Open art lessons. Synopsis of an open lesson on fine arts “First snow

Synopsis of an open lesson on fine arts "First Snow"

Lesson type:on the formation of skills and abilities.

Form:frontal, individual.

Purpose of the lesson :

1. Draw children's attention to the beauty of the world

and characteristics of winter.

2. Creating a winter landscape.

Lesson objectives : (educational, educational, developing).

Educational:

By means of music

Educational:

Educational:

attention, vision,

spatial thinking,fantasy,

Methods :

a) for the acquisition of knowledge:

simplicity and accessibility of the presentation of the material;

the inclusion of the dialogue "teacher - student";

b) the strength of knowledge:

application of ICT;

the use of visual aids;

c) to increase interest in the subject:

use of non-traditional forms of employment

Methodical methods: invertchildren's attention to how to arrange the snow;

game situations;

musical and literary accompaniment.

Equipment :

For the teacher:

multimedia projector, PC

easel for front display

For children:

landscape sheet A4;

watercolor, gouache, brushes;

palette;

water, cloth;

Toothbrush;

foam rubber.

Form of study: group.

Lesson time: 40 min.

Lesson structure:

Organizing time:

1. Introductory conversation;

2. Topic of the lesson;

3. Explanation of new material (video film, computer presentation);

4.Mini total;

5. Instruction for practical work;

6.Practical work;

7. Exhibition of children's works.

8. Reflection.

9. Conclusion and homework.

Organizational completion of the lesson

Literature: According to the Nemensky program"ISO"

Music: « Instrumental music", "Classic"

Lesson Plan :

1. Organizational moment.

a) Greetings.

b) poetry

c) video

d) presentation

2. Conversation on the topic of the lesson.

3. Creative search and experimental work.

4. Summary of the lesson.

a) Exhibition and analysis of children's work

b) farewell

Lesson progress

1. Organizational moment .

P.: Hello children! I'm very glad to see you. And I think that this lesson will be very interesting.and entertaining.We have guests at the lesson, let's greet them!

D.: Hello.

Guys, what do you think, what time of the year are we now? (tree seasons)

D.: Autumn

P.: That's right, autumn, late autumn, and soon it will come ...

Let's listen to the riddle:

In the yard white-white,

As if down in fluff

The kids got up on skates and skis.

And a merry round dance

Starts the New Year.

Here she comes, godfather -

Colorist?….

D.: Winter.

P.: and this one?

Bel, but not sugar,
There are no legs, yes it goes,
Sits on everyone
Nobody is afraid

D.: Snow.

P.: That's right, children are snow.

Now let's listen to the poemIrina Melnichuk

First snow and see(video film)

On the trees, on the alleys
Snow flies whiter flour
Light-light, clean-clean,
Soft, fragile and fluffy.
We squeeze the snow in our hands,
And we throw snowflakes.
The first snow is light snow,
How happy he is for everyone.

2. Activation and formulation of a cognitive task.

Today we have an unusual lesson, because we will work with a piece of foam rubber. We will learn how to convey the state of winter nature at different times of the day, find out what snow is like, learn how to draw it using an unconventional technique - spraying.

Today you are the audience, as if entering the picture. And then, the eyes of the artists become your eyes. Their joys, their impressions are your impressions. During the lesson we will make a trip through the groves, through the fields and meadows. And the music of the great composers P.I. will help us. Tchaikovsky's The Four Seasons, Vivaldi's The Four Seasons, Schubert's Viennese Waltz, poetry, instrumental music.

Is everyone ready?

D.: Yes

P.: We will talk about winter nature.

3. The main stage of the lesson:

P.: - So guys! We smile at each other, pricked up our ears.

Where can you see snow that won't melt; a meadow on which grass and flowers will never wither; autumn trees, from whose branches leaves never fly; evening dawn that will not go out for many, many years?

D.: In the paintings of artists!

Correctly in the paintings of artists.Hear how I wrote for you"White verses" , Sergei Vladimirovich Mikhalkov:

The snow is spinning

Snow falls.

Snow! Snow! Snow!

The beast and the bird and, of course, the man are happy with the snow!

Happy gray titmouse,

Birds freeze in the cold

Snow fell - frost fell!

The cat washes its nose with snow.

The puppy has white snowflakes melting on its black back!

P.: What color is the snow?

I don't ask in vain. Everyone has eyes, but looking is not the same as seeing. Let's look at the snow with the keen eyes of an artist.

(Slide number 1)

Before you is a picture: A.A. Plastov "First Snow". Artists depict what they see. You can't see smells. In the picture of Arkady Alexandrovich Plastov, you can feel the freshness. This is probably how the first snow smells. And this freshness is conveyed by color. For his painting "First Snow" A. Plastov chose soft colors. Snowflakes fall from the gray-lilac sky, glitter and shimmer against the background of a light brown steppe. And, the girl who stands on the snow-covered porch, tender as a snowflake. Girl in a dress. She's cold and doesn't want to leave. She really likes falling snow. And here is a picture of a crow. Why do you think the artist wrote it?

D.: It makes the snow even whiter.

P.: Right! A large, gray, black-winged bird in the snow is like a dark spot on white paper. This makes the snow even whiter.

The artist painted snow with small fractional strokes. The strokes merge in our eyes into a single whole, they fluctuate, tremble, shimmer.

P.: What mood does the painting convey?

D.:…

P.: What colors did the artist use?

Admiring the multicolored snow, we feel our native Russian winter!

And here are some winter landscapes. Take a close look at them while listening to the music of P.I. Tchaikovsky "The Seasons" This will greatly help you to understand and feel the Russian winter more deeply!(Slide number 2,3,4,5,6,7,8,)

I. Shishkin "Winter in the forest" I. I. Levitan "Forest in winter"

N. Rubtsov "The First Snow", A. Asipenko "It's Snowing", etc.

And now, together with Angelina, we will go to the winter forest

Fizkultminutka.

"Winter forest".

We came to the winter forest Walking in place.

How many miracles are around here! Raise your arms to the sides.

On the right is a birch in a fur coat , Hands are taken in the indicated direction and look.

To the left, the tree is looking at us.

Snowflakes are spinning in the sky Take your hand away and trace

And they lay down beautifully on the ground. Movement "flashlights" and look up.

So the bunny jumped Circling, squatting.

He ran away from the fox. Jumping.

This is a gray wolf roaming Imitate "wolf gait"

He's looking for prey! They sit and hide.

Then he will not find us! Imitate sleep.

Imitate the flight of birds.

Only the bear sleeps in the den Raise your arms to the sides.

So he sleeps through the winter. They sit down in their seats.

The snowmen are flying

How beautiful they are!

P.: Now let's play a gameWarm and cold colors.

Your task is to name warm and cold colors in turn.

Row 1 calls warm, and row 2 cold.

D.: called

P.: All well done

P.: And what do you think, we draw snow with a cold or warm color.

D.: cold

P.: Properly cold!

P.: And you know what, not only landscape painters like to depict nature, but also poets and composers. They are also called artists

…Frost and sun, a wonderful day ...

What time of year did the poet depict?

D.: Winter!

…Under blue skies, magnificent carpets, snow lies shining in the sun.

How did he depict nature?

D.: With the help of blue skies, glittering snow.

P.:- And composers describe nature with the help of music. What will the music be like if the day is quiet, the snow is slowly falling?

D.: quiet, slow, calm, gentle, mysterious.

P.:- And what will it be like if there is a snowstorm, a snowstorm, a storm in the yard?

D.: loud, fast, explosive.

P.:- Let's listen to the music of A. Vivaldi "The Seasons" and try to guess what kind of weather the composer depicted.

We heard the first winter snowstorm, a blizzard. From the music alone, we guessed what the composer wanted to portray. It's because he put his feelings into her. It is impossible to create music, like any other work, without feelings.

P.: Today we will draw a picture - which is called "The First Snow". The background and trees are already ready, we drew them in advance, it remains to draw snow. Even though winter is characterized by cool colors, some of you have added some warm tones to the background, as if it's a frosty day and the sun is setting.

Gouache of the desired color, take, for example, white, you can take both blue and purple, only for this we mix all these colors with white to get light shades. Then dilute in a palette with water, dip an old toothbrush into the paint. Direct the brush onto a sheet of paper, sharply draw a pencil (stick) along it towards you, in this case the paint will splatter on the paper, and not on the clothes.

Ready!

I suggest drawing not only for children, but also for adults.

Practical work.

Individual assistance is allowed during practical work.

Children draw snow(musical accompaniment)

P.: Each of you already sees, feels your landscape. And now we will try to put feelings and convey the lightness, airiness and mood that the first snow causes in us. We will perform the work with pieces of foam rubber and white gouache. This kind of work is calledMONOTYPE - imprint applied in one color. It's new for you, so I'll show you how to work. First you need to take the foam rubber, collect the edges of the foam rubber together, We collect paint and imprint. The stronger the pressure, the whiter and denser the snow.

So, we continue to work.

And I want to wish you a creative mood in the words of Margarita Aliger:

And then, having brought together

All efforts, thoughts, ways,

Let's paint a picture like this

That we can't take our eyes off

Reflection

What landscape painters do you remember?

What color is the snow?

What associations does the Russian winter evoke - winter?

Which of the paintings touched you the most, awakened special feelings in you?

What do you feel when looking at the landscapes of your native land?

Did you enjoy the activity and why?

Take turns approaching me with a picture and choose a snowflake

1. White - I liked the lesson

2. Blue - not quite, something failed ...

3. Lilac - did not like it ...

Children's work is posted on the board.

Conclusion and homework.

Let's once again admire the wonderful landscapes that you painted today. I think that all the guys can be praised for such a wonderful job. Our lesson takes place on the eve of Mother's Day, I think your mothers will be happy with such a gift.

Thank you all!

Introspection of the lesson

Our association is called "Young Artist", we worked with 2 groups -

2y. education (children aged 7-9 years). The lesson was attended by 8 hours, according to the list 9 hours. Was absent for 3 hours due to illness and family reasons.Children are different in terms of development, therefore, when teaching, I used a personality-oriented approach, which took into account the possibility of each child.

Lesson topic:"First snow"

Target : Creationwinter landscape.

The objectives of the lesson were realized through the following aspects:

Educational:

By means of music, poetry and fine arts to create a joyful mood in children, to cultivate a love for nature, fine arts to form aesthetic feelings, emotional responsiveness through music, fine arts and literature.

Educational :

Activate interest in art and nature; to form the ability to independently find a solution to creative problems that meet the chosen technique;

expand students' ideas about winter;

to teach children the emotional perception of the works of artists.

Educational :

Develop artistic taste in studentsattention, vision,

spatial thinking,individual creativity,fantasy,visual perception and memory, motor imagination and coordination of movements, general and fine motor skills of the hands.

To develop the ability to feel and understand the meaning of color when perceiving works of art;

I used a video film, a presentation, musical compositions, handouts for decorating a panel, and a didactic guide during the lesson.

Lesson type : combined.

Lesson form: conversation, practical work.

Technologies used:

informational;

health-saving;

gaming.

Methods Used:

illustrative and visual;

verbal;

self-organization;

reflection.

Equipment:

multimedia projector;

computer;

screen;

branch image.

Organizational activities, preparation for the lesson
The lesson was carried out in accordance with the abstract. The summary was compiled independently, in accordance with the given age of the children. For the implementation of each task, techniques were selected in an interesting and entertaining form (non-traditional).At every moment of the lesson there were visual aids that stimulated and activated children for mental activity.
Music was used during the lesson to enhance emotional perception.

I tried to build this lesson in such a way that it was productive, interesting and initially sought to establish cooperation between me and the children.

At the organizational stage, the lesson created an emotional mood for the upcoming work through a non-traditional greeting (poem), presentations, a video film, and didactic materials were also used.All moments of the lesson are logical and consistent, subject to one topic. The specifics of working with children in the classroom was reflected in a student-centered approach. She encouraged and praised timid children in order to consolidate their situation of success.

This topic is designed for 2-3 lessons, where TCO materials (computer, multimedia installation) were used.

This lesson has interdisciplinary connections with literature, history, biology.But, despite these difficulties, I believe that all the program tasks I set during the lesson were solved.

