected young people from the influence of formalism, sought to improve the artistic culture of the student, inspired love for nature and art, and respect for scientific knowledge.

The basis of his method Kardovsky put "stump", that is, the principle of simplifying the complex shape of objects to the simplest forms. He believed that it is difficult for a beginner to immediately understand and depict the complex shape of an object, so it must be simplified from the beginning. When the student understands the basics, he can be allowed to move on to refinement. And the student must first, as it were, chop off the complex shape of the object.

In 1951, the book by E.S. Kondakhchan "Methods of teaching drawing in secondary school". Teaching drawing should be based on drawing from life, on observation and study of reality. In the process of learning about the surrounding reality, students form a materialistic worldview, which is of great importance in the upbringing and comprehensive development of children.

Since the beginning of the 60s, experimental textbooks on drawing began to appear systematically, their authors were: V.V. Kolokolnikov, E.E. Rozhkova, S.A. Fedorov, N.N. Rostovtsev.

The Soviet methodology in its development has a progressive character: it is being improved from year to year, receiving a scientific and theoretical substantiation.

In 1970, new curricula were revised and approved, where the goals and objectives of teaching drawing were formulated, and the content of the educational material was determined. Expansion of the tasks of aesthetic education, acquaintance with the work of great artists of the past and outstanding Soviet artists led to the fact that instead of the subject "drawing" a new subject arose - "fine arts".

At that time, the society of artists and teachers was little interested in the problems of teaching the fine arts to people with special educational needs. Actually, there were no special methods.

Currently, there are a large number of methods and programs for teaching drawing at school. Teachers are given variability in choosing any of them.

1.2 Classification of teaching methods for fine arts

The success of education and training largely depends on what methods and techniques the teacher uses to convey certain content to children, to form their knowledge, skills, and skills, and also to develop abilities in a particular field of activity.

Under the methods of teaching fine arts and design, we understand the system of actions of a teacher who organizes the practical and cognitive activities of children, which is aimed at mastering the content defined by the Federal State educational standard primary general education.

Training methods are called individual details, components of the method.

Traditionally, teaching methods are classified according to the source from which children receive knowledge, skills and abilities, according to the means by which this knowledge, skills and abilities are presented.

Since school-age children acquire knowledge in the process of direct perception of objects and phenomena of the surrounding reality and from the messages of the teacher (explanations, stories), as well as in direct practical activities (designing, modeling, drawing, etc.), methods are distinguished:

visual;

verbal;

Practical.

This is the traditional classification. Recently, a new classification of methods has been developed. The authors of the new classification are: Lerner I.Ya., Skatkin M.N. it includes the following teaching methods:

informative - receptive;

reproductive;

research;

heuristic;

problem presentation method

The information-receptive method includes the following techniques:

viewing;

observation;

excursion;

teacher sample;

teacher display.

The verbal method includes:

story, art history story;

use of teacher samples;

art word.

The reproductive method is a method aimed at consolidating the knowledge and skills of children. This is a method of exercises that bring skills to automatism. It includes:

receiving a repeat;

work on drafts;

performing shaping movements with the hand.

The heuristic method is aimed at the manifestation of independence in any moment of work in the classroom, i.e. The teacher asks the child to do part of the work independently.

The research method is aimed at developing in children not only independence, but also imagination and creativity. The teacher offers to independently perform not any part, but the whole work. The method of problem presentation, according to didactists, cannot be used in teaching younger students: it is applicable only to older students.

In his activities, the teacher uses various methods and techniques in drawing, modeling, application and design.

So in drawing, the main technique for the first class is to show how pencils and paints should be used. The most effective technique is passive movements, when the child does not act independently, but with help. Effective game pictorial movements of a homogeneous, rhythmic nature with the pronunciation of the words: "back and forth", "top - down", etc. This technique makes it possible to associate the image of an object with pictorial movement.

The use of literary and musical instruments is the most important methodological technique. Another method of work in the primary grades is the co-creation of the teacher with the children.

In the lower grades, the information-receptive method is actively used in drawing classes. Especially useful before class effective way acquaintance with the shape of an object: children circle the shape with their hands, play with flags, balls, balls, feel their outlines. Such an examination of the subject creates a more complete picture of it.

Also effective is the technique of examining an object by moving the hand along the contour and showing this movement in the air.

So, the main methodological principles of teaching fine arts are a number of characteristics:

1. Availability of tasks.

The process of drawing is associated with the perception and study of objects of reality, with the comprehension of the features of the perception of form, environment, lighting, the influence of one color on another, etc. Every teacher knows about the great interest of children in drawing, everyone is familiar with the courage and sometimes great expressiveness of independent children's drawings. In this regard, sometimes the capabilities of children are overestimated - they are given overwhelming tasks. It doesn't do them any good.

But there should also not be an underestimation of the abilities of students, an excessive narrowing of tasks, or a limitation on the range of objects depicted. Such requirements could take place in the copy system of education, but it is incompatible with the tasks of teaching a realistic image, which is based on the visual perception of objects and phenomena of reality.