In the process of mastering the skills of working with a variety of materials, children come to understand the beauty of creativity.The session took place in a friendly atmosphere. The students were liberated and relaxed. I was able to arouse interest in the studied material in children. The use of ICT in this very mehelped at different stages of the lesson. IWithI read thatpurpose of the lessonachieved because allaboutteachingYustudents successfully completed the task. Work turned outbeautiful, neat, all different, as each child creatively approachedlandscape image. Thank you all for your attention!

Lesson topic: Art of Gzhel. Origins and modern development of the fishery. Grade 5

The purpose of the lesson : to form an idea of ​​the art of the Gzhel craft, the features of the Gzhel painting.

Tasks

Educational:

- master the techniques of applying a stroke, create a pattern on the models of household items from the elements of painting;

- to consolidate and generalize the knowledge of students about the characteristic features of painting;

Developing: develop fantasy and imagination, as well as independent creative thinking skills;

Educational:

- to instill respect for the work of the master - the bearer of traditions;

– to help students to notice the uniqueness and beauty of Gzhel in everyday life, to develop artistic taste.

Forms of work of students: collective, in groups, in pairs, independent.

Equipment: PC, projector, presentation, brushes, paints, colored cards with letters, envelopes with assignments, Gzhel folk arts and crafts, folk music.

Basic concepts and terms: folk crafts, painting, Gzhel.

Planned results:

Personal

– motivation for creative work and careful attitude to material and spiritual values;

- a sense of beauty and aesthetic feelings based on acquaintance with artistic culture.

Metasubject (UUD)

Cognitive:

will learn:

- determine the goal, set and formulate the problem of the lesson, put forward versions of what he saw;

- compare and classify according to specified criteria;

- own a number of general methods of solving problems and build private ones on this basis.

Regulatory:

will learn:

- accept and save the learning task;

- plan their actions in accordance with the task and the conditions for its implementation;

- make the necessary adjustments to the action after its completion, based on its assessment and taking into account the nature of the mistakes made, find information to create a new, more perfect result;

- Practically assess the result of their activities.

Communicative:

will learn:

- to formulate own opinion and position;

- negotiate and come to a common decision in joint activities, including in situations of conflict of interest;

- be active in solving communicative and cognitive tasks in group and individual work;

- make assumptions about the questions asked by the teacher;

- draw conclusions in the form of a speech statement.

subject

will learn:

– get acquainted with new crafts, works of folk craftsmen;

- will acquire specific skills of creative activity;

- realize the connection of constructive, decorative and pictorial elements, the unity of form and decor in the products of masters.

During the classes

1. Greetings, organizational moments, holding a game to create a favorable psychological mood.

- Now our fingers will take turns visiting each other. The little finger goes to visit the little finger (children touch their little fingers). Now repeat after me: “Hello friend, how are you?”. The nameless one goes to visit the nameless one, we repeat "How long have I not seen you." Medium to medium and all together - "I'm glad to see you." Index to index “Let's be friends”, we squeeze our palms. “And if it is difficult for you, I will help you” (students hug each other).

2. Actualization of knowledge.

- Excellent, and now with a positive attitude, we begin to complete the tasks.

- Guys, take a look at the screen (there is a presentation on the screen). Looking at this illustration, what do you remember from the last lesson? What can you remind each other about this topic? (Students give suggestions.)

Indeed, in the last lesson we studied several types of folk crafts. Now let's see if you can distinguish one trade from another. (On-screen flash presentation).

You see three columns with the names of those crafts that we studied with you in the last lesson. Illustrations of these crafts will appear on the screen, and your task is to correlate them with the names. (Children voice their answers).

3. Motivational stage. Setting goals and objectives.

- Well done! They did an excellent job with the task! Now look at these four illustrations. How do you think, by what principle did this picture get on a par with the previous ones? (Children guess). Does anyone know what kind of craft this is? Fine! Let's repeat it then. You can see that the painting is done in cold shades. There are cards on the board in front of you, which of you can go to the board and choose cards only in cold colors?

Turn them over. (One of the students goes to the board and turns over the necessary cards). Let's now repeat together what we did! (Children in chorus voice the name of the craft). Well done. This is the topic of our today's lesson. What do you already know about this business? Who tried to draw in this technique? What else would you like to know and what to learn during today's lesson? (Answer questions).

4. Primary assimilation of new knowledge.

- And now I invite you to look into the window of the workshop, where the most secret secrets of Gzhel art are revealed, where you can see the work of masters. But before we look out the window, I'll give you a little task. When you return from this journey, the guys sitting in the front row will ask one question that remained incomprehensible to them. The guys in the second row will tell us about what impressed them the most. Well, the guys sitting in the third row will sum up what knowledge they will take with them and will use in their work today.

(On the screen video "Gzhel").

(After watching the video, the children answer the questions that were posed at the beginning).

- Well, now it's time to get acquainted with the main elements of this wonderful painting. Mosaic will help us with this. Please note that even-numbered desks already have envelopes with mosaics - on the second and fourth. To complete the task, we need to unite in teams, the guys from the first desk turn back, the guys sitting at the third desk - to your classmates sitting behind. And now we open the envelopes and begin to assemble the puzzle. (Students work in teams of 4-5 people).

So, let's check what we got? (Screen presentation).

Guys, now I will have mosaic elements on the screen, and you will have the opportunity to check what you have done.

This is the most important element, what does it remind you of? Yes, indeed, this element is a Gzhel rose. Who put this element here, raise your hands? Right. This is the second, but no less important element - a smear. Strokes are different - wide, with a shadow, made with a thin brush, horizontal, vertical, wavy, in the form of a comma. What do these elements remind you of? This is a drop. And this is a mustache. They can be connected to each other and decorate the edge of the product or create a central pattern. Great! I'm glad everything worked out. Now fold the mosaic back, you won't need it for now.

5. Dynamic pause.

– Now that we have already learned so much, I suggest that you and I take a break and straighten our shoulders. Well, since we are in the village of Gzhel, I suggest you learn a few movements of folk dance. We will start the dance with a movement familiar to us - patty. Turn to your neighbor and play this game with him. (Children play patties).

And now the red girls start dancing and repeat this movement, good fellows while they clap. (To the applause of the boys, the girls repeat the movement after the teacher).

Well, now our guys, to the applause of the girls, perform such a movement. (Boys repeat the movement).

Now let's clap for each other. (Everyone clap their hands). Well done, sit down.

6. Primary fastening.

- In addition to floral and geometric ornaments, Gzhel painting uses zoo- and anthropomorphic motifs. Let's remember what anthropomorphic means? What about zoomorphic? (Children remember the definitions).

Gzhel masters love to use zoomorphic motifs. They draw magical bluebirds of happiness, such as this one. Now all of you will become masters and will draw your bird. And to start creating your masterpieces, please prepare everything you need. (Students open paints, albums).

While you are preparing, I will distribute these envelopes for each group. In them you will find templates for making your own Gzhel painting.

Consider carefully what you have received. Look at my bird, it is located horizontally. You glue your template on the landscape sheet as well, and then finish painting the second wing and tail.

How long do you think it will take you to complete this work? (Students show on their fingers the time they need to work).

I know how you can work, so I will reduce this time to 10 minutes. Guys, who have already painted in this technique, are you ready to get started? Then start. And for those who are faced with this painting for the first time, I will talk about a few nuances. No need to use a pencil, draw with paints right away. The brush should be held a little obliquely, then the stroke will be more interesting. Whoever has a palette - use it, apply paint first to the palette, and then to the brush on one side, and then you will get a beautiful tone transition. And in order to make it easier for you, the execution scheme will be in front of your eyes. (Screen presentation).

Raise your hand those who need my help, and I will come to you first. (The teacher helps each of the students individually).

I suggest to those whose birds are close to completion or are ready to make a small exhibition, as in a workshop. And we will all admire our blue flock.

7. Information about homework.

- Guys, our workshop does not finish its work on this! You have seen how craftsmen paint white porcelain cups and plates. We will create our service with you! Everyone will now receive one of the items from this service, and at home they will paint it with the main elements of Gzhel. And in the next lesson we will arrange a kind of tea party. (Children receive a model of the subject).

8. Reflection. Summarizing.

“You all did a great job today. And now look, in front of you is an object of folk art, made in the Gzhel technique already known to you. (The teacher shows a figure painted with a studied painting).

Now it will symbolize what you have learned today. When the figure falls into your hands, you must complete the phrase. I found out today. (Children speak out).

- Okay, now finish the sentence: I was wondering what I remember?

- Well, now: What can I praise myself for (Children praise themselves).

- And I want to continue the sentence: "Together with you today, I enjoyed the work of our workshop."

- I thank you for the lesson. On this he is finished. See you soon, my little artists!

Preview:

Abstract of an open lesson

Ustinova I.R. additional education teacher

MBOU DOD "House of Children's Creativity" Susumana

Topic: Introduction to the educational program»

Purpose of the lesson : Arouse children's interest in fine arts. To acquaint children with the type of visual activity - drawing with watercolors. Determine the inclinations of each student to the fine arts.

Tasks:

Tutorials: teach children to paint a flower with watercolors using the “clean brush” technique and the blur method.

Developing: development of initial creative abilities, independence, ability to solve creative problems.

Educational: education of accuracy, perseverance, the desire to achieve results.

Equipment and materials:album sheets, watercolor paints, brushes, multimedia equipment.

Lesson duration: 40 minutes.

The age of children is 8-9 years.

Lesson plan.

1. Organizational moment. Checking readiness for the lesson.

2. Theoretical part. The story of the teacher about the journey to the country of Drawing. History of watercolors. Acquaintance in the form of a game.

3. Practical part. Flower drawing. Fizkultminutka.

4. Reflection.

5. Summing up the lesson.

Lesson progress

1. Organizational moment.A slide with the name of the topic of the lesson “Flowers for the country Drawing”.

2. Teacher: Hello guys and dear guests! I am the good sorceress Palitria. I flew to you from the country of Drawing, where young artists live. I really want to tell you about my country. Real miracles happen there, because it is in it that my best friends, the Paints, live. Today we are waiting for a lot of amazing and informative. I so want to see the ability of each of you to the fine arts. I will introduce you to my favorite type of fine art - drawing with watercolors, I will teach you how to draw with a clean brush. But I need help for this. Are you willing to be them?

Children: Yes!

Teacher: Then first we need to get to know you. Let's play. I will speak words to you, and you answer in unison. If you agree, then raise your hand and answer: “It's me, it's me!”, And if you don't agree, then stomp your feet!

Let's ask everyone now

Who here loves jokes, laughter?

Who doesn't love to draw?

Who's ready to sleep all day?

Who among you does not like boredom?

Who is the master of all trades here?

Which of you by your labor

Decorate school, house?

Answer in unison:

Who is the main bastard here?

I have learned so much about you! It is good that I found such hardworking and capable assistants.

How many of you have ever painted with watercolors? (Children's answers) What do you think, guys, how is watercolor different from gouache? Demonstration of gouache and watercolor paint. Gouache paint is more saturated and can be applied in layers, while in watercolor, the color saturation depends on the amount of water. But these two paints have one thing in common - they are both diluted in water. The word "watercolor" in French means "watery". This paint was created in China after the invention of paper in the 2nd century AD. Prior to that, painting on wet plaster was popular in Europe. When dissolved in water, watercolor paints form a thin transparent mass and therefore create the effect of airiness, lightness. See what paintings are created using watercolor paint. And these are the works of young artists from my magical land. ( slide show ). These are the work of professional artists. (slide show).

3. Teacher : And now we will create. Did you know that in nature there are only three primary colors. What do you think? (Answers of children). Yes, red, yellow and blue, because by mixing them you can get all the other colors.(slide show) I almost forgot, my little artists are preparing for the Feast of Flowers, but there are a lot of flowers to draw, and they have little time left, so they asked you for help. Well, can we help them? (Children answer).

Take a sheet and a simple pencil (The teacher draws with students on a paper) and draw a circle in the middle of the sheet, it's okay if the circle turns out to be uneven. Now let's draw the petals. Well done! Here we have the outline of the flower ready. Take a brush, show how to hold it correctly. Yes, just like a pencil. You need to pick up the paint in a circular motion with the tip of the brush. Now let's take watercolors and a brush. First, paint the middle of the flower in a circle, take yellow paint and start painting along the edge, just don’t paint the middle, well done! And now we will wash the brush cleanly and removing the paint with a clean brush, like this, in a circular motion, we reach the middle. Look, it seems that the middle of the flower is convex.

Fizkultminutka.

The conductor waved his hands, the doctor sighed and leaned over,

He shook his head. Tied up my shoelaces.

And the singer shrugged his shoulders, And the artist turned around

He quickly got up on his toes and drew circles.

And now, take any paint color you like and start painting the petals, color each petal completely, and then wash the brush well again, shake off the water a little, if it doesn’t work, then wipe it off with a napkin and blur the middle with a clean brush. Look, our petals, like the middle, also look convex. While the children are drawing, the teacher takes off the first drawing paper on the board, points to the flower drawing below it. -Reli-Watercolors-OP! Well done! These are the beautiful flowers we got, then my artists will be delighted. Thank you my wonderful helpers!

Reflection. Guys, what colors did we draw with you today?

Why are the three colors yellow, red and blue the primary ones?

Which of you was interested today?

Who among you was bored?

Would you like to do this type of art?

Each of you has a white flower on your desk. Color it in the color of your mood. While the children are painting the flowers, the teacher lays out the leaves in a circle on the floor in the form of a wreath.

Teacher: Daisies bloom in the meadow.

Poppy reddens in the grass.

I can weave a wreath out of them,

Like this, like this, like this!

The teacher lays out the children's drawings on the sheets. -Here is a beautiful wreath of flowers turned out. Thank you for your help, I will definitely take your beautiful flowers to my country and they will decorate our Flower Festival. Goodbye!

Approved by the teachers' council

"___" __________ 20__

Municipal educational institution

additional education for children

House of Children's Creativity of Susuman District

PROGRAM

Mug "Young Artist"

Teacher of additional education

Ustinova Irina Raverovna

Susuman

2011

Explanatory note

A special place in the development of a child's personality is occupied by art that can develop a sense of beauty, form high aesthetic tastes, the ability to understand and appreciate works of art, the beauty and richness of nature.

Classes in fine arts act as an effective means of developing creative imagination and visual memory, spatial representations, artistic abilities, fine skills, personality traits of the child, his individuality. Fine art is the most important means of morality and aesthetic education of children.

The main task of the "Young Artist" circle is to develop children's ideas, through observations, and build training on their basis, consistently leading children to master the basics of the image. To form an interest in arts and crafts.

One of the main conditions for the success of teaching children and developing their creativity is an individual approach to each child. The principle of training and education in a team is also important. It involves a combination of collective, group, individual forms of organization in the classroom. Collective tasks are introduced into the program in order to form the experience of communication and a sense of collectivism. The results of the collective artistic work of students are used in the design of classrooms, corridors. In addition, the artworks made in the classroom are used as gifts for relatives, friends, war and labor veterans. The social status of the results of the artistic activity of schoolchildren is of great importance in the educational process.

Forms of artistic activity:

drawing under the impression of read literary and viewed dramatic works, from observations from nature;

drawing on white paper with watercolors, gouache paints and on colored, tinted paper with gouache, colored crayons;

decorative art based on folk crafts and folklore motifs;

individual and collective creativity of students in the technique of application and collage;

image on a plane (drawing, painting, appliqué), in volume (from paper, cardboard, plasticine, clay), creation of spatial models (in a layout from paper or plasticine).

Methods:

For the qualitative development of the creative activity of young artists, the program provides for:

Giving the child freedom in choosing activities, in choosing ways of working, in choosing topics;

A system of increasingly difficult tasks with different difficulty options. This ensures that all students master the techniques of creative work;

Each task provides for a performing and creative component;

Creating an engaging but not entertaining classroom environment. Along with the elements of creativity, labor efforts are necessary;

Creating a situation of success, a sense of satisfaction from the process of activity;

The objects of students' creativity are significant for themselves and for society.

The children are given the opportunity to choose an art form, artistic means of expression. They gain experience in artistic activity in graphics, painting. In any case, you need a "golden mean". If you develop only imagination in a child or teach only to copy, without linking these tasks with the competent performance of work, then, in the end, drive the student into a dead end. Therefore, the rules of drawing are traditionally combined with fantasy elements.

Theoretical knowledge in all sections of the program is given in the very first lessons, and then consolidated in practical work.

Practical classes and the development of artistic perception are presented in the program in their meaningful unity. Methods such as conversations, explanations, lectures, games, competitions, exhibitions, as well as group, combined, purely practical exercises are used. Some classes are held in the form of independent work (staging still lifes, plein air), where independent creativity is stimulated. The independent work also includes the final work based on the results of passing each block, half a year and a year. At the beginning of each lesson, a few minutes are allotted for a theoretical conversation, the lesson ends with a review of the works and their discussion.

Over the course of two years of study, a gradual complication of the material takes place. Classes are widely used according to the "master class" method, when the teacher, together with the students, performs a painting work, consistently commenting on all stages of its implementation, asking leading and control questions in the course of the work, finding student errors and suggesting ways to correct them. Visualization is the most direct way of learning in any field, and especially in the visual arts.

Class mode

Classes are held 2 times a week for 2 academic hours, the number of hours per week is 4 hours, 144 hours per year - the first year of study. The second and third years of study - 3 times a week for 2 academic hours, the number of hours per week is 6 hours, 216 hours per year, of which 2 hours are allocated for individual lessons for gifted children or to fill gaps in knowledge and skills among lagging children .

The program of the circle "Young Artist" is designed for three years of study. The age of students is 8-14 years old.

Leading themes of the program

1. Drawing from nature- contributes to the artistic development of the real world. Teaches to analyze and convey in the drawing the simplest form, the general spatial position, the main color of objects.

2. Work by observation and memory- forms the worldview of children, visual memory, helps to see the significant in the ordinary, to highlight the characteristic.

3. Thematic composition- the ability to retain in memory and convey a special impression, to give a vivid description of an object, character, event; search for pictorial forms, pictorial forms and expressive means.

Basic goals

Target settings are aimed at the development of the child as a whole, as well as the development of certain abilities: to cultivate interest in art, to expand the understanding of the world around, the development of certain abilities in the child, as well as to its development as a whole: the development of individuality in the child, the formation of creative and moral ideals,

the formation of practical skills of artistic activity.

Drawing from nature simple in outline and structure of objects located frontally (in profile);

Transfer in drawings of the form, outlines, colors of the depicted objects by means accessible to children;

Making sketches from memory and from the representation of various objects of reality.

Tasks to be solved in order to achieve

goals

1. to teach the ability to convey the semantic connection between objects;
2. to teach students to convey their attitude to the plot by artistic and expressive means;
3. develop students' creative imagination, color perception, sense of rhythm;
4. show interest in arts and crafts;
5. to cultivate respect for folk art;
6. teach the simplest techniques and skills of modeling;
7. develop visual memory, eye;
8. to educate in children the idea of ​​beauty as perfection, harmony, expediency, completeness of objects and phenomena of reality.

Predicted results

As a result of classes, students should be instilled with the following skills:

1. Ability to use drawing materials and accessories.

2. Correctly sit at the table; hold a piece of paper and a pencil; work freely with a pencil, draw lines in the right directions without tension, without rotating a sheet of paper.

3. To convey in the drawing the simplest form, the general spatial position, the main color of objects.

4. Correctly work with watercolors - dilute and mix paints, evenly cover the desired surface, perform the simplest patterns in a strip, a circle from decorative forms of the plant world.

5. Apply the techniques of drawing elements of decorative images with a brush.

6. Recognize the objects, phenomena, actions depicted in the picture or illustration, use the simplest modeling techniques (plasticine, salt dough) and applications.

Pedagogical principles of work

A distinctive feature of the classes is that they are held in the form of a game. The development of creative abilities occurs during the game. Develop children's activity, imagination, fantasy.

List of equipment and materials,

required for classes in the subject:

1. Simple pencils
2. Colour pencils
3. Eraser (eraser)
4. Paper (drawing paper)
5. Paints (watercolor, gouache)
6. Brushes (soft)
7. Easel (easel)
8. felt-tip pens
9. Scissors
10. Glue
11. Plasticine

Thematic plan

(1 year of study)

(1st year of study)

1. Introduction (2 hours)

Tasks:

To cultivate respect and respect for human labor in the manufacture of objects of fine and decorative arts.

Content: familiarization of students with the course of study. Requirements for labor safety and fire safety in the classroom for fine arts. Equipment and materials necessary for classes. Requirements for the creative work of students in the first year of study at an advanced level. Rules of the internal order of the study room. Exhibition of works by students of previous years of study. Demonstration of works of fine and decorative arts.

(38 hours)

Drawing from life is a method of visual education and gives excellent results not only in teaching drawing, but also in the overall development of the child. Drawing from nature teaches one to think and make observations, arouses interest in the analysis of nature and thus the student for further educational work. The purpose of studying the form of an object is not only to get acquainted with its external form, but also to get acquainted with the concepts expressed by this form.

The process of cognition of objective reality largely depends on the degree of development of the visual apparatus, on the student's ability to analyze the resulting visual impressions. Drawing from life has great opportunities for developing this ability. Drawing from life, the student carefully examines nature, tries to note its characteristic abilities, to understand the structure of the subject.

When drawing from life, the concept of the subject becomes more and more clear, since the nature that is before the eyes is accessible to sight, touch, measurement and comparison. For example, a student, drawing a plaster ornament, sees a dark spot on the convex shape of the object - it seems to him that there is a depression there. However, approaching the object and touching the shape with his finger, he is convinced that there is not a depression, but a bulge. Therefore, such classes are built in two directions - the study of the form by sight (drawing from nature) and by touch.

No subject provides such active attention of students to the subject, to the analysis of its structure, as drawing from life. It is no coincidence that the great Italian artist Michelangelo Buonarotti said: “Drawing, which is otherwise called the art of sketching, is the highest point of painting, sculpture, and architecture; drawing is the source and root of all science.

Taking as a basis that learning to draw from nature leads to the development of mental abilities, it is necessary in the classroom to teach children to make correct judgments about the shape of objects based on scientific data on the phenomena of perspective, the theory of shadows, color science, and anatomy. It is easy to teach children to carefully consider and analyze the shape of objects. Children often amaze us with their attentive attitude to the smallest details of nature. They draw the smallest details and details of the subject with special love and accuracy. This gives us the opportunity to easily transfer the child's attention to the most characteristic features of the structure of the shape of an object, to teach him to correctly see, understand and depict the shape of an object.

Even the great Italian artists pointed out that drawing from life is the best method of learning. In all treatises on the visual arts, drawing from nature is put forward in the first place. This provision is true not only for vocational training, but also for elementary teaching of drawing in a general education school. Jean-Jacques Rousseau wrote: “It is extremely useful for children to engage in drawing, not for art itself, but for acquiring a true eye and a flexible hand. But children should not draw from models, but directly from originals, from nature. What is important here is not so much the acquisition of the ability to draw in accordance with the laws and requirements of this art, as the acquisition of a more accurate eye, a faithful hand, real relationships to the size and type of various objects, a faster understanding of the actions of perspective.

Drawing from life, and especially perspective drawing, is of great importance for the development of spatial thinking and imagination. Already when you get acquainted with the elementary rules of perspective, the most complex process of spatial thinking takes place. The difficulty of conveying the three-dimensionality of a three-dimensional object when depicted on the plane of a sheet of paper makes the student develop spatial thinking and imagination. Any graphic expression of thought is based on the ability to visually represent the depicted objects. The draftsman needs to clearly imagine the design of the object, the relationship of its parts, the nature of the form, the position of the object in space. By developing in students the ability for clear figurative representations, drawing from nature also affects the development of memory.

In human life, the role of figurative memory is enormous. But the influence of drawing from life is not limited to figurative memory, it also affects other types of memory: motor, emotional and verbal-logical.

On the basis of clear ideas about objects, figurative memory, the student develops the ability of imagination.

While drawing from nature, abstract thinking also develops. It is impossible to give a constructive analysis of the form of an object without resorting to abstract thinking, and in drawing you constantly have to deal with constructive analysis. Moreover, it should be noted that drawing from life, like no other form of studying the shape of an object, makes it possible to develop all aspects of the process of abstract thinking. Thus, we see that learning to draw contributes to the overall development of a person.

Drawing from nature involves not only the depiction of objects by means of black and white drawing (pencil drawing), but also teaching the elements of painting.