From the first steps of learning to draw, along with the development of the perception of specific objects and phenomena of reality, children are brought to an understanding of the elements of abstraction.

The deeper and more fully children learn about various phenomena of reality (for example, perspective, lighting), comprehend the features of visual perception, the more accessible the methods of analyzing the visible shape of objects become, the understanding of the rules for constructing a drawing is transferred from one object to others, similar in form. Along with this, drawing conclusions from observations of the same phenomenon on different objects and under different conditions, students abstract concrete ideas into general concepts and ideas. The result of each task should be a drawing in which, as fully and convincingly as possible, the student conveys the objects of reality.

Consequently, the availability of tasks is determined to a very large extent by the nature of the image to which the teacher leads students in solving a specific problem.

Thus, taking into account the general development of students with hearing impairment, the development of their visual abilities determines the availability of tasks and requirements for their drawings.

2. Sequence of learning tasks

Determining the sequence of drawing tasks, it is necessary to take into account the peculiarities of students' perception of objects of reality and the process of depicting them on a plane.

The image process proceeds in time, it is divided into separate stages. Therefore, teaching drawing is associated with the development of the ability of students to isolate individual sides in a holistic visual image in order to convey them on a plane, without losing the whole.

Along with this, from the very beginning of learning, children develop the ability to see the objects depicted in the drawing (behind the lines, strokes, tone, color as holistically as in reality), and also, comparing the image with reality, evaluate the drawing at all stages of its implementation.

At any stage of learning, with any of the simplest tasks in the transfer of holistic visual images of objects, students are always given a group of tasks.

In teaching drawing, the tasks of linear construction of the shape of objects on the plane of the sheet are of paramount importance. The main development of these tasks is connected with the gradual mastery of the transfer in the drawing of the volume of objects and their position in space. In painting classes, the emphasis is on the analysis of color, the reflection of one's emotions associated with a particular color.

3. Requirements for students' drawings.

Requirements for students' drawings can be combined into two main groups corresponding to different educational tasks: requirements related to the technical side of the work and requirements related to the aesthetic side of visual activity:

So, the technical requirements can be as follows:

the correct position of the drawing on the sheet;

transfer of the proportion of objects in accordance with the depicted reality;

mastering the line and the spot as a means of transferring the shape of objects on the plane;

conveying the characteristic features of the color of objects.

There are also requirements for students' drawings related to the perspective image of objects:

when depicting objects from nature, convey perspective phenomena as they are visible to the student from his point of view;

starting from the 3rd grade of drawing from nature of individual rectangular objects, to convey reductions of the surfaces of objects turned in depth from a certain point of view, without violating the structure and proportions;

correctly convey the direction of the lines of the base and top of objects, taking into account the level of one's vision, and coordinate the top and bottom of the depicted object in the drawing, focusing on a certain level of vision;

convey the far boundary of the horizontal plane on which objects are located;

drawing groups of objects from life, transfer the bases of near objects below on the sheet, the bases of distant objects - above, in accordance with the specific spatial relationships of objects in nature.

4. Consciousness and emotionality of the educational process.

In order to achieve good results in teaching drawing, along with the correct selection of tasks, a very important role is played by the use by the teacher of all the teaching and educational opportunities inherent in drawing, as in the process of developing aesthetic needs. Its possibilities are very wide, since the process of drawing is a meaningful transfer of reality, due not only to visual perception, but also to an understanding of its essence, awareness of its features.

The main prerequisites for the activity of the educational process are the understanding by children of the tasks of the image and the emotional attitude both to nature and to the very process of drawing.

To improve the quality of the entire drawing process, it is necessary to arouse an emotional attitude in children, to arouse a joyful expectation of interesting work. Along with this, interest should be fixed and supported by the aesthetic qualities of nature itself - its shape, color, surface, the way it is placed, illuminated, against what background it is and whether it is clearly visible to those who paint. They must see the features of nature, comprehend them, figure out what is familiar to them in objects and their position in space, what is new.

The initial perception of nature is usually holistic. It is very important that it be emotional. It renders big impact and on the further development of perception associated with the analysis of nature.

Starting drawing, it is necessary to awaken the students' emotional attitude to the topic. The teacher can direct the students' attention to seeing pictures, listening to music, etc. Complementing each other, these means of emotional influence will gradually lead children to a more complete perception of reality, as well as to the choice of means of representation available to them.

At different stages of learning, children usually experience a sense of joy and aesthetic satisfaction from work. An important point in the visual arts is reflection, the formation of the evaluation component. Analyzing their drawings in the process of work and the drawings of their comrades at the end of work, schoolchildren learn not only to convey the surrounding reality by means of fine art, but also to be aware of the concepts of “beautiful - ugly”, “good - bad” ... This gives the teacher the opportunity to develop the taste of students, to acquaint them with the material culture of modernity and the past, improve technical skills.