The task of teaching painting includes the image from nature of individual objects, simple still lifes, interiors and landscapes. Getting acquainted with the elements of painting, students master the techniques of working with colored pencils, watercolors and gouache paints.

Therefore, students should be introduced to the basic principles of color science, taught to use color and tone correctly to convey their visual impressions of nature (warm, cold tone), to convey the play of light and color on objects, without deviating from the visual authenticity of the depicted.

Drawing from life is an excellent means of aesthetic education of children. Drawing from nature a landscape, a tree, a flower, studying the nature of the form of these objects, the child shows interest in the beauties of nature, in the richness and variety of its forms and colors. He sees the proportional ratio of parts and the whole, captures the rhythm and harmony of the forms of nature, color shades. Developing in children observation, flair, we thereby solve the problems of aesthetic education.

Tasks:

In the lesson, students listen to literary and musical works to develop emotional responsiveness, empathy, and the formation of moral and aesthetic convictions.

Purpose: to deepen knowledge about the types of fine arts.

- drawing from life, from memory and from the representation of various objects of reality - trees, urban and rural buildings, cars, animals, etc.

Exercises:

Execution with a brush in one-color watercolor silhouette images of trees of different species (poplar, oak, spruce, pine, birch);

Selection of paired color contrasts with watercolors or gouache paints (crimson-red and green-blue, yellow-green and reddish-violet, etc.);

Achieving a single-color color contrast, determining the dependence of color perception on its environment (experiments with squares of red, yellow, blue and other colors superimposed on the plane of a sheet of tinted paper - yellow, purple, gray, etc.);

Compilation of color shades corresponding to sunset, sunrise, cloudless sky, sea wave, autumn leaves, spring grass, distant forest, etc. (emotional expressiveness of color);

Work with both the whole pile and the end of the brush on a dry and wet surface of the paper;

Drawing up cold and warm shades, finding the most colorful combination of colors on the palette;

According to the presented sample, name and compose similar colors on a sheet of paper with watercolors or gouache paints;

- "The image of transport in the works of artists";

“Bread is our national treasure.”

(36 hours)

In the classroom, the teacher introduces students to the life and work of outstanding painters, sculptors and architects. Children will learn how and by what means the artists achieved the ideological depth, emotional expressiveness of their works.

Systematic familiarization of students with the works of artists is one of the means of aesthetic education. In the outstanding works of artists, typical phenomena of life are collected as a focus; these works make you look at the world in a new way, notice its beauty. Skills and abilities in the field of perception and evaluation of works of art increase the cultural level of students. Knowledge and skills are gradually developed - from the elementary ability to view a picture and understand its content to understanding the artistic means of expression with which the artist was able to convey his idea.

Conversations about the fine arts are an important means of not only aesthetic, but also the ideological and political education of students. During the conversations, the teacher shows the children pictures that reflect the nature of our Motherland, events from the history of the country, portraits of people who glorified the Fatherland. When a teacher shows a reproduction of a painting in the classroom, in which the artist’s patriotic feeling, his love for his native nature is clearly expressed, this also evokes in children a feeling of love and admiration for their homeland. The more vividly and emotionally a picture from the life of our country, its landscape, etc., is told, the more feelings it will evoke in the child, the more clearly it will be imprinted in his mind.

We see that a variety of classes in the visual arts is of great importance not only for the development of knowledge, skills in drawing, but also for the overall development of students.

Drawing classes are built in compliance with the logical sequence in the presentation of the educational material, with the calculation of the volume, time and depth of the content of the topic. The entire drawing course is determined by the range of knowledge and skills that each student needs to learn. The volume and content are determined by the curriculum and program.

The curriculum contains a systematic list of all the topics of tasks and performances that make up the content of drawing: all educational material is distributed by year of study based on the age characteristics of students. Determining the amount of knowledge, skills and abilities in drawing, the program gives the teacher instructions on the sequence of studying and planning the material. New tasks are introduced as the knowledge and skills necessary for their conscious fulfillment are mastered.

The curriculum has an explanatory note that concisely and clearly sets out the goals and objectives of teaching, indicates the basis for the proposed content of knowledge and gives a general methodological direction of work.

In order to correctly and successfully solve all the goals and objectives set by the program, it is necessary, first of all, to master well the methodology of working with students, those principles and laws of constructing the educational process that give the best results. Only if there is the right methodological guidance for students, drawing acquires the necessary educational and educational value.

Tasks:

Improve and consolidate the ability to correctly convey proportions, constructive construction, volume, spatial position, illumination, color of objects, further study of the laws of composition;

Formation of the ability to achieve expressiveness of the drawing (figurative characteristics of characters, semantic relationship of characters with other elements of the picture, original composition, contrasts of chiaroscuro and color);

Further development of students' imagination, fantasy, creative approach to the drawing process;

The content of the section includes drawing on the themes of the historical past of our Motherland, on the theme of modern life based on observations and imagination, illustrating works of oral folk art, Russian folk tales, riddles, epics, illustrating stories, poems, excerpts from stories and poems. Students continue to get acquainted with book graphics - one of the types of decorative art. They should develop the ability to recognize the creative style of leading illustrators, to know the means of artistic expression that these artists use in their work.

Sample tasks:

Drawing on the themes: “We protect nature”, “Winter entertainment”, “Arrival of birds”, “Landscape with a lake”, “Large and small”.

Russian folk tales, fairy tales: "The Frog Princess", "Ivan Tsarevich and the Gray Wolf", "Nikita Kozhemyaka";

Epics - "Dobrynya and the Serpent", "Three heroes", "Volga and Mikula".

Sample conversation topics:

- "The heroic past of our Motherland in the works of fine art."

Tasks:

To cultivate respect for Russian folk arts and crafts, for the art of the native land, for the traditions of their people;

Learn to correctly convey the posture, general shape and character (habits) of one animal or group of animals;

Develop and deepen the skills of working from memory and imagination;

To deepen the knowledge and skills of students in relief modeling.

Students learn to independently make design sketches for various products based on ornamental and decorative composition. The practical orientation of this section of the program is emphasized by the fact that sketches are used in products that are made according to them.

Modeling of plot compositions on the themes of the surrounding life (school, family, sports, work, recreation) and literary works is carried out.

Purpose: to consolidate and systematize the information and knowledge of students about sculpture as a form of fine art.

Sample tasks:

Making a sketch and painting a household item - figurative, "magic" vessels: a vessel-beast, a vessel-bird, "magic" figurines for fountains in a children's park, wooden fairy-tale furniture;

Making a decorative decoration of a Russian folk spinning wheel;

Sample conversation topics:

- "Baby animals in the works of animal sculptors".

(10 o'clock)

Tasks:

Stimulate the activity, independence, initiative of students in inventing content and ways of depicting;

Develop skills and abilities in practical work on the design and transformation of the environment;

Learn how to use fonts in decorative and design work.

Sample tasks:

Making a wall newspaper;

Poster design;

Designing a theatrical mask (plasticine, paper, product painting).

(20 hours)

Tasks:

Develop students' creativity

To educate a patriot, citizen, creator, professional worker, capable of solving creative problems, able to find a worthy place in life.

Knowledge and skills of students

By the end of the first year of studystudents should know:

Distinctive features of types and genres of fine arts;

Initial information about artistic and expressive means (composition, drawing, color, color, chiaroscuro, etc.), their role in the aesthetic perception of works;

Features of symmetrical and asymmetric composition;

The simplest compositional techniques and artistic means necessary to convey movement and rest in a plot drawing;

The simplest patterns of linear and aerial perspective, chiaroscuro, elements of color science;

Draw from nature, from memory and from imagination, individual objects and simple still lifes of 2-3 objects: using accessible graphic or pictorial means;

Compare your graphic or pictorial drawing with the object depicted and correct any errors noticed;

Independently carry out sketches of a decorative composition based on the image of a flower painting, geometric patterns, fabulous animals, scenes from the life of children, elements of state symbols;

observe the sequence of graphic and pictorial representation.

Thematic plan

(2nd year of study)

(2nd year of study)

1. Introduction (2 hours)

Tasks:

To acquaint students with the content of the course of study;

To arouse interest in the fine arts;

Content: familiarization of students with the course of study. Requirements for labor safety and fire safety in the classroom for fine arts. Equipment and materials necessary for classes. The requirements for the creative work of students in the second year of study at an advanced level. Rules of the internal order of the study room. Exhibition of works by students of previous years of study. Demonstration of works of fine and decorative arts.

2. Drawing from nature (drawing, painting)(56 hours)

Tasks:

To develop and improve the ability to see and convey in drawings from nature proportions, constructive structure, spatial position, perspective reduction of forms, light and shade ratios of depicted objects and their composition on a sheet of paper;

To develop the ability to convey in drawings the harmony of color shades of nature, its spatial and volumetric relationships by means of color;

To cultivate an emotional and aesthetic attitude to the depicted objects;

To cultivate respect for work, respect for everything that is created by human labor.

Introductory lesson.

Conversation on the topic "Portraits of prominent Russian cultural figures in the work of Russian artists."

In a conversation, the teacher draws the attention of students to the fact that all types and genres of fine art directly or indirectly tell about a person - they convey his character, inner world, mood, psychology, worldview, social status. Disclosure of the different semantic load of the portrait.

Purpose: to develop students' interest and love for the work of Russian artists; develop compositional thinking, artistic taste.

The content of the advanced level section of the second year of study involves drawing individual household items, decorative art objects and their groups (still lifes) from nature, as well as from memory and representation using the rules of perspective, chiaroscuro, color science, pictorial writing, composition. Drawing from life, from memory and from the representation of a figure of a person, animals, birds is provided.

Sample assignments (pencil, watercolor):

1. drawing from life with the transfer of a perspective reduction in the shape and volume of individual objects: balalaika, tambourine, jug, teapot, cup and saucer, rowan branches, flowers in vases, jars, as well as still lifes from them;
2. drawing from nature the figure of a person, animals, birds in static poses and in motion;

- “Drawings of animals by a brilliant painter of the 17th century. Rembrandt";

3. Drawing on themes and illustration (composition)(56 hours)

Tasks:

Improve and consolidate the ability to correctly convey proportions, constructive construction, volume, spatial position, illumination, color of objects;

Encourage the independence of students in the choice of topics and performance techniques;

To educate the patriotic, labor, moral and aesthetic qualities of the personality of students.

The content of the second year of study provides for the further development of knowledge, skills and abilities formed in previous years. Students continue drawing on the themes of life around them based on observations or imagination and illustrating literary works (with preliminary sketches and sketches from nature on the instructions of the teacher).

Sample tasks:

1. drawing on the themes: “The exploits of Russian heroes”, “Our street”, “Ancient city”, “City of the future”, “Gust of wind”, “Forest distances”, “Landscape in the fog”, “After the rain”, “Landscape illuminated bright sun”, “Gloomy day”, “Lilac blossoms”, “Birch grove”, “Journey through the native land”, “Night city”, “Street. Transport. Pedestrian”, “Hiking”, “Girl with a cat”, “In the mountains”, “Our school”, “Festive concert”, “Snow town”, “In kindergarten”, “Journey to Africa”, “Journey to Antarctica ”, “Old ships”, “Vegetable market”, “In the toy store”, “Bathing on the river”;

A. Pushkin "The Tale of the Golden Cockerel", "The Tale of the Dead Princess and the Seven Bogatyrs"; S. Aksakov "The Scarlet Flower"; P. Bazhov "Silver hoof", "Fire-jump" and "Stone flower"; Y.Olesha "Three fat men"; M. Prishvin "Pantry of the sun", "Native paintings";

1. illustration of poems by Russian classical poets of the 19th century: N. Nekrasov, A. Koltsov, A. Maykov, I. Surikov and others;

- “A fairy tale on the roads” - illustrating the works of foreign writers: J. Barry “Peter Pan and Wendy”, R. Stevenson “Heather honey”, G.Kh. Andersen "Wild Swans", "The Little Mermaid", "Flint" and others.

Sample conversation topics:

- “Pictures of Russian life in the works of artists of the 60-90s. 19th century (creativity of I. Kramskoy, G. Myasoedov, K. Savitsky, I. Repin, V. Surikov, V. Perov and other Wanderers)”.

Tasks:

Further development of the ability to independently perform sketches of decorative design of household items based on the forms of flora and fauna;

Development of the ability to expressively build a decorative composition, creatively using color, silhouette and other pictorial elements of decorative generalization;

Further improvement of the ability to independently perform a decorative composition based on the artistic features of works of folk art;

To cultivate respect for Russian folk and arts and crafts, for the art of the native land, for the traditions of their people;

During practical work, it is important for students to use a wide variety of artistic materials and techniques: graphic pencils, watercolor, gouache, pastel, colored crayons, colored tinted paper, linocut, appliqué, etc.

Sculpting from memory and observation is a means of further developing and deepening the skills of working from memory and imagination and reinforces general skills in mastering the academic foundations of fine arts. Relief modeling classes continue, the purpose of which is to familiarize students with professional modeling techniques based on a strict methodological sequence. It is desirable that thematic reliefs be created based on the practical tasks of decorating various premises. As visual aids in the classroom, illustrations by famous Russian artists are used; Dymkovo and Bogorodsk toys (in kind or reproductions).

Sample tasks:

1. making sketches based on folk Russian costume;
2. making sketches of the invitation;

1. modeling on the plots of literary works;
2. molding of decorative and applied products;
3. modeling thematic compositions on a free topic.

Sample conversation topics:

- "Ancient images in modern folk toys" (Filimonovo, Kargopol, clay toys).

5. Design activity(34 hours)

Tasks:

The content of this section of the advanced level program of the second year of study includes familiarization of students with the interior. Students continue to get acquainted with the regularities of the decorative design of the premises, the features of the permanent and changing expositions of visual and visual material in the fine arts classroom, the rules for using plants in the design of premises.

Sample tasks:

1. poster design;
2. festive decoration of the classroom;
3. design of an art exhibition;

6. Cultural and leisure activities(10 hours)

Tasks:

To develop the cognitive activity of children, imagination, fantasy;

To cultivate a culture of communication in a team, a sense of collectivism, mutual assistance;

To carry out moral and aesthetic education of children;

To acquaint with the work of Russian and foreign artists;

Excursion to nature, to the city;

Knowledge and skills of students

By the end of the second year of studystudents should know:

Features of national traditions of art and life;

See the color richness of the surrounding world and convey your impressions in the drawing;

Use perspective, chiaroscuro, composition, etc. in the process of drawing from life and on topics;

Thematic plan

(3rd year of study)

(3rd year of study)

1. Introduction (2 hours)

Tasks:

To acquaint students with the content of the course of study;

To arouse interest in the fine arts;

To cultivate respect and respect for human labor in the manufacture of objects of fine and decorative arts.

Content: familiarization of students with the course of study. Requirements for labor safety and fire safety in the classroom for fine arts. Equipment and materials necessary for classes. Requirements for creative work of students in the third year of study. Rules of the internal order of the study room. Exhibition of works by students of previous years of study. Demonstration of works of fine and decorative arts.

2. Drawing from nature (drawing, painting)(56 hours)

Tasks:

To consolidate the ability to analyze the shape, design, spatial arrangement, tonal relationships, color of the depicted objects, to compare the characteristic features of one object with the features of another;

To develop and improve the ability to see and convey in drawings from nature proportions, constructive structure, spatial position, perspective reduction of forms, light and shade ratios of depicted objects and their composition on a sheet of paper;

To develop the ability to convey in drawings the harmony of color shades of nature, its spatial and volumetric relationships by means of color;

To develop the ability to convey tone and color volume and space in a still life;

Contribute to the further development of graphic skills;

To cultivate an emotional and aesthetic attitude to the depicted objects;

To cultivate respect for work, respect for everything that is created by human labor.

Introductory lesson.

Conversation on the topic “Portraits of prominent Russian cultural figures in the work of Russian artists. V. Tropinin “Portrait of A.S. Pushkin"; K. Bryullov “Portrait of I.A. Krylov"; P. Zabolotsky “Portrait of M.Yu. Lermontov"; I. Repin “Portrait of M.P. Mussorgsky".

In a conversation, the teacher draws the attention of students to the fact that all types and genres of fine art directly or indirectly tell about a person - they convey his character, inner world, mood, psychology, worldview, social status. Disclosure of the different semantic load of the portrait.

Purpose: to develop students' interest and love for the work of Russian artists, to develop compositional thinking, artistic taste.

The content of the third year of study involves drawing individual household items, decorative art objects and their groups (still lifes) from nature, as well as from memory and representation using the rules of perspective, chiaroscuro, color science, pictorial writing, composition. Drawing from nature, from memory and from the representation of a figure of a person, animals, birds is provided.

Sample assignments (pencil, watercolor):

1. drawing from life with the transfer of a perspective reduction in the shape and volume of individual objects: balalaika, tambourine, jug, teapot, cup and saucer, rowan branches, flowers in vases, jars, as well as still lifes of them;
2. drawing from life a figure of a person, animals, birds in motion;
3. making sketches from memory and from the representation of various objects of reality, human figures, animals, birds, flowers, tree branches, shrubs, vegetables, fruits.

- “The beauty of native nature. Landscapes by I. Shishkin.

3. Drawing on themes and illustration (composition)(56 hours)

Tasks:

Improve and consolidate the ability to correctly convey, constructive construction, volume, spatial position, illumination, color of objects;

Further study of the laws of composition;

To form the ability to achieve expressiveness of the drawing (figurative characteristics of characters, the semantic relationship of characters with other elements of the picture, original composition, contrasts of chiaroscuro and color);

Develop the ability to depict a landscape based on a literary work;

Encourage the independence of students in the choice of topics and performance techniques;

To educate the patriotic, labor, moral and aesthetic qualities of the personality of students.

The content of the third year of study provides for the further development of knowledge, skills and abilities formed in previous years. Students continue drawing on the themes of life around them based on observations or imagination and illustrating literary works (with preliminary sketches and sketches from nature on the instructions of the teacher).

It is necessary to continue to teach students how to convey movement in a drawing (movement from the picture plane to the viewer, movement deep into the picture plane, diagonal movement, in a circle, rhythm transfer). Use in thematic drawings of the simplest laws of perspective, composition, constructive structure of objects. The use of color as a means of conveying mood, experiences caused by the depicted objects and plots, the awareness of beauty in objects and phenomena of reality.

Attention is drawn to the development of the ability to depict a landscape according to a literary description.

Sample tasks:

1. drawing on the themes: “Forest distances”, “Landscape in the fog”, “After the rain”, “Landscape illuminated by the bright sun”, “Gloomy day”, “Lilac blossoms”, “Birch grove”, “Journey through the native land”, "Night City", "Street. Transport. Pedestrian. ”,“ Hiking ”,“ Girl with a cat ”,“ In the mountains ”,“ Our school ”,“ Festive concert ”,“ Snow town ”,“ In kindergarten ”,“ Journey to Africa ”,“ Journey to Antarctica”, “Old Ships”, “Vegetable Bazaar”, “In the Toy Store”, “Bathing on the River”;
2. illustration of literary works:

Russian folk tales "Marya the Tsarevna", "Elena the Wise", "Vasilisa the Beautiful"; epics "Ilya Muromets and the Nightingale the Robber", "Svyatogor and Ilya Muromets", "Sadko";

A. Pushkin "The Tale of the Golden Cockerel", "The Tale of the Dead Princess and the Seven Bogatyrs"; S. Aksakov "The Scarlet Flower"; P. Bazhov "Silver hoof", "Fire-jump" and "Stone flower"; Y. Olesha "Three fat men"; M. Prishvin "Pantry of the sun", "Native paintings";

1. illustration of poems by Russian classical poets of the nineteenth century: N. Nekrasov, A. Koltsov, A. Maykov, I. Surikov and others;

- "On the roads of a fairy tale" - illustrating the works of foreign writers: J. Barry "Peter Pan and Wendy", R. Stevenson "Heather Honey", G.Kh. Andersen "Wild Swans", "The Little Mermaid", "Flint" and others.

Sample conversation topics:

- "The beauty of the landscape in Russian painting";

- "Architectural monuments in the works of artists";

- “Pictures of Russian life in the works of artists of the 60-80s. nineteenth century (creativity of I. Kramskoy, G. Myasoedov, K. Savitsky, I. Repin, V. Surikov, V. Perov and other Wanderers)”.

Tasks:

Further development of the ability to independently perform sketches of decorative design of household items based on the forms of flora and fauna;

Development of the ability to expressively build a decorative composition, creatively using color, silhouette and other pictorial elements of decorative generalization;

Further improvement of the ability to independently perform a decorative composition based on the artistic features of works of folk art;

To cultivate respect for Russian folk arts and crafts, for the art of the native land, for the traditions of their people;

Continue to improve the skills of students in relief modeling;

Develop students' compositional thinking skills;

Further development and deepening of memory and imagination skills;

To consolidate general skills in mastering the academic foundations of fine arts.

Students learn to independently make sketches for the design of various products based on ornamental and narrative decorative composition. The practical orientation of this section of the program is emphasized by the fact that sketches are used in products that are made according to them.

During practical work, it is important to use a variety of artistic materials and techniques: graphic pencils, watercolor, gouache, pastel, colored crayons, colored tinted paper, linocut, appliqué, etc.

Sculpting from memory and observation is a means of further developing and deepening the skills of working from memory and imagination and reinforces general skills in mastering the academic foundations of fine arts. Relief modeling classes continue, the purpose of which is to familiarize students with professional modeling techniques based on a strict methodological sequence. It is desirable that thematic reliefs be created based on the practical tasks of decorating various premises. As visual aids in the classroom, illustrations by famous Russian artists are used; Dymkovo and Bogorodsk toys (in kind or reproductions).

Sample tasks:

1. execution of sketches based on folk Russian costume;
2. making sketches of the interior of a peasant hut in the Russian North;
3. making sketches of toys with elements of movement on the theme of Russian fairy tales, epics, fables, favorite heroes;
4. execution of execution sketches;
5. individual and collective preparation of plot compositions and decorative works in the collage technique and in the form of a panel according to the tasks of thematic drawing;
6. modeling animals (from memory and observation).

The main task in modeling animals, which students should strive to achieve, is to be able to express their own attitude towards the model.

1. relief modeling (vegetative ornament); thematic relief;
2. sculpting a human figure in motion;
3. modeling on the plots of literary works;
4. molding of decorative and applied products;
5. modeling thematic compositions on a free topic.

Sample conversation topics:

- "The inner world of the Russian hut";

- "Patterns in the decoration of a peasant costume";

- "Ancient images in modern folk toys" (Filimonovo, Kargopol, clay toys).

5. Design activity(34 hours)

Tasks:

Continue to develop the skills and abilities of students in practical work on the design and transformation of the environment;

Continue to teach the execution of fonts in decorative and design work;

Stimulate the activity, independence, initiative of students in inventing content and ways of depicting.

The content of this section of the program of the third year of study includes familiarization of students with the interior. Students continue to get acquainted with the regularities of the decorative design of the premises, the features of the permanent and changing expositions of visual and visual material in the fine arts classroom, the rules for using plants in the design of premises.

Sample tasks:

1. poster design;
2. festive decoration of the classroom;
3. design of an art exhibition;
4. theatrical mask design (plasticine, paper, product painting);
5. creation of heads of puppet characters for a puppet show (plasticine, water-based paint, gouache).

6. Cultural and leisure activities(10 hours)

Tasks:

To develop the creative abilities of students;

To develop the cognitive activity of children, imagination, fantasy;

To cultivate a culture of communication in a team, a sense of collectivism, mutual assistance;

To carry out moral and aesthetic education of children;

To acquaint with the work of Russian and foreign artists;

Excursion to nature, to the city;

To educate a patriot, citizen, creator, professional worker, capable of solving creative problems, able to find a worthy place in life.

Knowledge and skills of students

By the end of the third year of studystudents should know:

Separate works of outstanding masters of Russian fine arts of the past and present;

Features of artistic means of various types and genres of fine arts;

Features of the folk costume ensemble; the dependence of the color of the folk costume on the national traditions of art and life;

Patterns of the constructive structure of the depicted objects, the main patterns of linear and aerial perspective, chiaroscuro, elements of color science, composition;

Various techniques of working in pencil, watercolor, gouache;

See the color richness of the surrounding world and convey your impressions in drawings;

Analyze the shape, design, spatial arrangement, tonal relationships, color of the depicted objects, compare the characteristic features of one object with the features of another;

Use perspective, chiaroscuro, composition, etc. in the process of drawing from nature and on themes;

To convey tone and color volume and space in a still life;

Use expressive means in the drawing (lighting effects, compositions, shading, various methods of working with watercolors, gouache), achieve a figurative transmission of reality.