1.3 The influence of visual activity on the development of a creative personality in a younger student

Childhood is a period of intensive development of physiological and mental functions. At the same time, drawing plays the role of one "of the mechanisms for implementing the program for improving the body and psyche."

Learning to draw is aimed at the ability to convey your impressions in a drawing; be able to examine objects first with the help of an adult, and then independently; reflect the properties of objects; the ability to enjoy drawings and stucco crafts. The most important element of the work of drawing is the formation of the concept of the drawing, the development of plot drawing, modeling, design, correlation with real objects, people, events. Great importance is attached to the development of creativity in the process of drawing, application, design. The development of visual activity is closely related to the expansion of the vocabulary and the use of phraseology - this type of activity can be associated with teaching storytelling.

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

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

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

But in order to develop in each pupil the creative abilities inherent in nature, the teacher must himself understand the fine arts, children's creativity to master the necessary methods of artistic activity.

The visual activity of schoolchildren, as a type of artistic activity, should be emotional, creative. The teacher must create all the conditions for this: he, first of all, must provide an emotional, figurative perception of reality, form aesthetic feelings and ideas, develop figurative thinking and imagination, teach children how to create images, means of their expressive performance.

The learning process should be aimed at the development of children's fine arts, at the creative reflection of impressions from the surrounding world, works of literature and art.

Drawing, modeling, appliqué are types of visual activity, the main purpose of which is a figurative reflection of reality.
Visual activity is one of the most interesting, especially for children of primary school age.

“Visual activity is a specific figurative knowledge of reality. Like any cognitive activity great importance for the mental education of children.

Mastering the ability to depict is impossible without purposeful visual perception - observation. To draw, sculpt

any object, you must first familiarize yourself with it, remember its shape, size, color, design, arrangement of parts.

For the mental development of children, the gradual expansion of the stock of knowledge based on ideas about the diversity of forms is of great importance.

The spatial arrangement of objects of the surrounding world in various sizes, the variety of shades of colors, remember its shape, size, color, design, arrangement of parts.

Being engaged in drawing, modeling, appliqué, children get acquainted with materials (paper, paints, clay, chalk, etc.), with their properties, expressive possibilities, acquire work skills.

Learning visual activity is impossible without the formation of such mental operations as analysis, comparison, synthesis, generalization, images in drawing, modeling. For example, to mold a berry, nut, tumbler, apple or chicken (objects having a round shape or parts of a round shape), you need to roll out pieces of plasticine or clay in a circular motion.

The faculty of analysis develops from a more general and coarse discrimination to a more subtle one. Knowledge of objects and their properties, acquired in an effective way, is fixed in the mind.

In the classroom for visual activity, the speech of children develops more and more: the assimilation and name of forms, colors and their shades, spatial designations contributes to the enrichment of the dictionary; statements in the process of observing objects, when examining objects, buildings, as well as when looking at illustrations, reproductions from paintings by artists, have a positive effect on expanding vocabulary and forming coherent speech.

For implementation different types activities, improving the mental development of children, those qualities, skills, abilities that they acquire in the process of drawing, application and design are of great importance.

Visual activity is closely related to sensory education.

The formation of ideas about objects requires the assimilation of knowledge about their properties and qualities, shape, color, size, position in space.
Children define and name these properties, compare objects, find similarities and differences, that is, perform mental actions.

Thus, visual activity contributes to sensory education and the development of visual-figurative thinking. Children's fine art has a social orientation. The child draws, sculpts, designs not only for himself, but also for others. He wants his drawing to say something, to be recognized by him.

“The social orientation of children's fine art is also manifested in the fact that in their work children convey the phenomena of social life. The significance of visual activity for moral education also lies in the fact that in the process of these activities, moral and volitional qualities are brought up in children: the need and ability to complete what has been started, to focus and purposefully engage, to help a friend, to overcome difficulties.

Visual activity should be used to educate children in kindness, justice, to deepen those noble feelings that arise in them.

In the process of visual activity, mental and physical activity are combined. To create a drawing, modeling, appliqué, you need to make an effort, carry out labor actions, and master certain skills. The visual activity of schoolchildren teaches them to overcome difficulties, to show labor efforts, to master labor skills. At first, children have an interest in the movement of a pencil or brush, in the traces they leave on paper; gradually new motives of creativity appear - the desire to get a result, to create a certain image.

The development of labor skills and abilities is associated with the development of such volitional qualities of a person as attention, perseverance, endurance. Children are taught the ability to work, to achieve the desired result. The participation of children in preparing for classes and cleaning jobs contributes to the formation of diligence and self-service skills.

The main significance of visual activity lies in the fact that it is a means of aesthetic education.

“In the process of visual activity, favorable conditions are created for the development of aesthetic perception and emotions, which gradually turn into aesthetic feelings that contribute to the formation of an aesthetic attitude to reality.”