Literature used for compiling the program:

1. V.N. Polunina "Art and Children" Moscow ed. "Enlightenment" 1982

1. G.V. Trouble "Fundamentals of visual literacy" Moscow ed. "Enlightenment" 1981

3. R.M. Chumichev "To preschoolers about painting" Moscow ed. "Enlightenment" 1992

4. G. Bedarev "We draw ornaments" Moscow ed. "Onyx 21st century" 2001

5. A.B. Maksimov "How to draw a duck, a dog, a squirrel, a hare" Moscow AO ed. "AST-PRESS" 1994

6. N.P. Kosterin "Educational drawing" Moscow ed. "Art" 1976

The new social demands reflected in the Federal State Educational Standard define the main goal of education as the general cultural, personal and cognitive development of students, which provides such a key competence of education as “to teach to learn”.

How to build lessons of the Russian language and literature in order to implement the requirements of the Second Generation Standards? To do this, it is necessary to know the criteria for the effectiveness of the lesson, the requirements for its preparation and conduct, analysis and self-analysis of the activities of the teacher and students.

It is known that along with general approaches to planning lessons in all subjects (thought out goals and objectives; optimal methods, techniques and forms of working with the class; competent use of new pedagogical technologies, including ICT; cooperation between a teacher and a student based on problem-search forms of work, etc.) the teaching of each subject has its own specifics, its own characteristics. In the context of the introduction of the Federal State Educational Standard of basic general education, the problem of the activity model of the lesson, which contains certain structural and content stages, is becoming increasingly relevant in school education.

Concerningliterature lessons , then the requirements for their construction, in principle, have not become obsolete: the trinity of goals (teaching, developing and educating) is an obligatory component of any lesson, including a lesson in literature. However, modern reality makes its own adjustments to the methodology of teaching literature. To make the lesson interesting for children, the teacher has to master new methods of presenting material, use non-standard techniques and innovative technologies in his practice.

When analyzing M. Bulgakov's story "Heart of a Dog", I used materials from T.V. Ryzhkova's book "The Way to Bulgakov".

Abstracts of literature lessons based on the story of M.A. Bulgakov "Heart of a Dog"

Lesson Objectives:

1. Educational: conducting a compositional and stylistic analysis of the text of the story; comparison of the images of Sharik and Sharikov; comprehension of the author's concept.

2.Developing: developing the skill of working with a literary text; development of skills to characterize the characters of the story; improving the skill of group and independent work; improvement of logical and creative thinking.

3. Educational: understanding what education and self-education means, culture, traditions in the life and destiny of a person and society; formation of a system of values.

Forms of work: collective, group, individual

Type of lesson: discovery of new knowledge

Lesson number 1 The argument about the dog's heart.

Purpose of the stage : the inclusion of students in activities at a personally significant level.

Creation of installation for the analysis of the work.

slide 1 (portrait of the writer, title of the story)

teacher's word .

For today's lesson, you have read M. Bulgakov's story "Heart of a Dog".

March 1925. Mikhail Bulgakov is finishing work on the satirical novel Heart of a Dog. He wrote it by order of the Nedra magazine. But the story came to the reader in our country only in 1987 ...

slide 2

How do you think,why was the story written in 1925 published in Russia only in 1987? What was it about this story that the government of the Soviet Union did not like?

Students make assumptions (forbidden to print because the story is a satire on modernity)

Teacher: Indeed, the Soviet era was persecuted by dissent, and even from the high stands it was ironically said:“We are for laughter, but we need kinder Shchedrins and such Gogols so that they don’t touch us.” Bulgakov's view of modernity was very sharp, satirical attacks were considered seditious. M.A. Bulgakov wrote:

Slide 3: “In the wide field of Russian literature in the USSR, I was alone - the only literary wolf. I was advised to dye the skin. Ridiculous advice. Whether a dyed wolf or a shorn wolf, he still does not look like a poodle. The well-known critic, researcher of the writer's work Vsevolod Ivanovich Sakharov (born in 1946, member of the Writers' Union of Russia, Doctor of Philology) gave the following assessment of the story:

Slide 4:

"Heart of a Dog" is a masterpiece of Bulgakov's satire.

Bulgakov's satire is smart and sighted." V. Sakharov

These words will be the epigraph for today's lesson.

Choose a contextual synonym for the wordsighted.

Students: (honest )

UUD: personal, meaning formation

Stage 2 Updating knowledge

Purpose of the stage

Consolidation of the concept of satire, overcoming the unambiguity in the perception of characters and events.

Teacher: Indeed, satire is always honest, but rarely permitted. Let's remember what satire is.What is satire directed at? What is the source of satire?

Student responses

Teacher opens the slide, students check their answers with the correct one

Slide number 5.

(Satire - kind of comic. The subject of satire are human vices.

Source of satire - the contradiction between universal human values ​​and the reality of life.)

Let's try to figure out what human vices and contradictions between universal values ​​and real life have become the subject of M. Bulgakov's satire.

UUD: cognitive

Stage 3 Statement of the learning task

The purpose of the stage: setting the goals of educational activities, choosing the means of their implementation.

Teacher : The story was considered seditious in 1925 and banned.

However, in 1988, the film directed by V. Bortko "Heart of a Dog" was released, which the audience still watches with pleasure, and theaters do not stop staging performances based on Bulgakov's story.

Why does the story attract film and theater directors?

Students: Suggested answers:

The story is very modern. Our time and Bulgakov's time are similar.

Teacher: So, the story is relevant in our time, because it is read, films are made and performances are staged in theaters. Let's assume that the problems that worried the writer are not indifferent to us. What are these problems?

Students: Suggested answers:

The Sharikovs live among us, and the writer warned how dangerous they are.

Animals are being cloned now and people are talking about cloning.

Teacher: Maybe you're right. Let's try to figure it out.

Modeling a problem situation and approaching the problem of the lesson.

Enable movie clip from the film directed by V. Bortko "Heart of a Dog", where Bormental argues with Professor Preobrazhensky.

What do you think the topic of today's lesson will be?

Students.

Suggested answers: Dog heart dispute.

Teacher: Write down the topic of the lesson: "Dispute about a dog's heart."

Let's think about what is the main problem we should solve in the lesson?

Students. Who is right: Dr. Bormental, who believes that Sharikov has a dog's heart, or Professor Preobrazhensky, who claims that Sharikov has "precisely a human heart"?

Teacher: Can we answer this question right away?

No.

What goals of our future actions do we need to identify in order to answer this problematic question?

Students.

Analyze the text and compare the images of Sharik and Sharikov.

Understand what answer the author of the story would give to this question, what the author thought, what disturbed him.

UUD: regulatory (goal setting, planning); communicative

(ability to listen, engage in dialogue)

Stage 4 Building a project for getting out of difficulties

Purpose of the stage

Analytical conversation.

a) Reception of "immersion in the text".

Teacher: The story opens with pictures of Moscow in the mid-20s. Imagine and describe Moscow. Through whose eyes do we see life?

Students: a city where wind, blizzard and snow reign, embittered people live. It will help to concretize the general picture by referring to the details of the text, which could confirm the impressions that the students had (the canteen of normal food and the bar, the fate of the “typist” and her lover, the cook and the porter, the history of the Kalabukhov house).

Teacher: Is there anything in the story that resists this chaos and hatred?Students : storyhabout the apartment of Philip Philipovich, where comfort, order, human relations reign.Butthis life is under threat, because the house committee, headed by Shvonder, seeks to destroy it, to remake it according to its own laws.

Teacher: what connects these two worlds?

Students: This is Sharik, who was picked up by Professor Preobrazhensky. Thanks to Philip Philipovich, the dog was transferred from the world of hunger and suffering, the world that doomed him to death, to the world of warmth and light.

Teacher: M. Bulgakov continued the traditions of Russian satirists M.E. Saltykov-Shchedrin and N.V. Gogol. From Saltykov-Shchedrin, Bulgakov took the topical sound, from N. Gogol - his teacher, the fantastic plot, images, and even the compositional structure of the work.Doing your homework, you should have observed the composition of the story.What is the composition of the story?

b) Pupils present a presentation prepared at home , in which the division of the story into two parts is obvious

1 part

(The composition is symmetrical. Ring composition: Sharik became a dog again.)

Teacher: what arethe reasons for such a construction of the work?

Students conclude: the mirror composition of the story emphasizes the changes taking place in the professor's house and in the people who inhabit it. The conclusion is written in a notebook.

c) Reception "verbal drawing"

Teacher : so, Bulgakov gives many events of the first part through the eyes of a dog, perhaps in order tocompare Sharik and Sharikov. Imagine that you are making illustrations for a story. How would you portray the meeting of the dog and the professor? What should be done to more accurately draw an oral illustration?

Students : necessaryreread chapter 1 . Re-reading, clarifying the details. Possible description:

In the foreground is a dark doorway, a blizzard snakes. In the distance we see a street from the gateway, a brightly lit store and a piece of a poster blown by the wind. A man in a dark coat has just left the store, he is moving towards the doorway in a “blizzard column”. A dog crawls into the street in the gateway. This is a skinned mongrel, she has dirty matted hair, a terrible scalded side. It can be seen that the movement is given to the dog with great difficulty. His head is raised, he is watching a person walking towards him.

Teacher: — Which qualities of Sharik do you like, which ones do you not?

Students : intelligence, wit, observation, his irony, hatred of the proletarians, janitors and porters; the ability to both sympathize and hate, lackey obsequiousness.

UUD: cognitive - general educational (semantic reading, information search), logical (analysis, classification, choice of bases for comparison); personal (moral - aesthetic evaluation); communicative.

Stage 5 Independent work

Purpose of the stage: improving the skill of independent work and the ability to build cooperation in a group.

The work of students in groups (independent analysis of the text). Run time - 5-8 minutes. Each group prepares a speaker, the response time is 2 minutes.

I group , analyzing chapters 1-3, should answer the question:

What does Sharik notice in the reality around him and how does he react to it?

2 group , analyzing chapters 2-3, answers the question:

- What does Sharik like in the house of Professor Preobrazhensky and what - not?

3 group , working with the same chapters, prepares an answer to the question:

- How does the dog perceive the inhabitants of the apartment?

4 group (same chapters):

How do the inhabitants of the apartment treat Sharik?

5 group (same chapters):

Students (desired responses):

I group:

- The dog is very observant, he knows life well, especially that in it that is connected with nutrition. He knows that the world is divided into hungry and well-fed. The one who is “eternally full”, “is not afraid of anyone”, therefore “will not kick with his foot”. Dangerous are the hungry, those who "themselves are afraid of everything." Sharik hates toadies. He says that "human purifications are the lowest category." But he also sympathizes with people who are deceived, who are mocked by those who have recently gained power.

II group:

- Sharik likes the professor's house, although after receiving patients he calls the apartment "obscene." But it's warm and calm. After a conversation between Philip Philipovich and Shvonder, Sharik becomes convinced that the professor has great power. Sharik decides that he will be completely safe here: “Well, now you can beat me as you like, but I won’t leave here.” The dog likes the fact that in the house he is fed well and tasty, they do not beat him. The only thing that annoys him is the owl. The dog is afraid of hunger and evil people, but in the house the opposite is true. Sharik's favorite place is the kitchen: food is cooked there, and a fire burns there.

III group:

- After Sharik realized that in the professor's house he had nothing and no one to be afraid of, since his owner was not afraid of anyone, he decided that the professor was "a wizard, magician and magician from a dog's fairy tale." During dinner, Philip Philipovich finally received the title of a deity. As already mentioned, food, warmth and security are the main thing for Sharik, and he is ready to serve faithfully to the one who gives it to him. Sharik studied the professor's call, met him with a bark.

He quickly conquered Darya Petrovna, the cook. The kitchen is "the main branch of paradise" for Sharik. And so he sucks up to the cook. He treats Zina dismissively, calling her "Zinka"; he does not love her, as she scolds him all the time and says that "he ate the whole house." The dog calls Dr. Bormenthal "bitten" and does not communicate with him at all.

IV group:

- Professor Preobrazhensky generally pities Sharik: he orders him to be fed properly, saying that "the poor fellow is hungry"; he treats him affectionately because he believes that affection is "the only way to treat a living being"; he never hits Sharik, even when he "clarified" the owl. For Zina, Sharik is the cause of the eternal mess in the house. She believes that the professor is spoiling Sharik too much and offers to tear off the dog. She does not understand why Sharik receives such courtesies. For her, he is an ordinary mongrel. And Darya Petrovna at first called Sharik "a homeless pickpocket" and did not let him into the kitchen, but the dog "won her heart."

Teacher: What is the value system of an unusual dog?

Students : The main thing for Sharik is food, warmth and safety. This is what determines his attitude towards people. In general, he "sells his soul" for a piece of Krakow sausage. Sharik's attitude towards people is determined by the same: the professor is the owner, and Sharik is ready to please him, Darya Petrovna is the "queen of the kitchen", the dog fawns over her, Zina is a servant in the house, and Sharik believes that she should serve him too. Dr. Bormental is in no way connected in the mind of the dog with food and warmth, and since the bite of his leg went unpunished, the doctor simply turns into a "bite".

Teacher : Do you like this philosophy of life? Why? What word would you call her?

Students : Slave

Group V identified the stages of Sharik's change:

- Firstly, Sharik has changed outwardly. The professor picked up a dying dog, with a scalded side, with dirty matted hair, emaciated from hunger. In a week, he turned into a shaggy and "surprisingly fat" "handsome dog." Secondly, he also changed internally: at first he was worried: “Why did the professor need me?” (his experience told him that no one does anything for nothing). Having just got into the house, he thought that he found himself in a "dog clinic", and defended his life - he has a very developed self-preservation instinct. But when he sees that nothing threatens him, but, on the contrary, he is being fed and caressed, Sharik begins to be afraid of losing all this and thinks: “Beat, just don’t kick him out of the apartment.” He decides that Philip Philipovich chose him for his beauty. He glares at his eyes. Quickly evaluating the collar, because all the dogs he meets are madly jealous of him, he comes to the conclusion that the collar is a kind of pass to a better world and gives him certain rights, for example, to lie in the kitchen. He forgets that recently he was an ordinary homeless mongrel, and no longer doubts that nothing will deprive him of warmth and food, and he is finally convinced that he is an “incognito dog prince”. Hungry and full of dangers, he exchanged freedom for a well-fed, calm life, and pride - for lackey obsequiousness.

Teacher : What associations does the dog's story evoke in you?

Students : Suggested answers:

After the revolution, many people who lived in poverty and hunger were drawn to a warm and well-fed life, believed many promises, decided that they would instantly "become everything." The revolution is an experiment that the Bolsheviks put on the whole people.

UUD: cognitive (search for information, the ability to build a speech statement); communicative (the ability to cooperate in a group, enter into a dialogue), personal (knowledge of moral standards and the ability to highlight the moral aspect of behavior)

Stage 6 Reflection

Purpose of the stage: self-assessment by students of the results of their educational activities

Let's summarize the lesson:

Teacher : Has your attitude to the ball changed? How? Why? (This is a written question.)

Students conclude:

Sharik's inner speech, his assessment of events, reflections, together with the author's description of his behavior, create for the reader a complete picture of the dog's inner world.

Teacher :

- Have we answered the problematic question of the lesson: who is right: Dr. Bormental, who believes that Sharikov has a dog's heart, or Professor Preobrazhensky, who claims that Sharikov has "precisely a human heart"?

Students: - No.

Teacher: What questions did we get answered?

Students: - We compared the images of Sharik and Sharikov, saw what changes had taken place, understood through what methods the author expressed his attitude to the character and what worried him.

Teacher: the next lesson will be the next step in resolving the problem situation identified by us in this lesson, and for this you must work on the homework questions. What questions would you like to ask me or classmates?

UUD: regulatory (assessment), personal (self-determination), cognitive (problem solving), communicative (ability to participate in a collective discussion)

Homework:

1. Highlight the stages of Sharik's transformation into Sharikov and the stages of Sharikov's formation by preparing an electronic presentation (task for the whole class).

2. Compare the behavior of Sharik and Sharikov in episodes I and II of parts: choosing a name (individual task), lunch (individual), house committee visiting the apartment (individual).

3. What, in your opinion, in Sharikovo from the dog, what from Chugunkin? Justify your opinion with examples from the text (general task).

4. What is the role of Shvonder in the upbringing of Sharikov? Why does Professor Preobrazhensky say that "Shvonder is the most important fool"? (Individual task, it is performed by 3-4 people.)

Lesson #2

Subject: Dog Heart Argument (continued)

Stage 1 Motivation for learning activities

Purpose of the stage : the inclusion of students in activities at a personally significant level. Create an installation for the analysis of the work.

Viewing a fragment of the film "The transformation of Sharik into Sharikov" , an excerpt from the film adaptation of the story directed by Bortko.

Teacher : before we answer the key question, think about why M. Bulgakov needed to introduce into the story, to make the transformation of a dog into a man a spring of intrigue. If only the qualities of Klim Chugunkin appear in Sharikov, then why shouldn't the author "resurrect" Klim himself? However, before our eyes, the “gray-haired Faust”, busy looking for means to restore youth, does not create a person in a test tube, does not resurrect him from the dead, but turns a dog into a person.

Stage 2 Updating knowledge

Purpose of the stage : preparation of students' thinking, their awareness of their inner need for the construction of educational actions and the fixation of individual difficulties in each of them.

Teacher : Difficult to answer?

I remind you of Dr. Bormental's diary (I exacerbate the problem situation with an additional question):

Why is it Dr. Bormenthal who keeps the diary, and not Professor Preobrazhensky?

Search activity students looking for real explanations:

“We can see from the notes how excited the doctor is. At first, he rejoices at the success of the operation and the new discovery. Then he is horrified by what the apartment has become. He admits that he does not understand much.

- Philipp Philippovich has no time to keep a diary, he is much more busy than the doctor .. After all, it is not by chance that the professor needs an assistant, that is, an assistant. Then Philip Philipovich, much less than Bormental, realized that the new creature was related to Klim. Bulgakov does not want to solve the riddle ahead of time - we also do not know anything about Klim. And if a professor kept a diary, it would not be so interesting.

- Dr. Bormenthal puts forward his hypothesis in his diary: "Sharik's brain in the canine period of his life accumulated an abyss of concepts," and, of course, writes down not only his assumptions on this matter, but also the opinion of the professor. And the professor would not write down Bormenthal's hypothesis, since he is absolutely sure that he is right. And there would be no problem. We would also believe the professor, but there are some doubts

The students, together with the teacher, come to the conclusion:

- The "elimination" of the author and the transfer of the narration to a young scientist who does not have the experience and insight of his teacher, who has bright hopes for the result of the experiment, create a new and at the same time central opposition to the story (what is Sharikov - a dog that has changed its external form or "resurrected" Klim? ), enhance the reader's interest, keep him in suspense, giving him the opportunity to build his own guesses about the events and results of the operation.

Checking homework.

Demonstration of an electronic presentation with the results of the assignment: Highlight the stages of Sharik's transformation into Sharikov and the stages of Sharikov's formation.

(swearing (“all the swear words that exist in the Russian lexicon”);

smoking;

seeds (uncleanliness);

balalaika at any time of the day or night (disregard for others);

vulgarity in dress and behavior;

immorality;

drunkenness;

theft;

denunciation;

attempt.)

The list is corrected, together with the teacher the conclusion is made:The formation of the “new man” is the loss of humanity, the growth of immorality, that is, not evolution, but degradation.

Checking individual assignments.

Compare the behavior of Sharik and Sharikov in similar situations. (One student shares his observations with classmates, others supplement him if necessary. No more than 2 minutes are allotted for the message, about which the guys are warned in advance). Suggested answer:

— A typist first called a dog a ball. The dog himself does not agree with this name: “Sharik means round, well-fed, stupid, eats oatmeal, the son of noble parents,” and he is “shaggy, lanky and torn, a fried hat, a homeless dog.” For the second time SharikPhilip Philipovich calls the dog, probably because it is an ordinary dog ​​name: Sharik, Tuzik ... And the dog accepts this name: “Yes, call it whatever you want. For such an exceptional act of yours (for sausage). He really doesn't care what they call him, as long as they feed him.

- "Laboratory Creature" demands a document from Flipp Philippovich for himself. Then the question of his name arises. Now the name is chosen not by the "creators" of the new creature, but by itself, but on the advice of the house committee. The new power brings new names to the world. For Philipp Filippovich, the name Polygraph Poligrafovich sounds wild, "but the laboratory creature" defends its rights. Most likely, the students will not notice the parodic roll call - let's draw their attention to some similarity between the names of Sharikov and his creator, which consists in duplicating the name itself with a patronymic. Sharikov creates his name on the advice of the house committee, but by analogy with the name "dad".

- After the first dinner in the professor's house, Sharik promoted him to the rank of "supreme deity." The dog has a dope in his head from a variety of smells. Of course, he hears what the professor and the doctor are talking about, but the main thing for him is food. When he had eaten, he fell asleep. He is now well and calm. "Hounded respect" for the professor is growing all the time and is not subject to doubt. The only thing that worries Sharik is if this is all a dream.

For Sharikov, lunch, on the one hand, is an opportunity not only to eat tasty and a lot, but also to drink. but on the other hand, it is torture: he is taught and educated all the time. And if Sharik respects Philipp Philippovich, then Sharikov seems to be laughing. He says that the professor and the doctor are "tormenting themselves" with some stupid rules. He does not want to become cultured and behave decently, but he is forced to do this, because otherwise he will not be allowed to eat (this is how animals are trained in the circus!). Sharik sat at the professor's feet and did not disturb anyone, only Zina was angry, and Sharikov was a stranger at this table. Bulgakov writes that "Sharikov's black head sat in a napkin like a fly in sour cream" - both funny and disgusting. Sharikov and the professor exchange all the time sidelong glances.

UUD: cognitive (process, systematize information and present it in different ways, the ability to build a speech statement, the ability to analyze and draw conclusions); personal (sense formation); communicative (ability to listen, engage in dialogue).

Stage 3 Building a project for getting out of difficulties

Purpose of the stage : students' choice of a way to solve a problem situation.

Improving the ability to conduct a compositional analysis of the text, activating the imagination and attention of students to the details of the text through verbal drawing, developing the ability to characterize the hero and give a moral assessment of his actions.

Characteristics of Sharikov.

Watching a movie clip directed by V. Bortko "Heart of a Dog" - an episode of the conversation between Sharikov and Philip Filippovich. (In Bulgakov, the corresponding fragment begins with the words: "Philip Filippovich was sitting at the table in an armchair.")

Analytical conversation.

Teacher : compare the image of Sharikov, created by the actor and director in the film, with Bulgakov's description.

- Was this how Sharikov seemed to you when you read the story?

What did the filmmakers keep and what did they “forget” about?

Suggested answers :

- outwardly, Sharikov in the film is exactly the same as Bulgakov's, that the actor plays his role very talentedly, but the film is not in color. Maybe the authors decided to do this because the dog does not have color vision. But Bulgakov's Sharik could distinguish colors. The story says: "The ball began to learn from flowers." The lack of color in the film did not allow the authors to convey the absurdity of Sharikov's costume.

- In the film, Sharikov constantly makes excuses, he is even sorry. Indeed, the professor attacks and attacks him. And in the book, Sharikov is confident, and sometimes harsh: he does not justify himself, but attacks himself: "A cheeky expression caught fire in the little man."

Bulgakov's Sharikov is often ironic, but in the film he is stupid. And yet, when you read the story, it's funny, but in the film everything is somehow serious. It's hard to explain why.

(if the students do not see this important detail, the teacher will be able to lead them to it with additional questions. The “claims” of the students are weighty and solid: they caught the stylistic and semantic discrepancy between V. Bortko’s interpretation and Bulgakov’s text. The film really lacks colors, and that’s the point not only because it is black and white, but because the whole film is decided in a serious and very boring way: it lacks Bulgakov's irony, humor, sarcasm - shades of meaning!

And what did Sharikov inherit from Klim Chugunkin? What do we know about Klim from the text of the story?

3) Work with the block diagram.