The direct aesthetic feeling that arises when perceiving a beautiful object includes various constituent elements: a sense of color, a sense of proportion, a sense of form, a sense of rhythm.

For the aesthetic education of children and for the development of their visual abilities, acquaintance with works of fine art is of great importance. The brightness, expressiveness of images in pictures, sculpture, architecture and works of applied art evoke aesthetic experiences, help to perceive the phenomena of life deeper and more fully and find figurative expressions of one's impressions in drawing, modeling, and appliqué. Gradually, children develop artistic taste.

Chapter 2

2.1 Educational and educational value of lessons on fine arts

In any profession, in any work, creativity is the basis for moving forward. Art lessons and extra-curricular activities are fraught with great creative potential. Classes provide many opportunities for self-expression and development of abilities.

Fine art lessons are of great importance in the system of education and upbringing of school students. In combination with other academic subjects, they have a noticeable developmental impact on the child. This is the ability to perceive, feel, understand beauty in life, in art, the desire to create beauty yourself, evaluate beauty in surrounding objects. An emotionally positive decision to creativity contributes to the successful solution of the educational tasks of lessons, extracurricular activities in decorative and applied arts.

The value of fine art lessons for the development of creative abilities is exceptionally great, as it has many valuable properties. Closely adjoining folk arts and crafts, this type of activity contributes to the aesthetic education of schoolchildren to a very high degree. Students give special preference to arts and crafts, because here they can show elements of creativity to a greater extent than when performing other, relatively more complex types of work. This is facilitated by the ability to select the details of products at will, independently determine their color in painting, in color combinations.

While studying at a fine arts lesson, students strive to make beautiful things, they are influenced by the conditions that form their aesthetic qualities: a sense of form, line, material, color. All this brings up aesthetic taste; develops a desire to improve their skills.

The main tasks are:

* To teach children to find beauty in the surrounding reality and bring beauty into their lives;

* Find the optimal load for students and thereby create favorable conditions for their creative growth;

* Do not force children to work, but to captivate them with work;

* Encourage activity and freedom of choice, support the proper level of students, help develop the will of the child.

It is necessary to build a system of classes in such a way that students can think in an original way, do a lot with their own hands, offer non-standard solutions, be relaxed in their work, and not be afraid of the new and unexpected. In the classroom, extracurricular activities, there is a choice: many possibilities for different solutions to this topic. It is the choice that creates the success of the child's work. Choice plays a role in student self-expression.

Achieving success in a particular type of activity contributes to the formation of a creative personality. Children create their own product of creativity, which brings success, joy to them and those around them.

Until recently, model-based learning was very common in school practice. At the same time, the main attention was paid to the fact that the guys got neat work, as close as possible to the object being demonstrated. What was achieved with this technique, what can be taught to children?

Model training is a training by which the student can sometimes achieve a fairly high degree of mastery and the performance of certain operations.

However, "the mechanically assimilated mode of action becomes one of the obstacles to the development of the imagination."

In fact, by copying the sample, and even often performing all the actions under dictation, students do the work purely mechanically. Outwardly, such a lesson gives the impression of a well-organized, clear, it is not difficult for the teacher to follow the work of each student, but in essence it is only a transfer of techniques and methods of action, without the development of creative abilities.

The child no longer needs to observe, analyze, find the main thing, determine the meaning, beauty and originality of the details: he only needs to copy.

From the foregoing, we can conclude that the true development of the student's imagination is possible only in the process of independent search for a new mode of action, it is also necessary to create a search situation in the lessons of fine arts.

2.2 Types of lessons on visual activity and their structure

The need for the classification of lessons from scientists - teachers arose a long time ago. Kuzin V.S. gave the following classification of the lessons of visual activity:

1.Lesson to communicate new material,

2. Lesson of repetition and consolidation of knowledge, skills and abilities.

3. A lesson in identifying the knowledge, skills and abilities of students by testing them and evaluating this knowledge, skills and abilities.

4.Mixed lesson.

The use of these types of lessons in the teaching of fine arts is determined, first of all, by the peculiarities of each type of lesson in this subject.

In order to carry out the process of planning art lessons in elementary school, it is necessary to rely on the programs for the subject "Fine Arts" recommended by the Ministry of Education in the state standard. Currently it is:

1. Program V.S. Cousin "Fine Arts"

2. The program of B. M. Nemensky “Fine arts and artistic work»

3. The program of T. Ya. Shpikalova "Fine art and artistic work."

4. Program Poluyanov "Fine Arts".

We will focus on the program of V.S. Kuzin "Fine Arts", as close as possible to the standard.

The most widely used lesson is the mixed type. Each type of art lesson has a specific structure. The drawing lesson is characterized by the same structural elements, but they are saturated with the originality of this lesson.

The main elements of the lesson are given in Appendix 1.

But it should be noted that this structure is not mandatory, but only emphasizes the need for a phased lesson. An experienced teacher builds a lesson based on the material, class readiness, lesson equipment and other possibilities. But thanks to the structure, no part of the lesson will be missed.

The widespread use of visual aids in fine arts lessons, the use of various methods of working with a pencil or brush, oblige the teacher to organize the class equipment in advance.

During drawing from nature, there should be three to four natural settings in the class. Required condition at the same time, the performances should be below eye level, only in this case it is possible to teach to display the perspective. You need to have several types of drapery, special stands for adjusting the level of natural setting. Sometimes special lamps are used for artificial lighting.

Proper organization of the student's workplace is very important. The teacher at the beginning of the lesson should check the readiness for the lesson. The student's workplace should not be cluttered with unnecessary items. The table should be equipped with a tilt or a device for ease of drawing.

At present, multimedia teaching aids are widely used to improve the educational process: various projectors, film projectors, computers. A lot of information is contained on computer disks, where you can not only see, but also examine in detail works of art, listen to the reader's story about this author and his works. There are many video products on this topic. The lesson equipment also includes other visual aids: models, tables, reproductions.

Systematic and consistent, solid assimilation of knowledge of educational material is not possible without planning and pre-training teacher for the lesson.

It is absolutely necessary to plan both thematic and lesson plans. Didactic principles also oblige to this.

Typically, lesson planning is carried out in the form of a plan - abstract. In it, the teacher, guided by lesson planning for a quarter, clearly indicates the topic, purpose and objectives of each lesson, determining their main content and the time allotted for each part. The plan - abstract indicates the visual material that should be used in the lesson, the equipment of the lesson, and individual teaching methods of the teacher.

Planning each specific lesson is not possible without planning the material for a quarter, half a year, a year. As a rule, the annual thematic plan also provides for planning material for a quarter. Illustrated planning is also used in practice, in which not only parts of the lesson are visible, but also the fulfillment of the educational task, work techniques, a visual aid is given of what will be drawn in the lesson.

For annual planning the teacher should be guided by the fine arts program.

The preparation of the teacher for the lesson necessarily includes writing a summary of the lesson. They practice different approaches to this type of activity, but there are mandatory points for everyone. As a rule, you need to name the class, the topic of the lesson, the goal, tasks, equipment (for the teacher and students), write a lesson plan with the distribution of time by minutes and the course of the lesson indicating the content of the conversations, materials used, methodological recommendations for each stage of the lesson. It is also advisable to draw up a plan for placing materials on the board, to attach sketches of visual aids to the lesson summary.

The goal contains general developmental, educational and educational moments, and the tasks show what needs to be done for this. It is important to note that when summing up the lesson, evaluating the work of students, first of all, you need to pay attention to the fulfillment of the goals set. The skill of writing an abstract comes with experience, but you can improve it all your life.

So, the most effective division into types of visual activity lessons is the gradation of V.S. Kuzin. The main types of lessons on fine arts:

1. Lesson of communication of new material.

2. Lesson of repetition and consolidation.

3. A lesson in identifying the ZUN of students by testing them and evaluating these

knowledge, skills and abilities.

4. Mixed lesson.

The structuring of lessons is considered by all of the above teachers, and only the correspondence of the structure of the lesson to the set goal will allow achieving the best results in the visual activity of younger students.

2.3 Non-traditional drawing techniques used in art classes

Classes in fine arts are aimed at developing the artistic and creative abilities of younger students. And artistic creativity is an activity, as a result of which children create something new, original, interesting, showing all their imagination, realizing their plan, where they independently find the means to implement them. Also, in the classroom, children develop the skills of a culture of work activity: planning a future drawing, self-control over their actions, the desire to achieve quality results ability to overcome difficulties. In order to interest students and create conditions for the disclosure of their potential, it is necessary to introduce non-traditional methods of drawing into art lessons.

Non-traditional drawing techniques are unusual methods, artistic techniques have been studied and tested in work with children. “Early - early in the morning the cockerel sang coo-ka-re-ku”, “jellyfish at the bottom of the ocean started a game”, “rowan brushes”, “legs ran along the path” and that’s all, with the help of palms you can realize a dream. And how many unnecessary things are at home, here is a toothbrush, a candle stub, ink, a skein of thread, polystyrene, coins, and all this can come in handy for work.

Drawing with extraordinary materials and original techniques allows children to experience unforgettable, positive emotions. And emotions are both a process and a result of practical activity and artistic creativity. Well, by emotions, one can judge what is currently happening in the child’s soul, what mood he has, what pleases him, and what upsets him.

Working on non-traditional drawing techniques, you must set yourself the following tasks:

* Develop children's spatial thinking.

* Teach children to freely express their intention.

* Encourage children to be creative and find solutions.

* Teach children to work with a variety of materials.

* Develop a sense of composition, rhythm, color, color perception.

* Develop creativity.

* Develop self-confidence.

* Develop the skills of small movements of the fingers, hands.

* Develop a sense of texture and volume.

* Contribute to the formation positive traits character as accuracy, diligence, independence, activity, perseverance.

* Develop imagination, flight of fancy.

Non-traditional drawing methods contribute to the development of imagination, fantasy, and active mental activity in children. The child perceives such an activity as a game, and this gives him double joy. teaches the child to reflect, compare, compare the results obtained in the drawing with the surrounding reality. This in turn leads to the active formation of the child's vocabulary.

There are many non-traditional drawing methods. For example, in the first grade, in the lesson on the topic “The Image Master Teaches You to See”, children work with watercolors or gouache, depicting a fairy forest. In this lesson, you can apply the “Signet” technique, which helps to make the lesson magical. Different shapes are cut out of potatoes: triangles, squares, hearts, rhombuses, children look where this shape can be applied, dip it into the paint and ... complete their drawing on a given topic. Work can be carried out in groups and collectively (depending on the size of the class), since there are few seals and everyone uses them.

The “Ointment” technique also gives unexpected results. Only here we need colored pencils to complete the task. You need to bring any metal objects to the lesson: paper clips, coins, wire, etc. This is very intriguing for the guys. They ask the question: why are they in the drawing lesson do we need all these items, and how will they help us in our work? And everything is very simple. We cover the object with a sheet of landscape paper (for example, a coin), press down and draw the image to the surface with a wet colored pencil. Where you can apply this image, the children fantasize themselves.

In the lesson on the topic “You can depict with a spot”, we use the black and white “Monotype” technique. We take a small amount of paint on the brush (preferably ink or gouache), and shake off a few drops on a clean sheet of paper. Fold the sheet in half, iron it well, open it and let it dry. Task: take a close look at what your spot looks like and paint it!

In the lesson "Beautiful fish" it would be appropriate to apply the "Print from glass" technique. This technique will help the child quickly "draw" the water space in which his fish will live. We paint over the glass with blue and blue watercolors with arbitrary horizontal strokes, you can immediately make 2-3 vertical green stripes, imitating algae. Attach a clean sheet of paper. Gently press. Dry the printed drawing.

In the second grade, in the lesson "Our bird friends", you can also use the "printing from glass" technique already familiar to you. Only now you have to depict a fragment of a tree on a piece of glass: several branches and leaves. Also make an impression, let it dry and start drawing birds.

In the lesson "Fairytale Bird" it is possible to use the non-traditional technique "Thread Printing". For work, we take ordinary threads, gouache. We lower small pieces of threads into gouache (since the volume of the gouache cap is small, the thread folds arbitrarily), put them on a clean sheet of paper. We fold the sheet, press it strongly with our hand and pull the thread by the tip. interesting work are obtained when the threads are dyed in different colors.

The non-traditional technique "Foil Painting" can be applied in a lesson on the topic "Inhabitants underwater world". The drawing is applied with gouache with the addition of PVA glue. We select the color of the foil according to the plan: blue, blue, purple, green, etc. To depict an underwater animal, you need to make a drawing, and then “squeeze” it onto foil and decorate it.

A lesson in the second grade on the topic "Lace patterns" can be done using the "Scratch" technique. It will not be easy to complete this task, it will be necessary to complete preliminary work. High school students are given the task of preparing sheets for the work of second graders. A sheet of paper is rubbed with wax. Gouache is mixed with with ink or soap, and in several stages, the sheet is painted over.The most interesting thing is that you need to draw a pattern immediately and nothing can be corrected.After such work, the guys become more confident.

In the lesson “Four-legged hero”, we use the “Tamponing” technique to express the nature of the depicted animals. To perform this technique, you need to make a swab from a piece of paper. Dip it in the paint and apply a thoughtful drawing to the prepared paper. Using a swab, you can draw the sky, grass (closer - further), leaves of trees, animals.

The theme "Man and his jewelry" can be diversified if you use beads (for glue), pasta, colored paper, feathers, pieces of fabric and woolen threads, beads when decorating clothes. The works are bright and interesting.

The lesson "Field of Flowers" is performed using the technique of "Breaking Application". Application is performed as usual, only all flower petals and leaves are performed without scissors, with fingers. At the same time, fine motor skills of the hands develop. Only the tip of the piece is glued.

In the third grade, in the lesson "The beauty of bouquets from Zhostovo" you can do collective work in the technique " Crumpled paper". Cut out a flower petal from pieces of colored or dyed paper in the desired color. The cut out part is strongly crushed, unfolded and assembled with glue into the flower you need. The collected flowers are arranged in the form of a pattern on a black background.

At the lesson "Mom's scarf" the technique of cold batik is applicable. To complete the work, you will need a small piece of starched fabric. The guys have a very strong motivation, they paint a scarf for their mother. The work is done with gouache with the addition of PVA glue.

For the lesson "Bouquet of Flowers" it is necessary to collect and dry flowers and leaves that are interesting in shape and color and perform collective work using the "Floralistics" technique. Contact with nature will give students new impressions and feelings, which positively affects the emotional activity of children, and collective activity on the creation of creative work will consolidate a friendly attitude in the classroom.

A lesson on the topic "Still life" can be carried out using the "Patchwork technique". You can make any still life by cutting out the intended household items, dishes and flowers from the fabric of the color and texture you need.

"Portrait of a friend" can be varied if you make a "Picture from strips of paper". To do this, you need to draw a portrait on a sheet of paper with a pencil. Prepare ribbons of paper 1 cm wide for the entire length of the sheet. Lubricate the pencil lines with Moment glue and quickly put on paper line, holding a little for a hitch. After gluing all the strips, the portrait can be carefully decorated, trying not to stain the vertically standing strips of paper.

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

1.1. Pedagogical conditions for teaching fine arts in elementary school

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

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

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

1.2. Methods of teaching fine arts in I- IVclasses

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

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

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

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

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

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

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

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

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

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

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

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

Chapter 2

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

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

Each of us has our own path.

But according to the same laws we create.

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

And sometimes I want to give slack.

But keep your hands off your face.

And again you give a heart. And again.

Love and knowledge are like good friends.

We are welcome to come to class.

And the light illuminates the children.

All of us until the bell rings.

We create. We are not doing in vain.

We give a piece of knowledge to those

Who acts as a "consumer" so far,

To grow as a "creator" then.

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

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

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

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

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

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

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

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

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

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

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

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

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

2.1. Fundamentals of artistic representations (elementary school curriculum)

1st class (30-60 hours)

You depict, decorate and build

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

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

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

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

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

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

"Image Master" helps to see, teaches to consider

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

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

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

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

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

You can depict a spot

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

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

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

Can be depicted in volume

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

materials: plasticine, stacks, plank.

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

Can be shown as a line

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

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

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

Literary series: funny poems about life at home.

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

You can depict what is invisible (mood)

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

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

musical series: happy and sad melodies.

Our paints

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

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

Artists and audience (generalization of the topic)

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

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

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

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

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

The natural world is full of decorations

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

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

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

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

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

visual range: slides and books depicting various birds.

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

Beauty must be seen

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

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

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

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

How, when, why does a person adorn himself

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

materials: colored paper, gouache, brush.

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

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

musical series: songs of fairy-tale heroes.

"Master of Decoration" helps to make a holiday

Room decoration. Making festive New Year's garlands and stars. Decoration of the class and your home to new year holidays. Collective panel "Christmas tree".

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

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

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

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

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

"Master of Image" is "Master of Knowledge", "Master of Decoration" is "Master of Communication", "Master of Construction" is "Master of Creation" subject environment life.

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

home for yourself

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

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

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

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

What can you think of at home

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

materials: plasticine, stacks, rag, plank.

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

Literary series: descriptions of fabulous towns.

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

"Master of Building" helps to create a city

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

materials: gouache, colored or white paper, wide and thin brushes, boxes different forms, thick paper, scissors, glue.

visual range: illustrations of children's books.

Literary series: descriptions fabulous city from a literary work.

Everything we see has a structure

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

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

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

All items can be built

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

materials: colored or white paper, scissors, glue.

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

Literary series: poems about cheerful hardworking masters.

House outside and inside

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

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

visual range: illustrations of children's books.

City where we live

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

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

Literary series: Poems about your city.

musical series: songs about your city.

Generalization of the topic of the quarter

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

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

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

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

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

Collective panel and individual images of the fairy tale.

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

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

Literary series: a fairy tale chosen by the teacher.

A lesson in love. The ability to see

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

2nd class (34-68 hours)

you and art

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

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

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

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

Three basic colors that build the multicolor of the world

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

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

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

Five colors - all the richness of color and tone

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

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

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

Pastel and crayons, watercolor - expressive possibilities

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

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

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

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

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

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

Expressive application possibilities

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

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

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

Literary series: F. Tyutchev "Leaves".

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

Expressive possibilities of graphic materials

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

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

visual range: nature observations or winter forest tree slides.

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

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

Expressiveness of materials for work in volume

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

materials: plasticine, stacks, plank.

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

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

The expressive power of paper

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

materials: paper, scissors, glue.

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

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

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

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

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

Image and reality

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

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

visual range: works of art, photographs depicting animals.

Image and fantasy

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

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

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

musical series: fantastic images from musical works.

Decoration and reality

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

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

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

Decoration and fantasy

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

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

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

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

Construction and reality

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

materials: paper, scissors, glue.

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

Construction and fantasy

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

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

materials: paper, scissors, glue.

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

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

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

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

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

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

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

Expression of the nature of the depicted animals

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

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

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

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

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

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

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

Image of a good and evil warrior.

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

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

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

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

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

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

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

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

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

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

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

materials: plasticine, stacks, boards.

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

Image of nature in different states

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

materials

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

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

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

Expression of a person's character through decoration

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

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

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

Expression of intent through decoration

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Line as a means of expression: the rhythm of lines

Image of spring streams.

materials: pastel or colored crayons.

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

Literary series: M. Prishvin "Forest Stream".

Line as a means of expression: the nature of lines

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

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

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

Literary series: Japanese verses (tanks).

The rhythm of spots as a means of expression

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

materials

visual range: visual aids.

musical series: fragments with a pronounced rhythmic organization.

Proportions express character

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

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

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

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

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

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

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

General lesson of the year

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

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

3rd class (34-68 hours)

Art around us

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

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

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

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

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

your toys

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

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

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

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

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

Dishes at home

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

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

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

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

Mom's handkerchief

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

materials: gouache, brushes, white and colored paper.

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

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

Wallpaper and curtains in your house

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

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

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

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

your books

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

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

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

Literary series: The text of the selected story.

greeting card

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

materials: small paper, ink, pen, wand.

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

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

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

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

Monuments of architecture - heritage of centuries

Study and image architectural monument, their native places.

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

Literary series: Content related to the selected architectural monument.

Parks, squares, boulevards

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

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

visual range: view slides, reproductions of paintings.

Openwork fences

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

materials: colored paper, scissors, glue.

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

Lanterns in the streets and parks

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

materials

Shop windows

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

materials: white and colored paper, scissors, glue.

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

Transport in the city

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

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

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

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

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

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

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

Theatrical masks

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

materials: colored paper, scissors, glue.

visual range: pictures of masks different peoples and theater masks.

Theater artist

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

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

visual range: slides from sketches of theater artists.

Literary series: selected tale.

Puppet Theatre

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

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

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

theater curtain

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

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

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

Poster, poster

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

Poster design for the performance.

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

visual range: theater and circus posters.

Artist and circus

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

materials: colored paper, crayons, gouache, brushes.

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

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

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

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

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

Museums in the life of the city

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

The art that is kept in these museums

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

materials: gouache, paper, brushes.

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

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

landscape painting

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

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

materials: white paper, gouache, brushes.

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

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

Portrait painting

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

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

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

The museums keep sculptures by famous masters

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

materials: plasticine, stacks, cardboard stand.

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

Historical paintings and paintings of everyday genre

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

materials: a large sheet of colored paper, crayons.

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

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

4th grade (34-68 hours)

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

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

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

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

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

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

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

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

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

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

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

Landscape of native land

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

materials: gouache, brushes, crayons.

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

musical series: Russian folk songs.

The image of a traditional Russian house (huts)

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

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

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

visual range: wooden ensemble slides ethnographic museums.

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

Decorations of wooden buildings and their meaning

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

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

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

musical series: V.Belov "Lud".

Village - wooden world

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

materials: gouache, paper, glue, scissors.

image of human beauty

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

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

materials: paper, gouache, glue, scissors.

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

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

musical series: folk songs.

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

Folk holidays

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

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

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

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

Literary series: I. Tokmakova "Fair".

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

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

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

Old Russian city - fortress

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

materials: according to the selected job option.

ancient cathedrals

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

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

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

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

Ancient city and its inhabitants

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

Old Russian warriors - defenders

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

materials: gouache, paper, brushes.

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

Ancient cities of the Russian land

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

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

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

Pattern of towers

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

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

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

Festive feast in the chambers

Collective applicative panel or individual images of the feast.

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

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

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

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

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

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

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

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

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

The image of the artistic culture of ancient Greece

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

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

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

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

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

Literary series In: Myths of Ancient Greece.

The image of the artistic culture of Japan

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

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

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

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

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

Literary series: Japanese poetry.

The Image of the Artistic Culture of Medieval Western Europe

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

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

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

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

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

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

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

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

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

All nations sing of motherhood

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

materials

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

musical series: lullaby.

All nations sing the wisdom of old age

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

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

materials: gouache (pastel), paper, brushes.

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

Empathy is a great art theme

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

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

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

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

Literary series: N. Nekrasov "Crying children".

Heroes, fighters and defenders

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

materials: plasticine, stacks, plank.

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

Youth and hope

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

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

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

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

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

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

As a result of studying the program, students:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Conclusion

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

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

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

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

It should be emphasized that to ensure comprehensive development a student can only be done if the teacher's attention is directed to solving this problem, if a program for teaching fine arts is carried out, and a correct and varied methodology is used.

Bibliography

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

Modern concepts of teaching fine arts in elementary school. Coursework: Features of the methodology of teaching fine arts in elementary school

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

1.1. Pedagogical conditions for teaching fine arts in elementary school

1.2. Methods of teaching fine arts in I- IVclasses

Chapter 2

2.1. Fundamentals of artistic representations (elementary school curriculum)

1st class (30-60 hours)

You depict, decorate and build

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

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

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

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

2nd class (34-68 hours)

you and art

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

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

Image and reality

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

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

3rd class (34-68 hours)

Art around us

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

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

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

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

4th grade (34-68 hours)

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

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

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

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

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

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

Conclusion

Bibliography

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

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

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

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