The great operation was accomplished, and who became the donor for the creation of a new person?

(Klim Chugunkin)

What can you say about this person? Read out.(end of ch.5, p.199)

(“Klim Grigoryevich Chugunkin, 25 years old, single. Non-partisan, single, sued three times and acquitted: the first time due to lack of evidence, the second time he was saved by his origin, the third time - suspended hard labor for 15 years. Theft. Profession - playing the balalaika by taverns.

Small in stature, poorly built. The liver is enlarged (alcohol) The cause of death is a stab in the heart in a pub ("Stop-Signal" at the Preobrazhenskaya outpost).

From Dr. Bormental's diary, we learn that the new creature has adopted all the worst qualities of its donors (Sharik and Klim Chugunkin). Find and read the description of the new creature.

( Bad taste in clothes: a poisonous sky-colored tie, a jacket and trousers are torn and soiled; lacquered boots with white spats. ch.6, p.203)

In addition, it constantly speaks after its mother, smokes, littering with cigarette butts, catches fleas, steals, loves alcohol, is greedy for women ...(p.194, 195)

Teacher: but this is only an outward manifestation. Is there anything left of Sharik's moral position? What determined Sharik's behavior and what was most important for Sharikov?

Suggested answers : - The instinct of self-preservation. And balls defends the right to its own existence. If anyone tried to deprive Sharik of his "well-fed life", he would have known the power of dog teeth. Sharikov also "bites", only his bites are much more dangerous.

Conclusion: the ball did not die in Sharikovo: we discovered all its unpleasant qualities in a person.

Conversation

Teacher : Let's try to figure out why the professor was a model and force for Sharik, and Shvonder for Sharikov? Why does the professor say that "Shvonder is the most important fool"? Does he understand who he's dealing with?

Students: Sharikov's brain is very poorly developed: what was almost ingenious for a dog is primitive for a person: Sharik turned into a man, but did not receive human experience.Shvonder takes him for a normal adult and tries to inspire the ideas of Bolshevism.

Teacher: Why is it so dangerous?

Students: Usually, when a person develops in a natural way, he gradually gets acquainted with the world, they explain to him what is good and what is bad, teach him, pass on the accumulated experience and knowledge. The more a person learns, the more he can understand on his own. But Sharikov knows practically nothing: he only wants to eat, drink and have fun. Shvonder indulges him, talking about rights, about the need to share everything. Shvonder himself ardently believes in what he preaches, he himself is ready to give up blessings and comforts in the name of a bright communist future.

Filipp Filippovich and Dr. Bormental are trying to educate, instill normal human manners in Sharikov, therefore they are constantly forbidden and pointed out. Sharikov is extremely annoying. Shvonder does not forbid anything, but, on the contrary, tells Sharikov that he is oppressed by the bourgeoisie.

Teacher: Are Shvonder himself and the representatives of the House Committee highly developed personalities?

Students: Obviously not.

Teacher: Does Shvonder really understand complex political and ideological issues?

Students: Already from the first conversation between the members of the house committee and the professor, it is clear that these people in their development did not go much further than Sharikov. And they strive to share everything, although they cannot really manage the work of the house committee: there is no order in the house. You can sing in chorus (no matter what Philip Philipovich says, he himself often sings in a false, rattling voice), but you can’t sing in chorus instead of your main work.

Teacher: Why Sharikov and Shvonder so quickly find a common language?

Students : Shvonder hates the professor, because, feeling the hostility of the scientist, he is unable to prove it and “explain” his true anti-revolutionary essence (and here Shvonder cannot be denied intuition!) For Shvonder, Sharikov is an instrument of struggle with the professor: after all, it was Shvonder who taught Sharikov to demand housing , together they write a denunciation. But for Shvonder, this is the right thing to do, and denunciation is a signal, because the enemy must be brought to light and destroyed in the name of a future happy life. Shvonder's poor head does not fit in any way, why a person who, according to all signs, is an enemy of the Soviet regime, is under its protection!

So, the “godfather” of Polygraph Poligrafovich inspires his pupil with the ideas of universal equality, fraternity and freedom. Once in the mind, which is dominated by bestial instincts, they only increase the aggressiveness of the "new man". Sharikov considers himself a full-fledged member of society, not because he did something for the good of this society, but because he is "not a NEP man." In the struggle for existence, Sharikov will stop at nothing. If it seems to him that Shvonder takes his place under the sun, then his aggressiveness will be directed at Shvonder. “Shvonder is a fool,” because he does not understand that soon he himself will be able to become a victim of the monster that he “develops” so intensely.

Teacher: Who is right in the dispute - Professor Preobrazhensky or Dr. Bormental?

Students: it is obvious that both scientists are only partly right: it cannot be said that Sharik's brain is only "the unfolded brain of Sharik", but it cannot be said that we have before us only the revived Klim.Sharikovo combined the qualities of a dog and Chugunkin, and Sharik's slavish philosophy, his conformism and self-preservation instinct, combined with Klim's aggressiveness, rudeness, drunkenness, gave birth to a monster.

Teacher: Why did scientists make a mistake in their assumptions?

Students: by the will of the writer, his characters did not know about Sharik what the author himself and his readers know.

Expected results:

These final conclusions resolve the problematic situation of the 2nd lesson, in comprehending which the students had to understand the role of composition, master Bulgakov's language, learn to realize the importance of details in the story, compare the characters' images; comprehend the author's concept. In addition, the method of comparing a work with its interpretation in another art form allows students to concretize their impressions.

UUD: cognitive (logical - analysis, synthesis, building cause-and-effect relationships; general educational - creating models, semantic reading, the ability to build a statement); communicative; personal (moral and aesthetic orientation); regulatory (correction).

Stage 4 Reflection

Exercise "Interesting".

Fill in the table:

In the “plus” column, students write down what they liked in the lesson, information and forms of work that caused positive emotions or may become useful to them. In the column "minus" they write down what they did not like, remained incomprehensible. In the column "interesting" write down all the interesting facts. If there is not enough time, this work can be done orally.

UUD: regulatory (assessment)

Homework for the next 2 lessons will be like this:

1. Come up with a title for the 4th chapter of Heart of a Dog.

3. Draw up the "code of honor" of Professor Preobrazhensky.

4. State the theory of education according to Professor Preobrazhensky and Dr. Bormental.

5. Describe the professor in the scenes of receiving patients, visiting the house committee, at dinner. Prepare an expressive reading of these scenes.

Lesson plan:

I. Organizational moment. 2 minutes.

II. Competition. 38 min.

III. Summing up the results of the competition. 2 minutes.

IV. Generalization of knowledge about still life (game "Sinkwine") 3 min.

During the classes:

I. 2 min. Hello guys! Today we have an unusual lesson-test, which will be held in the form of a competition, on the topic "Still Life". We studied this topic throughout the quarter and today we will summarize the knowledge that you have received.

In advance, I divided you into two teams and now I will ask you to introduce yourself.

Team "Young Artists"; Captain Karpushkin Artyom

Team "Magic Colors"; Captain Lopukhov Alexander

II.5 min. 1 competition "Warm-up". It includes knowledge of the theory about still life. I ask questions, and you, having listened to the end of the question, raise your hand.

For the correct answer - 1 colored pencil.

How do you know "Still Life" is a French word, and what does it mean literally? (Dead nature)

Give me 2 definitions of still life . (1. Still life is a genre of fine arts.

Still life - these are paintings, the heroes of which are various household items, fruits, flowers or food (fish, game, etc.)

When and where did still life first appear as a genre of fine arts. (In Holland at the beginning of the 17th century)

Tell me about the history of the still life. (At the beginning of the 17th century, the Dutch, after a hard struggle with the Spanish conquerors, gained independence. Now they freely sailed the seas and traded with the whole world. Holland became one of the richest countries in Europe. peace, the charm of nature. They admired the objects among which their life flowed. And the artists began to write with inspiration on their canvases dishes, fabrics, beautiful earthly fruits, wine gleaming with ruby ​​​​hues in glasses.)

5 min.2 competition "Creative"

Guys, yesterday I was walking along the river bank and found a bottle with some kind of message. But, unfortunately, the water damaged some lines of the letter. Dream up and compose the missing lines. Help me find out what it's all about! To complete the task, n.b.5 minutes.

"If the picture

on the table,

Or grapes

rose

bronze

Or a pear

Or all at once

(If you see in the picture

Samovar you are on the table

Or grapes in a basket

Or a rose in crystal

Or a bronze vase

Or a pear, or a cake,

Or all objects at once - know that this is a still life.)

Guys, from which Russian artist could such a note come from? You know that in Russia there were also many artists who painted still lifes.

Teams, name in turn Russian artists who painted still lifes.

Whoever names more gets a colored pencil.

8 min. 3 task Guides

Guys, where are the paintings of famous artists kept? Where do people go to see beauty? ( The Louvre is an art museum in Paris, the Hermitage is an art museum of St. Petersburg, an art gallery in Dresden, the Pushkin State Museum of Fine Arts in Moscow, etc.)

We have here (exhibition screening) of course, not a real museum or a gallery, but just a small exhibition, which we will call the "Little Hermitage".

Museums always have guides. And now you will induce in their role.

One representative from the team, the guide, will try to identify the authors of the reproductions of the paintings and give them the correct name.

I. Khrutsky "Still Life"

F.P. Tolstoy "A bouquet of flowers, a butterfly and a bird"

Head "Ham and Silverware"

E. Voloshinov "Onion"

T. Ulyanov "Still life with books"

A. Mignon "Flowers in a Vase"

Unknown artist "Fruits and Birds"

Jan Davidsz de Heem "Fruits"

The person with the most correct answers will get the colored pencil.

Every literate person should be able to describe the picture. We learn this in the lessons of the Russian language, literature, fine arts, and now the second guides will show how they can do it.

(On the board are reproductions of paintings by Snyders "Still Life with a Swan" and Konchalovsky's "Peaches".)

For the best description - 2 colored pencils.

3 min. 4 competition "Light and shadow"

Light and shadow are an important means of depicting objects, their volume, texture, position in space. Lighting can be frontal, when the light source is in front of the subject. Lateral - a light source to the left or right of the subject.

Backlight - light behind the object.

For 2 minutes, try to draw shadows for objects in a still life with side lighting. For a correctly applied shadow - 1 colored pencil.

2 minutes. Physical education minute Guys! It seems to me that you are already tired of sitting in one place, so I will ask you to move vigorously, dance to the cheerful song "Orange Sun"

4 min. 5 competition "Create a composition"

When we talk about still life, we represent composition. And composition is the compilation, connection, combination of various parts into a single whole in accordance with an idea. When we went through the work of P. Konchalovsky, we said that artists devote a lot of time to setting objects in a still life, which is very important. Sometimes, Konchalovsky's wife recalled, Pyotr Petrovich set the compositions for several days.

And now you have to compose a composition of simple objects and give it an original name.

For the best composition and title - 2 colored pencils.

When evaluating works, use a picture frame.

10 min. 6 competition "Skillful hands"

And now try to carefully transfer this composition to a sheet of paper by completing a still life application. Please note that you have honestly earned colored pencils. I will ask you to use them in your work too.

The best work is evaluated by 2 colored pencils.

III 3 min Debriefing

Team won...

Today I give the participants of this team fives for the lesson.

Team ... gets fours.

I will ask the losing team not to be upset, as we will have such competition lessons on other topics.

IV. 3 min. Generalization of the theme of still life.

Guys! Today we talked a lot in the lesson about still life as a genre of fine arts, recalled the artists who painted still lifes, described pictures, made compositions.

And now, I will ask you to compose cinquain for today's lesson to determine your attitude towards it.

1. Keyword "Lesson"

2. 2 adjectives

3. 3 verbs

4. 4 nouns

5. conclusion - 1 sentence

Cabinet layout: The topic is written on the board; 2 reproductions of P. Konchalovsky's painting "Peaches" and Snyders' "Still life with swans" hang; on a special lattice exhibition "Little Hermitage" - reproductions of paintings and students' work.

For contests: 26 colored pencils; 2 letters with missing lines; two identical still life drawings; 2 identical sets of items to create a composition (loaf, onion, beetroot, apple, orange, banana, book, plate, glass); picture frame; 2 blank sheets, PVA glue, a napkin, a set of items cut out of colored paper for application); sheets for syncwine.

Used Books: