Familiarize yourself with the cultural and educational activities of the museum. Cultural and educational activities of the museum
Educational activities
One of the priority activities of the museum is scientific and educational work aimed at creating and putting into practice work with various target audiences of overview and thematic tours of the permanent and exhibition expositions of the museum, lectures and classes, events and actions aimed at popularizing the museum collection, demonstrating scientific, educational and leisure potential of the museum.
For 11 years, museum and art criticism practices have been held at the Institute of Art History for students of higher and secondary educational institutions of the city of Ivanovo (Ivanovo State University, Ivanovo State Chemical-Technological University, Ivanovo Art School named after M.I. Malyutin, College of the Service Sphere). Lecture and practical courses combine several topics on the history of museum work in the Ivanovo region, the history of the IOHM and the formation of its collection, the main activities of the Art Museum and its branches, as well as work in the collections, information center and library of the museum.
Since 2004, IOHM has been cooperating with the Third Age University and the Sovremennik Club, veterans of railway transport and the regional and city Councils of Veterans. From October to April, classes are held within the framework of the lecture hall "Collections of the IOHM" and excursions to all exhibition expositions of the Art Museum, as well as creative meetings with artists and designers. By the Day of the Elderly for people with disabilities, events are planned, including a thematic exhibition in the New Gallery, a concert program and refreshments.
The “Music in Context” project is well-known for art connoisseurs and friends of the museum - holding concert programs, literary and musical evenings with the participation of famous creative groups, musicians and vocalists as part of the work of exhibitions.
Night of Museums is an action dedicated to the International Museum Day. The Ivanovo Art Museum has been holding it for four years now. Initially, the programs included conceptual exhibitions and concerts by the well-known jazz band Saros. In 2012, the museum confirmed its interest in contemporary youth culture. The venue for the action was not only a platform in front of the main facade of the building for a concert and an art bazaar, but also the courtyard of the museum for video installations and a fire show. For the first time, visitors were given the opportunity to be creative - sculpt, draw, leave your graffiti mark. "Night of Museums - 2013" surpassed all previous events in the number and variety of artistic, musical, educational and entertainment events. For the first time, it was possible to witness the creation of a work of art by the famous Ivanovo artist Valery Bakharev, to receive mastery lessons from the teachers of the Ivanovo Art School and the Children's Art Studio "Nachalo" of the IOHM, and also to take part in the "Photo-Drying" and "Instant Photo" projects and visit immediately several exhibitions. All actions were successfully held with the confluence of a large number of spectators.
Accounting and storage activities
The funds of the Ivanovo Regional Art Museum are an organized collection of objects accepted by the museum for permanent storage. Museum items are not only at the exhibition or in the permanent exhibition - most of them are concentrated in the depository. In addition, objects can be transferred for examination or restoration, as well as for temporary use to another institution or museum.
Currently, the IOHM funds contain more than 45 thousand works of painting, graphics, sculpture, decorative and applied art, which are listed in 19 museum collections.
The main directions of accounting and storage activities:
The decision on the acquisition of museum funds (the strategy for the formation of the collection as a whole, the formation of individual collections, the receipt of new exhibits in the IOCM collection) is carried out by the Museum's Expert Fund and Purchasing Commission.
Ensuring optimal storage (favorable conditions) and security systems. The IOHM uses a complex storage system: inside the storage facilities, objects are arranged according to the types of materials (canvas, paper, wood, bone, ceramics, metal, stone, etc.)
Solving the problems of restoration and conservation of museum values. There is a workshop for the restoration of oil painting in the IOHM. Qualified restoration of exhibits from various collections is also carried out at the All-Russian Artistic and Scientific Restoration Center named after Academician I.E. Grabar (Moscow, Kostroma) and the State Research Institute of Restoration (Moscow).
The accounting department provides documentation of museum processes and museum collections. All museum items are recorded in the documents of the museum as state property. Thus, their legal protection is carried out - the accounting of funds. The IOHM uses the KAMIS computer-aided program for entering museum collections into the electronic catalog.
Research work
The research work of the museum is of an integral nature, i.e. combines various areas of activity: fund, exposition and exhibition, cultural and educational.
The strategic concept is the systematization, classification, attribution of the collections stored in the IOCM, the acquisition and generalization of new knowledge, its optimal introduction into scientific and general cultural circulation.
Priority areas - monuments of culture and art of the Ancient World, oriental collection, Russian art of the XVIII - early XX centuries, Russian avant-garde, collecting activities of D.G. Burylin and other areas that reflect the structure of the museum's collection.
Stages of scientific research:
Examination of a museum object / establishing the authenticity and artistic significance of a work: establishing or confirming authorship, time of creation, artistic direction, school.
Attribution of a museum item: material and method of manufacture, size, state of preservation, presence of inscriptions, hallmarks, brand names, heraldic signs, etc.
Origin, history of the existence of a museum object (provenance): who owned the object, how it was acquired or in what circumstances it was created, the time and method of its entry into the museum collection.
Implementation of the research results: museum editions, publications; participation in scientific conferences, seminars, symposiums; creation of exposition, exhibition.
The scientific archive and the scientific library are of great importance in the research work of the museum. The archive contains about one and a half thousand documents, photographs, audio and video materials. The collections of the scientific library (founded in 1960) contain more than 18 thousand publications. Along with sectoral departments, special departments dedicated to the activities of the art museum and the fine arts of the Ivanovo region have been allocated. In 2006, on the basis of the library fund, the collection "Rare Edition" was formed, which is of not only scientific, but also artistic interest.
The foundations of cultural and educational activities in the museum began to take shape already in the 1930s. Initially, it consisted mainly of excursion work. Forms of educational work are gradually expanding, attendance is growing. Currently, Kirillo - Belozersky Museum - Reserve is a well-known museum and tourist center. In recent years, cultural and educational activities have intensified. Its system is built from excursions, thematic classes, lectures, thematic events, master classes, watching videos, holding creative competitions, presentations, etc. Every year, more than 200 thousand tourists from different parts of the world visit the museum and its branch. Cultural and educational work in the museum is aimed at patriotic, moral, aesthetic education based on the formation of knowledge about the history and culture of the region. It is determined by museum programs: “Museum and School”, “For You, Students”, “Students in Practice”, “Meet the Museum”, “Meeting an Interesting Person”, “All Year Round”, “People’s Workshop”, “Visiting Museum ", "Hooray! We are on vacation”, “Meetings at the museum”, “To the museum with the whole family”.
As part of holidays - "Snow-Covered City" and "The City and its Museum" the museum hosts the opening of new exhibitions, performances by creative teams, children's game programs with contests and competitions, quizzes, master classes.
Art studios "Kirillovskaya painting" and "Lada" work on the basis of the museum. The aim of the studio is to develop children's interest in Russian culture and traditions of their native land. At the lessons of the club "Young Guide" they get acquainted with the ancient Russian and Russian culture, the history of the monasteries of Belozerye, the history of Russian books, and folk culture.
The museum holds competitions of children's creative works, which aim to attract the attention of children and youth to the history and culture of the city, to intensify the creative activity of children and youth. Based on the results of the competitions, exhibitions are arranged.
Museum staff, who know the secrets of folk craftsmanship, hold Master's Days, master classes: on Cyrillic free-brush painting, clay toys, folk dolls. Folk craftsmen are involved in conducting individual classes: I.V. Luzhinskaya, M.N. Vasilyeva, N.A. Borovikov, Sysoeva M.A., with whom the museum has been cooperating for many years.
One of the educational activities of the museum is the creation of temporary and traveling exhibitions, on the basis of which classes are held not only with the children of the city of Kirillov, but also in rural schools, kindergartens, and cultural centers. The museum practices complex trips so that children can see a traveling exhibition, listen to lectures, and take part in game programs.
Local history seminars and conferences for teachers, students and students are held annually on the basis of the museum. Museum employees constantly provide methodological assistance to school and municipal museums of local lore.
Today, the cultural and educational activities of the museum is becoming a priority in the work of the museum and is in line with modern trends.
Museum programs are targeted and include the whole range of topics, types, genres, techniques, methods of working with the audience. Along with traditional museum forms, the museum is looking for new ways and forms of dialogue with the visitor.
Ministry of Education of the PMR SEI "Pridnestrovian State Institute for the Development of Education"
Department of Sociocultural Activity
COURSE WORK
"Cultural and educational activities of the museum"
Completed
course listener
advanced training
museum workers
Shabardina T.K.
Tiraspol, 2011
Introduction
The museum is a research and cultural and educational institution, which, in accordance with its social functions, collects, records, stores, studies and popularizes historical and cultural monuments.
So the senior researcher of the State Institution “Republican Art Gallery named after. A.V. Losev”, a member of the Union of Writers of Pridnestrovie Olga Sizova, in a poem dedicated to the 30th anniversary of her institution, accurately defined the purpose of the museum: to be a living source of connection between today and past and future generations.
This year, the State Institution “Republican Art Gallery named after. A.V. Losev celebrated its 40th anniversary (it was organized on August 01, 1971), the experience of museum work gives us every right to answer those who doubt whether the museum is not becoming obsolete in the era of global computerization, when any work can be seen without leaving the Houses. It is necessary to clarify: not a work, but an image of this work. And these are different things. A work is a living organism that the creator created, suffered, suffered, admired. And all this energy is immortalized in it. This is what has the most impact on the viewer. And this can only be felt by touching the original.
Perhaps, not in vain, in the Greek primary source, the museum is the “temple of the muses”. And the muses - goddesses, patronesses of the arts - have no age to the envy of earthly women. They are immortal. Time has a different system of measurements for them: what is important here is not the horizontal vector of life, marking dates and dates, but the vertical vector of beauty, poetry, high emotions. And this world has its own guidelines. They define the specifics of these institutions.
The specifics of art museumsconsists in the fact that fine art develops many abilities: the sensitivity of the eye to light, line, rhythm, to the accuracy of proportions and the nobility of forms. But the most important thing is the development of the ability to think creatively, empathize, feel the soul of other people. Unlike science, which must prove its truth, art must infect, captivate a person, capture his entire being, and not just consciousness. Otherwise, the transfer of artistic information will not take place.
The art gallery has accumulated significant experience in cultural and educational activities over a 40-year period. But before getting into consideration. This issue, let's consider the general provisions of the cultural and educational activities of museums.
Cultural and educational activities of museums
The purpose of the course work. To reveal the topic of cultural and educational activities of an art museum on the example of the State Institution “Republican Art Gallery named after. A.V. Losev.
1.forms and methods of carrying out cultural and educational work of the State Institution “Republican Art Gallery named after. A.V. Losev.
2.Organization, and the role of the leader in the ongoing work.
The concept of "cultural and educational activities" has become widespread in domestic museology since the early 1990s, and its active use was caused by the emergence of new approaches to working with museum visitors. At the turn of the 1950s - 60s. to Soviet museums began to gradually return lost in the 1930s. the status of scientific institutions. These changes were reflected in the terminology denoting one of the most important areas of museum activity: instead of the concept of "educational work", the term "scientific and educational work" began to be used. Its content side meant that the museum carries out its educational and educational function on the basis of scientific research, that now it disseminates knowledge based on the museum object.
Along with the “perestroika” and the change of ideological paradigms, such terms as “propaganda”, “mass character”, “ideological education” gradually disappeared from the museum vocabulary related to scientific and educational work. The museum began to be seen as a means of not "aesthetic propaganda", but the development of aesthetic taste and creative imagination, as a means of forming not a "communist worldview", but a value attitude to the historical and cultural heritage. A new concept of educational activity began to gain a strong position, which by that time had already become widespread in foreign museum practice and was based on the idea of a museum as a communication system. According to this concept, the tasks of the museum are not limited to the transfer of information about a particular phenomenon and process; it should also address the inner world of the visitor, influence his sensual-emotional sphere.
The rejection of the former rigid ideological and informative orientation also changed the nature of the relationship between the museum and the visitor. The essence of the museum-educational process now seemed different: the visitor was no longer perceived as an object of educational influence, but as an equal interlocutor, therefore, the museum's communication with the audience took the form of a dialogue.
In connection with the new understanding of the essence of the relationship between the museum and the visitor, the term "cultural and educational activity" arose, implying education in the space of culture. At the same time, the concept of "education" is interpreted broadly and involves the development of the mind and intellect of a person, his spiritual and personal qualities, value relations to the world.
The main forms of cultural and educational activities and their characteristics
The basic forms appeared mainly during the formation of the cultural and educational activities of the museum and serve as the basis for the creation of those that arise under the influence of time, social order. The creation of a truly new form is a rare phenomenon. This happens when the educational model of the museum changes, and, consequently, the requirements for working with the audience.
There are nine basic forms. These are excursions, lectures, consultations, scientific readings (conferences, sessions, meetings), club (circle, studio), competition (olympiad, quiz), meeting with an interesting person, concert (literary evening, theatrical performance, film show), holiday, historical a game.
Each of these forms can be described using a number of stable characteristics, some of which are considered basic, and some are additional.
The main characteristics of the basic forms.
1.Excursionis an example of one of those traditional forms from which the formation of the cultural and educational activities of the museum began. One of its main features is dynamism, and in this sense, the tour falls into a very small group of museum forms that require movement from the visitor. This is an example of a group form: individual excursions are an exception that only proves the rule. True, in recent years, a new version of excursion services has appeared in our museums - an autoguide. Having received headphones, the museum visitor has the opportunity to listen to an individual tour, but this tour is outside of eye-to-eye communication, outside of a collective experience, and therefore is somehow inferior.
The excursion basically satisfies the audience's need for knowledge and assumes, despite the naturalness and the need to use the methods of activating the excursionists, the passive behavior of the audience.
2.Lecturebelongs to the number of traditional and, moreover, the earliest forms in terms of time. In many museums, lectures as a form of communication with the audience began to be used before excursions. Museum lectures, satisfying the need for knowledge, were a noticeable fact of social life and were usually held in front of a large crowd of people. This was explained, first of all, by the fact that they were read by outstanding scientists.
Over time, museum lectures have lost the significance of the form that has such a wide public resonance. They began to be read mainly by museum staff, but as a result, perhaps, they won in terms of their museum value. The use of a museum item as an attribute has become an important requirement for a lecture.
3.Another basic form, also quite traditional for the museum, consultation- practically the only one that has an individual character (whether we are talking about consultations in the exposition or in the scientific departments of the museum). This form never had a significant distribution, although it did not disappear from the museum. It seems that it is very promising in connection with the trend of an increase in individual visitors in museums who view the exposition without a guide.
4.Scientific readings(conferences, sessions, meetings) are also among the classical, traditional forms that arose during the formation of the cultural and educational activities of the museum. They are a means of "publication" and discussion by a group of competent persons of the results of research conducted by museum staff, a way to establish and develop contacts with the scientific community.
The listed basic forms assume mainly passive participation of the audience. However, among the traditional forms there are those that are aimed at including people in active work. This is a club, circle, studio. The activity of the audience is their common feature, but this quality is manifested in these forms with varying degrees of intensity.
5.In the club (we do not mean those that are more reminiscent of a lecture hall) it is most clearly expressed. Clubas a center of communication between people united by a common interest, it carries out its activities mainly through self-organization.
Often seminars are organized on the basis of exhibitions.
Unlike the club, the circle most often brings together a small group of children who work under the guidance of a museum employee. In the circle, adolescents and young people are introduced to museum work. In historical circles they study historical events and biographies of figures to whom the museum is dedicated, in artistic and technical circles they comprehend the basics of modeling, are engaged in arts and crafts, in museum studies they prepare themselves for the role of researchers or guides.
Traditionally, the term studio is most often used in art museums. This form, close to the circle, provides for the aesthetic development of children or adults and is aimed at developing the skills of artistic creativity and craftsmanship.
6.Competitions, olympiads, quizzes,related to the theme of the museum, also refer to those forms of cultural and educational activities that are a means of identifying the activity of the audience, uniting connoisseurs and introducing them to the work of the museum. These competitions are organized in such a way as to bring visitors as close as possible to museum collections: the tasks involve not only knowledge of facts, but also expositions, monuments, certain types of historical sources. The jury evaluates the ability of the participants to prove their point of view and lead the discussion. Typically, such competitions are organized for a youth audience, as part of the work with the school.
7.Now let's move on to forms that are more focused on meeting people's needs for recreation, recreation, and reasonable entertainment. TOto them, of course, can be attributed such as meeting with an interesting person.
8.The need for recreation also corresponds to such forms as a concert, a literary evening, a theatrical performance, and a film screening. Like most basic forms, they are primarily concerts and literary evenings,were part of the life of the museum at the turn of the century.
Term approved holiday,which has not been used before. Moreover, we are talking about very heterogeneous phenomena that differ from each other not only in plot, but also in methods of organization. The new term holiday fixed something in common that became inherent in all these actions. Commonality and novelty lie in the informal atmosphere of festivity (which distinguished this form from previous ceremonies), in the effect of personal involvement, complicity in what is happening due to theatricalization, play, direct communication with the “characters” of the festive action, and the use of special paraphernalia. The peculiarity of the holiday is also that it seems to push the boundaries of the museum, because the spiritual traditions of the people, craftsmanship, rites and rituals, and national art acquire museum significance. The holiday serves to preserve and revive them.
The theoretical and methodological part of cultural and educational activities is museum pedagogy. It creates new methods and programs for working with visitors.
Interpretation of the concept of "museum pedagogy"
Museum pedagogy is a scientific discipline based on the experience of museology, pedagogy and psychology, which considers the museum as an educational system.
In the early 1970s The participants of the seminar "The role of art museums in the aesthetic education of schoolchildren" heard about the need to develop museum pedagogy, which would provide a scientific approach to the interpretation of museum collections based on the principles of pedagogy and psychology.
In the 1980s and especially the 1990s. active development of this concept begins.
The formation of museum pedagogy as a scientific discipline was facilitated by the situation in the field of cultural and educational activities of the museum of this period. This situation can be characterized as follows.
Firstly, a new educational concept of the national museum is being formed, i.e. a system of ideas about its social purpose and the essence of working with visitors. The museum is trying to abandon the previous rather rigid ideological guidelines. The basis of its cultural and educational activities is the formation of a valuable attitude towards the cultural and historical heritage among visitors.
Secondly, the attitude towards the audience itself is changing, which is beginning to be perceived not as an object that needs to be trained and educated, but as an equal participant in the communication process, the dialogue carried out in the museum environment. At the same time, the museum audience ceases to be considered as the sum of abstract visitors and is quite strictly differentiated by age, educational and other characteristics.
A diverse repertoire of work with the audience is being formed, thanks to which museums are trying to move to a new stage - combining various forms of cultural and educational activities into a system. We are talking about creating such conditions when all categories of the population would be included in the process of museum communication. The elements of this system are programs for children of preschool and primary school age, middle and high school students, students, parents with children, tourists, pensioners, disabled people, etc.
in the 1980s and especially in the 1990s. The so-called children's direction of museum activity began to develop most actively: work with preschoolers and younger schoolchildren.
Thirdly, for the first time, the problem of the effectiveness of museum communication, the impact of the museum on various groups of visitors, the effectiveness of various forms, began to be seriously considered. This was greatly facilitated by the development of the children's direction, because. when developing programs for different age groups, it was impossible not to take into account the psychological characteristics of children, their ability to perceive. In other words, working with children stimulated psychological research at the museum.
Fourthly, there was a need for the emergence of a special type of museum specialist who could join in the creation of expositions, develop and implement programs for working with visitors, experiment in search of new forms and methods of working with children, and carry out socio-psychological research of the audience.
And, fifthly, there was a need to integrate museology with other scientific disciplines.
All these phenomena testified to a new level of approach to solving cultural and educational problems, to the museum's contacts with the audience. This created the prerequisites for understanding the role of theory, and as a consequence of this - for the development of a new term.
The term museum pedagogy has served to designate a new scientific discipline that is in its infancy.
Museum education belongs to the informal sphere. It is democratic, devoid of rigid schemes and extends to literally all groups of society - children and adults, local residents and tourists, healthy people and the disabled.
Directions of research in the field of museum pedagogy
The field of museum pedagogy is all kinds of contacts between the museum and the audience, the most diverse ways of addressing a person as a participant in the process of museum communication. Museum pedagogy begins when there is (or is expected) the effect of a meeting between a museum and a person.
The first in importance is the problem of the educational specifics of the museum. The next problem is the effectiveness of museum communication.
The third problem that museum pedagogy should deal with is the study of the museum audience. Taking into account knowledge about the real (or potential) audience, museum pedagogy is approaching the solution of the next problem, which may be of the greatest practical importance - the creation and testing of new methods, programs, and expositions for various categories of visitors. The central issue here is the issue of interaction with educational institutions, primarily with the school.
Experience in organizing the work of cultural and educational activities in the State Institution “Republican Art Gallery named after. A.V. Losev"
Cultural and educational (scientific and educational) work is one of the main areas of museum activity, in which the educational and educational function of the museum is realized and differentiated, multifaceted work is carried out with various categories of visitors. It is carried out differentially focusing on 3 age groups: preschoolers and younger students, teenagers, high school students and students. For this purpose, the form of contracts and letters is used to communicate with educational institutions. (Appendix No. 1)
Cultural and educational (scientific and educational) work of the State Institution “Republican Art Gallery named after. A.V. Losev" in numbers for 40 years:
№ p / p Name Number for 40 years 1. Accepted visitors of all of them: a) in the halls of the art gallery; b) at traveling exhibitions mln. people million people 0.9 mln. people
This is a huge block of work carried out by the creative group of the art gallery, consisting of 5 people. The general management of the scientific, cultural and educational program is carried out by the deputy director, whose task is to direct, plan, and check the preparation of all forms of work in the art gallery.
Responsibilities of the Deputy Director:
-Organization of work that contributes to the improvement of the museum's work process, taking into account the achievements of science and best practices.
-Organization of planning at all levels (prospective, annual, individual, for specific events).
-Improving the museum profession.
-A clear definition of the responsibilities of each museum employee.
-Rational organization of the workplace and time of employees.
-Advanced training of museum workers (out of 5 people in the creative group, two have the highest qualification category of a museum worker, one has the first category, two young specialists are preparing to pass to the second category).
-Leadership of the Scientific and Methodological Council (SMC).
For coordination and a higher level of scientific, cultural and educational work, a scientific and methodological council has been created - an advisory body under the director, including leading specialists of the museum.
All issues related to the research activities of the museum, acquisition, exposition, cultural and educational work,
publications, approval of scientific and methodological developments, etc. are under the jurisdiction of the NMS. This raises the level of museum material that reaches the audience, whether it be an excursion, a lecture, an article, a speech, a thematic and exposition plan, a catalogue, a booklet, etc.
Most fully in the course work, two main, most popular forms of cultural and educational activities are considered - excursions and lectures.
Excursions
The art gallery uses 4 types of tours: tours of the exposition, sightseeing, thematic, educational.
A tour of the exposition - a complete presentation of the material of the exhibited exhibition.
A sightseeing tour is a museum exposition, the purpose of which is to acquaint visitors with both the exhibition and the history of the museum, its collection.
Thematic tour - a museum tour on a specific topic. A thematic tour reveals one topic or problem in the most detail.
Educational excursion - an excursion organized for museum staff, participants of republican seminars, students of the Bendery Art College and PTU. T.G. Shevchenko (within the framework of the RCG). It introduces the principles of building an exposition, the peculiarities of storing funds, and cultural and educational activities.
The task of the manager is to ensure that, in the absence of a museum teacher on staff, each employee admitted to conducting excursions must have an arsenal of forms and methods of working with the audience, excellent knowledge of the material, the ability to convey their knowledge to the audience, follow the latest scientific research, must have knowledge of the various sections of the stock collection.
In cases where the excursion is based not on the basis of dialogue, but on the principles of teaching didactics, a person loses interest in it.
The tour should be targeted and carried out on the basis of a differentiated approach to the group.
To this end, the newly hired creative employee systematically studies the museum business, scientific and methodological material on the exhibition, listens to excursions conducted by colleagues for 30 days, and then passes the excursion minimum at the NMS meeting. After hearing and approval of the tour, he is trusted by the audience.
The main document in the exhibition work is methodological development for the guide,which reveals the content of the tour, the material to be shown, the route and duration.
As an example of a methodological manual, I took the exhibition of the Return Project of the Vasiliev Dynasty.
Methodological development of the tour of the exhibition "The Vasiliev Dynasty"
The exhibition is located in the left wing of the gallery: halls 1.5-7. The duration of the tour is 25 minutes.
During the tour, you can use the following pedagogical techniques:
-reception of supporting questions on which a model of a holistic perception of the artistic image of works is built;
-a technique for creating a sense of one's own discovery, which allows children to independently build cognitive activity;
-reception of dialogization;
-acceptance of infection by personal influence, when the guide draws participants into his reasoning, shares his doubts;
the method of collective discussion of a work, when a work of art is thoughtfully examined, respect for the feelings and opinions of others is brought up in a teenager.
The purpose of methodological development. Acquaintance of the audience with the bright creative personality of the Honored Art Worker of Moldova A.A. Vasiliev, and the Excellent Worker of Culture of Moldova N.A. Vasilyeva.
To reveal the creative biographies of artists, based on the works presented.
-Pay attention to the highly professional mastery of the painting technique of the artist A.A. Vasiliev.
-To reveal the meaning of A.A. Vasilyev and N.A. Vasilyeva in the cultural space of Moldova.
-Pay attention to the photo archive of the Vasiliev family, reflecting the color of the time.
The exhibition of works by the Vasiliev dynasty is represented by the works of father and daughter and is exhibited in halls 1, 5-7 of the Republican Picture Gallery. This is the 4th personal exhibition of the founder of the dynasty, Alexei Aleksandrovich Vasiliev, in the art gallery in Bendery. It was organized on the initiative of the artist's son Yaroslav Vasiliev, in memory of people close to him.
The exhibition of Vasiliev's works is an integral part of the joint project of the Union of Artists of the PMR and the Republican Art Gallery "Return". The goal of the project is to return to the viewer the names of artists whose work determines the development of fine arts in our land, and whose life is dedicated to the faithful service of their chosen profession. The Vasiliev dynasty is a vivid confirmation of this.
Alexey Alexandrovich Vasiliev, Honored Art Worker of the MSSR, was born on 30 September1907 in Samarkand. In 1926 he entered the Moscow Art College “In Memory of 1905”, and in 1932 he graduated from the Higher Art and Technical Institute, where he studied with such famous artists as V.A. Favorsky, S.V. Gerasimov, D.S. Moor and others.
From 1939 to 1935, A. A. Vasiliev studied at the postgraduate course of the State Tretyakov Gallery.
In the second half of the 1930s he lived and worked in Central Asia, the Khabarovsk Territory, and Chukotka.
In 1941 he moved to Moldova, was appointed head of the department. IZO of the Department of Arts of the Council of People's Commissars of the Moldavian SSR, secretary of the Union of Artists of Moldavia, and in 1945, at the first congress of artists of the republic, he was elected its chairman.
The exposition presents 60 works by Alexei Alexandrovich from the private collection of the Vasiliev family and the RKG funds. Portraits, thematic canvases, landscapes of Moldova, Crimea, as well as works created during creative trips to African and Asian countries reveal the artist's creative range and, along with cognitive interest, carry a truly artistic beginning. This is an artist of bright personality.
We begin our acquaintance with the exhibition in the 1st hall, where, for sure, the attention of the audience will be attracted by the portrait of Vasiliev in the interior, executed by the Romanian artist D. Yuster. So energetic, full of creative hopes, he began his journey in Moldova. The portrait dates from 1947.
In the 5th hall we will get acquainted with portraits, landscapes, thematic canvases of this talented artist. The exposition of the hall opens with “Portrait of the coupler Vodoyan”. The work was written in the 50s, when not a single exhibition could do without portraits of the foremost workers. Moreover, each artist was obliged to pay tribute to the requirements of the difficult post-war years, when the burden of male labor fell on women's shoulders. The realist's brush paid tribute to the women of the post-war five-year plans, restoring the economy destroyed by the war. This work is a product of time, requiring full dedication from everyone. And in the portrait of a social orientation, this is clearly reflected in the open, weathered face of a woman with a firm look, a clearly readable figure against the background of the pinkish coolness of an early working morning. Reading the portrait from the position of today, you realize how incompatible femininity is with hard physical labor, and you perceive people even more sharply in the context of competitive times.
A completely different plan is the children's portrait "The Son of the Forester", painted in 1958. The portrait belongs to the category of lyric. The boy's face with a print of slight sadness and thoughtfulness is worked out with a thin glaze layer. The slightly outlined background of the forest area does not distract, but focuses attention on the person being portrayed. The original compositional solution, together with the coloristic one, complements the lyrical construction of the portrait.
Hotly in love with the Moldavian region, Alexei Alexandrovich traveled a lot with a sketchbook around the area. He knew where the most thoughtful distances were, where the Dniester hugs the banks in a bizarre loop. In his works, he was able to speak about nature in a quiet but convincing voice, revealing his understanding of beauty, his creative style. Of all the states of nature, he loved autumn and the evening hour most of all. There are many such landscapes. These include “Again Peaceful Autumn” (property of the RKG), and “Moldavian Autumn”.
In these landscapes, one can see the manner of performing Moldavian landscapes developed by the author, where in places an unfinished canvas takes part in the picturesque play of color, where pastosity turns into light glazing, and the alternation of color and linear rhythms bear the image of easily recognizable corners of Moldavia, painted from nature, where transparent sky, dim sun, fading greens, accentuated by a flash of purple, create a mood of pleasant sadness.
The works in this room are the property of the picture gallery. These include the thematic canvas "Born to Fly", which sounds like a hymn to the romance of a feat, a hymn to mature youth.
The athlete had just taken off from the plane... And, as if enchanted by the proximity of clouds, from which one could push off with one's hand, he seemed to delay or change for a moment his swift flight to the ground for a soaring movement. The work is almost square. The feeling of beauty is achieved by contrasting parachute canopies decreasing near the horizon. Movement in it develops from top to bottom. The color of the work is based on the strengthening of blue steel, greenish-one-time shades of color towards the center. Along the edges, a blank canvas is left in some places, and the corners are darkened.
The picture is written energetically, widely. It conveys the cheerful mood of the author.
The second thematic work is "The Artist and Time". This is a work of reflection, a leisurely narration about human life, about the life of an artist, lived in a single creative rhythm with time. Before us is the interior of the artist's studio, cluttered with giant canvases with industrial landscapes, here are the heroes of his works - steelworkers, workers who recognize themselves on the canvas. The work was left unfinished due to the artist's illness.
You can not ignore the "Portrait of Natasha's daughter." This is one of the best children's portraits in Moldavian painting, incorporating the best traditions of the realistic school.
A generational image of a little blond girl, with pigtails sticking out in different directions, is framed by an oval frame. Children's spontaneity is emphasized by a half-open mouth. The gaze is focused on something unknown to the viewer, on what is behind the aisle of the canvas. The background of the work is the historical courtyard where the artist's family lived for 16 years after their arrival in Moldova. Repin's student E.M. used to live in this small apartment in Chisinau. Maleshevskaya. They say that Chaliapin himself stayed in this house. The portrait is written widely, easily, in a complex silvery-gray color scheme, characteristic of the work of Alexei Alexandrovich of the 40s.
A special place in the work of A.A. Vasilyeva is occupied by a series of works written for the 100th anniversary of the birth of V.I. Lenin. In 1965-1966 Alexey Alexandrovich visited Ulyanovsk, Kazan, Kokushkino, Siberia. The works of this series include “Church, p. Shushenskoye. It was difficult to work on Leniniana. After all, these places look completely different than in the troubled pre-revolutionary years. The artist had to mentally reconstruct the appearance of the villages, the color of nature had to be painted from nature. In "The Church, p. Shushenskoye, having reconstructed the only stone building of the church of a “beetroot” color according to documents, having painted a rainy day, he created such a mood, as if the famous Levitan’s “Vladimirovka” led here and ended here. The poignant mood of abandonment and melancholy is reinforced by the dull gray figures of the peasants.
The 6th hall presents the artist's works - the result of creative trips to the Crimea, Asia and Africa. Basically it's sketches. The exposition series begins with the works of the Crimean cycle. A creative business trip to the Crimea took place in 1963. In less than a year, Alexey Alexandrovich prepared 150 landscapes for the exhibition. Crimean landscapes are characterized by features of softness and harmony.
Landscapes, strict in composition and selection of details. The color of the work is summarized. Such are the works “Sudak”, “Spring in the mountains”, “Twilight. Crimea" and others.
The landscapes "Pink Forest", "In Gurzuf", "Ai Petri", "Crimea", "In Old Bakhchisarai" are characterized by softness and density of color.
Seascapes “Gurzuf. Chekhov's House”, “Crimean Port”, as well as the sketches “Crimean Mountains”, “In Gurzuf”, are built on impressionistic freshness, which is also characteristic of other works of this cycle.
Many corners are easily recognizable to everyone who has been to the Crimea. These are the above-mentioned works and the works “Crimea. Swallow's Nest" and "At the Pier". Most of these works, while maintaining etude freshness, carry integrity and completeness.
In 1969 the artist's dream came true: he visited some African countries. Egypt especially impressed him. The pages of the diaries are covered with entries of enthusiastic impressions from meetings with ancient architecture, nature, and people.
He dedicated the works “Valley of Giza”, “Memories of the Valley of Giza”, etc. to the monuments of the ancient culture of Egypt.
"Memories of the Giza Valley" is a story about the grandiosity of ancient culture. In the picture, the sphinx and the pyramid are so huge that it seems they may not have enough space on the canvas, they fill the entire space with their monumental forms. The people at their foot look very small. The colorful clothes of the Arabs add color accents to the overall color of the picture. Above the mute splendor of the sphinx and the pyramid is a golden sky. Weathered by the centuries, the stone structures and the desert surrounding them are illuminated by the evening light. Huge contrasting and cold shadows emphasize the grandeur of the architecture. Aleksey Aleksandrovich textured highlighted the light parts of the sphinx and the pyramid, further enhancing their significance.
Alexey Aleksandrovich wrote African cities with great pleasure: “Dakar. Street”, “Dakar. In the workshop of carvers”, “Sinegal fashionistas”, “Sinegal. On the island of Gora.
In them, he showed picturesque crooked streets, red-hot by the rays of the burning sun, colorful, bright, teeming with people. He strove, at least in sketches and sketches, to reflect the colors of the new land that struck him.
These are small everyday scenes: people busy with their own affairs, the breeze flutters bright drying linen, multi-colored long skirts, shawls, turbans are burning. Strokes are energetic, diverse, mostly saturated in color, convey this amazing edge.
In 1959, Alexei Vasiliev visited China on a creative business trip, where he spent 60 days. A lot of impressions from the monuments, life, color of this country became the basis for many studies, and then formed the basis of the exhibition, which featured about 100 works of the Chinese cycle. This exhibition presents 5 works of the Chinese cycle. A thicker stroke sculpts the form in the work “In Old Shanghai”, where the last rays of the setting sun illuminated the left side of the narrow street. The warm orange-ocher coloring of low buildings pressed against each other sets off the greyish-green color of Chinese fanz. The freshness of the study, the vibration of color are characteristic of the other 4 works of the Chinese cycle. Both “Morning on the Yangtze River” and “Chinese Wall” with a minimum of technical means resemble wise Chinese poetry, where everything is surprisingly simple, easy and at the same time weighty and significant. The life of labor workers quarters, their special flavor, is reflected in the study "They make cages for songbirds."
I wanted the sketches to be like little poems about China, Vasiliev said. “A picture lives in poetry, and poetry lives in a picture” - this saying, heard in China, was repeatedly voiced by Alexei Alexandrovich.
We conclude our acquaintance with the exhibition with photographs from the family archive.
The 7th hall presents photographic material from the Vasiliev family archive, monographs and works by Alexei and Natalia Vasiliev.
Vasilyeva Natalya Alekseevna (1939-2010)
An excellent worker of culture of the MSSR, a talented teacher, artist, art critic.
Natalya Vasilyeva was born in 1939 in the city of Anadyr in Chukotka. Her childhood years were spent in Moscow, then in Chisinau, where her family moved in 1944. In this city, she graduated from high school, the Republican Art School. I.E. Repin, and in 1965 she graduated from the Kiev Art Institute.
Since 1959, Natalya Alekseevna taught special disciplines at the Children's Art School. A.V. Shchusev, from 1979 to 1983. was its director. Over the years of pedagogical work, she prepared 11 graduates of students, many of whom chose the profession of an artist, designer, architect, and art critic.
Natalya Alekseevna conducted active educational work: she was the organizer of her father's exhibitions in museums in Moldova and Transnistria, the author and host of children's television programs on fine arts "Let's fantasize" and "Artist", she was the author of monographs on the work of Sergei Chokolov, Alexei Vasiliev, as well as catalogs and booklets on exhibitions and creativity of his father.
The project "Return" included 8 paintings by Natalia Vasilyeva, photographs from the family archive, author's monographs.
Works of the early period of creativity "Himalayan Landscape", "Northern Monastery", "Fortress", "Past. Improvisation" reveal her as a finely sensitive artist, working monumentally, with large color planes, where the power of the earth, its grandeur and mystery are undeniable, the portraits are a confirmation of the author's commitment to the realistic school. Such is the work of "Petrovna", where the same strict selection of details and generalizations is preserved.
Passion for the art of the East, the works of the largest author of applied art, honored worker of arts S. Chokolov led to the birth of the work “Ceramics of S. Chokolov”.
Natalya Alekseevna Vasilyeva passed away February 28, 2010of the year. This exhibition is organized in memory of a life-loving person, a bright creative personality who enthusiastically loved the world around him.
Thank you for your attention. Questions for the tour guide.
List of references for the training manual.
3.Shvedov I. "Alexey Alexandrovich Vasiliev" (Literary
portrait), Chisinau, "Cartya Moldovenyasca", 1969
cultural educational art museum
Lectures
Lectures are another popular form of cultural and educational activities of the gallery. The main purpose of the lectures is to convey theoretical material to the audience, sometimes accompanying it with materials from the museum collection.
In the museum practice of the RCG, such types of lecture work as thematic cycles used in different audiences have become widespread:
-"Western European Art";
-"Russian art of the XVIII - early XX centuries";
-"Soviet Art";
-"Moldavian Art";
-"The art of the masters of Transnistria";
-"Fundamentals of Fine Arts".
Despite the opinion that it is not expedient to give lecture material to a children's, preschool audience, we have tested this form for the smallest. An example is the lecture "The Fairytale World of Palekh", which combines elements of a lecture and a conversation (The beauty and originality of Palekh products).
Rationale for the lecture for children of preschool and primary school age "The Fairytale World of Palekh"
The purpose of the lecture.
Acquaintance of children with the best examples of Russian folk arts and crafts: Paleshan products.
Lecture goals.
-In an accessible form to convey the story of the talented Russian people, creating fabulous images in lacquer miniatures.
-To reveal the technology of creating a lacquer miniature.
-Show the variety of themes in the art of Palekh artists.
-Show the connection between literature and pictorial plots on the example of the fairy tales of A.S. Pushkin and other writers.
Tools used:
-exposition of Palekh's works from the funds of the RKG;
-video sequence on a computer or TV screen.
Expected Result.
-Spiritual and aesthetic education on highly artistic examples of Paleshan art.
-Introduction to the origins of beautiful Russian decorative art.
-The complex impact on the soul of a child of Russian poetry and fine arts.
Preparatory work was carried out for the successful delivery of the lecture. Previously, a week before the lecture, the children listened to a tour of the exhibition of works by the applied artist Svetlana Palatnik, where they got the concept of arts and crafts.
This lecture is basic and is designed for children 6-10 years old. The duration of the lecture is 20-25 minutes.
For preschool children, you can shorten the text and part of the video sequence. :2. Mandatory sections:
-history of the village of Palekh;
-I. Golyakov, the founder of palyash lacquer miniatures;
-"Troika" - a symbol of Palekh art;
-creation technology;
-caskets by V. Mukhin, I. Zubkov on the plot of A. Pushkin's fairy tale "The Tale of the Fisherman and the Goldfish".
I. Introduction.
a) Pedigree of Palekh.
b) From the icon to the lacquer miniature.
II. The founder of the lacquer miniature of Palekh I. Golikov and his work "Troika".
a) Distinctive features of the Palekh miniature.
b) Technology for creating works.
III. Topics of Paleshan works:
a) Portrait.
b) Everyday topics.
c) The theme of the defender of the Russian land.
d) Fairy tales in the works of Palekh artists.
IV. Conclusion.
The beauty and originality of Palekh products
Purpose of the conversation:1. Introduce the guys to the art of Palekh.
2.Learn and consolidate the features of the Palekh lacquer miniature.
3.Fix in the memory of the children the visual image of the Palekh miniature.
Today we will talk with you about the art of unusual, fabulous. Its creators are artists from the small Russian village of Palekh.
If you see in a museum 1 or in a shop window a marvelous black-gloss box 1 2, a powder box, a brooch, a tray with a multi-colored sonorous pattern, which ends with a golden ornament, then you should know that this product was made in Palekh. And such craftsmen and artists live there, that the simplest episode of life turns into a fairy tale, whether it is the 3rd reaper in the field (A. Vatagin "The Reaper"), or the 4th meeting of the young at the well (I. Markichev "At the Well"), whether it be the expanse land of Palekh 5 (V. Knodov "Expansion") sung by the poet.
Why is Palekh famous? Where does it get its name from? Our task is to find out about this with you today. There are several versions of its name. Here is one of them. In ancient times (approximately the 14th century), Russian farmers fled from enemies in dense forests. In order to build housing in a dense forest, they burned down part of the forest and began to build Russian huts, strong, solid. The singed place formed the basis of the name of their settlement. Palenoyo - Palekh. The river was affectionately named Paleshka. And they began to equip in life. Farming made it impossible to feed the family. And the Paleshans began to paint icons.
This is difficult business. Days and nights, by the light of a barely smoking torch, icons were painted (reproduction of M. Klimanov “In the icon painter’s workshop”), but they were so good, 7 (an icon of the 18th century is being designed), that the tsar’s servants came here in remote places for orders. And then the best artists began to be taken away to the royal icon-painting workshops.
And in the 20th century, when the icons were almost not bought, the workshops closed, Palekh artists began to look for a new business. And they found it - this is a black-lacquer miniature 8 9: these are caskets, powder boxes, caskets, trays, women's jewelry.
The founder of the lacquer miniature 10 was Ivan Ivanovich Golikov (a portrait of I. Golikov by the artist N. Kharlamov is on display).
And now 12 in front of you is his Troika tray, where we see fabulously beautiful red horses that fly, scattering snow whirlwinds. The coachman got up and threw his whip high. With a flash of fiery cinnabar, the image cuts the black depth of the varnish, the golden mane of marvelous horses glistens. And the horses
Paleshans are always fabulous at work, with beautifully developing manes, shimmering with gold. Their movements are so fast that it seems the ringing of bells explodes the air.
You look at this fiery troika, and you seem to hear a Russian folk song:
"The troika rushes, the troika jumps,
Dust curls from under the hooves. The bell is crying loudly And laughing and ringing.
With the troika in Russia, a wide expanse is associated, the fun of bright folk holidays, the infinity of the roads of the vast Russian land.
Looking at this tray, you will easily remember what is the main thing in Palekh products:
1.They have a black background.
2.The image is given in bright, bright colors.
3.The bright colors are painted with gold, and therefore the works begin to shine, sparkle.
4.A gold ornament is applied around the image.
5.Finishing the painting, the artist puts his signature.
(The box from the fund is shown).
And now let's talk about how and from what boxes and other lacquer miniatures are made in Palekh.
Q. What material do you think the box is made of? Let's deal with you.
Each product of Palekh craftsmen is made of cardboard. But this is not one sheet of cardboard, but 3, 4, 5 or more (up to 30), which stick together and hold
under pressure. While these sheets have not yet dried to the end, they are shaped into a circle, oval, rectangle. Dried forms are impregnated with linseed oil and dried in an oven.
After linseed oil and the stove, this is already a material as strong as wood. 12 This is the box that comes to the artist. 12 The outer sides of the box are painted black. 12 Inside the box is painted red.
Now you have in front of you the artistic tools and items necessary for painting the box. These are brushes, paints, a magnifying glass, since there are often very small details that cannot be worked out without a magnifying glass, and a wolf's tooth, which is used to polish the gold applied to the product so that it shines.
When the drawing is applied, it is all worked out in white and the necessary paints of the drawing are already applied to the white color. This is done so that the colors sound bright, since the colors would go out on black, they would lose their bright color. Then gold is applied in the right places with the thinnest brush. To protect the paint layer, the box is varnished (7-8 layers). And it becomes very strong protected by varnish.
To make it clear how durable it becomes, here is one case from life. The Great Patriotic War was on. During the battle, our ship was lost, on which was the casket of Ivan Golikov from Palekh. And when after 25 years the ship was found and examined by divers, they saw: everything that was on the ship fell into disrepair: rusted, decayed, damp. Only one thing played with all the colors of the rainbow and pleased the eye. You probably guessed what that thing was?
And to make sure of this, listen to how the poet M. Levashov spoke about this event:
“The diver searched the holds And suddenly, rising, he shouted loudly: - Brothers, look! Here are those times... There is a box in his hand. 13
(The work of A. Kotukhin is projected)
On the lid: Vanya the Fool Clamped the pen, in front of him - the Firebird, the Casket. Palekh is not a deceit, And the inscription appears on the right: De Golikov Ivan wrote - Live alive his fun ...
He always lived in the world of fairy tales - Catching Russian lightning And gave us a year later The magical Firebird's Feather ... ”Neither water nor years spoiled the box. She turned out to be strong, like everything they do in Palekh.
Q: Why do you think the water didn't destroy the cardboard box?
(One of the aspects of the technology for creating Palekh products is fixed). And now look at 2 cardboard products made in Palekh. (Shows a cardboard box and a casket.) Q: - Tell me, does the 1st remind us of the feather of the magical Firebird? B;-A 2nd?
Q: - Why does the second box resemble a Firebird's feather. Remember how the feather of the Firebird is described in fairy tales? (Children's answers are summarized).
That's right, the cardboard products that the artists worked on, as if by a wave of a magic wand, turned into a miracle of art. And not only the native land, but the whole world gasped when, at the beginning of the 20th century, the work of the Paleshans, marvelous in beauty and originality, appeared. And when Palekh products appear at exhibitions abroad and in our country, they are always enthusiastically received, as they symbolize the bright, talented, brilliant art of the Russian people.
And now we'll see what topics Palekh artists reveal?
The topics addressed by Palekh artists are very different. One of the interesting and difficult topics is portrait art.
Let's see the portrait of Ivan Ivanovich Golikov already known to you in a work of Palekh art. The image of the pioneer of the Palekh miracle, the legendary Ivan Ivanovich Golikov, was created by many Palekh artists. Here is one of them.
14(The “Portrait of Golikov” by the artist G. Melnikov is being demonstrated).
Painted "Portrait of Ivan Golikov" Grigory Melnikov.
Golikov is shown in the process of creation. His gaze is directed into the distance, he is considering new plots. And now he is working on the Plowman box. Please note: the hand with the brush lies on a stand to make it easier to apply paint. The work is not finished yet. You remember, we said that the drawing is worked out with white paint so that the color sounds brighter. So far, only red has been applied: the torso of a horse and the clothes of a plowman. To the left of Golikov is a palette on which paints are mixed, to the right, in round jars of paint, flowers and ears of corn. Around scenes from his works. Ivan Golikov was very fond of listening to Russian open-air songs while working, he liked to have bouquets of wild flowers on the table. He peered into their rich color and transferred this color to his work.
Since he is working on the Plowman box, there are ears of wheat on the table. Their golden color will be woven into the color of the earth, the peasant's clothes and the horse's mane. (The casket of I. Golikov “The Plowman” is being demonstrated).
15Now in front of you is the work "Plowman" by Ivan Golikov. You see it completed. A black background is spilled over the box. The cinnabar color of the horse and the clothes of the peasant, worked out with gold, sparkle brightly. We see how difficult the work of a peasant walking behind a plow is and we admire the beauty of the image. And, as always in Palekh products, a golden ornament completes the miniature, which makes the colors play brighter and more sonorously. In addition to portraits, most often artists paint what surrounds them. And these are the topics: 16 peasant labor, 17 harvesting, 18 haymaking, 19 rest, 21 hunting, 22 Russian songs, 23 dances, 24 triples. (Demonstrated). All of them are taken from their own everyday life. But they were created so light and sunny that the soul rejoices looking at these creations.
Video sequence:
1.Markichev I. "Zhnitvo"
2.-//- "Agricultural work"
3.-II- "Return from work"
4.Kovalev A. "Festivities in the village"
5.Golikov I. "Deer hunting"
6.Markichev I. "Fox hunting"
7.Zubkova T. "A guy walks at sunset"
8.Vatagin A. "Dance"
9.Golikov I. "Troika"
The theme of protecting the Russian land was and remains the main one in the work of the Paleshans. 26 Warriors hurrying to the place of battle, we also see on the lid of the casket Kotukhin A. "The Tale of Igor's Campaign". The black sun overhead portends many losses.
In front of you is a box 27 28 Parilova N. “For the Motherland”. An episode is given on one side wall, where the priest, seeing off the soldiers, blesses them for battle, on the second, an episode of the battle is recreated.
We have looked at many works by Palekh artists, you have seen how many topics they cover. But fairy tales are especially fond of them. The processing of a literary, fairy-tale plot is in the blood of the Paleshans. They have a remarkable ability to translate a fairy tale plot into a pictorial language.
Since the 30s of the last century, the themes of A.S. Pushkin's fairy tales have become especially popular in Palekh art. They are immediately recognizable. But each artist has the same fairy tale sounds in a special way, in his own way. Now you will see 2 caskets and you will recognize the fairy tale of A.S. Pushkin, which is depicted by artists.
(The caskets of V. Mukhin and I. Zubkov on the plot “Tales of the Fisherman and the Fish” are being demonstrated).
Q: What is the difference between the images on these 2 boxes?
Lead the children to the fact that the first box contains one episode of the fairy tale: the meeting of the fisherman and the goldfish, and the whole fairy tale is reproduced on the second box. In the center of the composition is a dugout, in which “An old man lived with his old woman. At the very blue sea 30 years and 3 years. The old man fished with a net, the old woman spun her yarn.
How accurately the artist reproduces everything written by the poet.
Here is the first meeting of the old man and the fish, when he caught it with a net.
Here is a grumpy old woman got a new trough.
Here is a new hut.
So she became a pillar noblewoman and drags everyone for chuprun.
Here she is, the majestic queen ordered the servants to drive the old man away.
Here is the last meeting of the fisherman and the fish, when at the request of the evil old woman to become the mistress of the sea
“The fish didn’t say anything, Only splashed its tail on the water And went into the deep sea.”
The old man returned to the old woman
“Look again in front of him, a dugout, On the threshold sits his old woman, And in front of her is a broken trough.”
So evil temper and cruelty are punished in the tale of A.S. Pushkin. This is how a whole fairy tale came to life on the lid of the box thanks to the talent of the artist. Everything here is fabulous, because the masters of Palekh never spared a bright juicy color, flavored with golden shimmer and indefatigable imagination. After all, they knew that the things they made would serve people for a long time, so they should fill their hearts with happiness and joy.
Another box on the plot of A.S. Pushkin 31.
(Projected by D. Butorin "At Lukomorye").
If you look carefully, you can guess the name of the box.
After all, in the center you will see a tall oak, a golden chain on that oak, and a learned cat telling fairy tales, and Alexander Sergeevich Pushkin himself, who writes these tales on a scroll in order to tell us later.
Q: What is the name of the box?
Guys answer.
Yes, this is "At Lukomorye" - a fabulous introduction to the poem "Ruslan and Lyudmila".
Everything that Pushkin wrote passionately, Dmitry Butorin, in love with his guys, tried to depict on the box: and those miracles where
"Goblin wanders Mermaid sits on the branches", where
“Thirty knights beautiful in a series of clear waters emerge. And with them their uncle is sea.
A little higher is a hut on chicken legs, just like Pushkin's, "it stands without windows and doors."
And the following episode illustrates the words:
“In the dungeon there the princess is grieving, And the brown wolf faithfully serves her”
“There in the clouds before the people. Through the forests, across the seas, the Sorcerer Carries the hero.
“There is a stupa with Baba Yaga Going, wandering by itself. There, Tsar Koschey languishes over gold, There is the Russian spirit, there it smells of Russia. And for a long time I want to look at the works of Palekh artists, because every corner is a piece of jewelry, this is a true fairy tale.
Jewelry box 32 Zinoviev N. "Humpbacked Horse" also speaks of jewelry work. A huge fairy tale again fit on the lid of a small box.
In the foreground is the final episode of the tale, when Ivan the Fool passed all the tests, bathed in boiling milk and became a handsome young man, who is welcomed by the people for his resourcefulness, endurance and kindness.
The tsar maiden clasped her hands and looked at him lovingly.
If you look only at the foreground, where there are many, many people, you will see what different faces they are and each of them is dressed in clothes that are no longer repeated here. And each garment has its own pattern. And all this is Russian folk clothes. You will understand what kind of imagination an artist should have, how to work with jewelry to make it beautiful and interesting. This is where the magnifying glass is used, which we saw in the artist’s working tools and brushes, where there are only 9-12 hairs, in order to apply the drawing very finely with jewelry. And the registration of clothes, grass, trees and many other details with gold makes the work festive, fabulously sonorous.
And we conclude our meeting with Tamara Zubkova's casket 33 based on the story of A.N. Ostrovsky's fairy tale "The Snow Maiden".
This is a fairy tale about the all-conquering power of love, which melted the icy heart of the Snow Maiden. You see the earth filled with bright spring rays of the sun. Everything rejoices, rejoices in life. Only the Snow Maiden sits sad at the spinning wheel, with a spindle in her hands. On his knees in front of her - the enamored Mizgir scatters jewelry. But his love does not touch the Snow Maiden. Quiet, beautiful and sad she is in front of you. But on her head there is already a magic wreath, put on by her mother Spring. So a little more and love will come to her heart.
Again, pay attention to the characters and their clothes. All are dressed in Russian folk costumes. See how varied and interesting they are.
Pay attention to how beautifully Paleshians write trees, and in each fairy tale, fabulously beautiful towers sound.
Everything here is very Russian, because they write everything that surrounds them and surrounded their ancestors, and the landscapes and colors that sound in their boxes are inspired by the beauty of Palekh places: their fabulous winter 34 34 and summer 35 35 landscapes, the fragile tenderness of spring birches and 37 37 with lush gold of autumn polyphony. All this is transferred to their works and, of course, they talk about the beloved land of Russia, glorify its historical past, its nature, songs, epics, fairy tales, legends. And the visual language of their works is so bright that they remain in the soul of everyone who met them. This art is the pride of Russians and ours too, since quite recently Russia was our common homeland, since many of us are Russians. And wherever we are, Russia is close and dear to us, just like its art.
As one of the poets said:
“No matter what kind of fires we sleep, Wherever the winds hum loudly, All the same, we will dream of Palekh - a fabulous Russian box.”
The bright, talented art of Palekh is successfully developing today. To make sure you get acquainted with the exhibition of Palekh products from our funds, after fixing the material.
An illustrative example of working with high school students is the two-year cycle of lectures “Human Beauty in Art” at the Bendery Theoretical Lyceum. The compiled program determined the acquaintance of students with various time periods in the history of art and the features of the image of a person in the context of the era. The program is attached: Appendix No. 4.
The result of this educational process is that the guys from the 3rd lesson actively joined the conversation, demonstrating knowledge of the material, making logical conclusions.
The organization of this lecture hall became the reason for regular visits by lyceum students to the art gallery, their acquaintance with new expositions, and then, events in its halls: meetings with artists, a literary lounge dedicated to the memory of O. Sizova, a classical music concert held by students of the Pridnestrovian Higher Music College named after . A. Rubinstein, dedicated to the memory of S. Richter.
No doubt all this enriched their general educational level.
An example of an increase in the cultural and educational level is such a form of museum work as art discussion.
Art discussion on the topic: “M. Larionov. Expressiveness instead of pictoriality?
May 2011 Bendery
00 h. GU “RKG im. A.V. Losev"
Plan scheme of conduct.
Hall 6 houses a personal exhibition of works by Mikhail Sharak, dedicated to the 130th anniversary of the birth of M.F. Larionov (05/22/1881 - 05/10/1964);
-TV set, two armchairs, chairs.
Microphone.
A dispute in line with the relationship between classical and avant-garde art. Introduction.
In the development of Russian culture of the last century, 2 periods are clearly distinguished - from the beginning of the century to the 30s and the 30s-80s. The first two decades are the heyday of Russian art, especially painting and architecture. The Art Nouveau style profoundly changed the minds of the masters. The problem of creating new forms and expressive means was brought to the fore. The artistic life was turbulent and interesting: the exhibitions moved one after another, they caused heated discussions in the press, and many magazines were published.
New trends in European art - Fauvism, Cubism, Futurism, etc. - received brilliant development in Russia. Combining different styles, Russian artists created new and completely unique options. Another feature of this time is that Russian art finds serious connoisseurs in the West and European and Russian masters discovered each other and felt like a single creative whole.
In the 10s of the XX century. ancient Russian art was rediscovered, especially iconography attracted attention; the first works of abstract, boundless art appeared; then the ideological and administrative pressure of the state began to grow, and social realism was proclaimed the main artistic method as a variant of academic art.
This first period of art of the XX century. ended with the adoption in 1932 of a decree banning all independent art associations and the creation of a state system of creative unions. Forms of culture that fit within the framework of socialist realism were supported. Everything else could exist in conditions unrecognized or illegal. This intensified in the 1960s and 1970s, when the wave of the "underground avant-garde" was especially powerful.
Projecting the situation of the beginning of the last century into the first decade of the 21st century is largely impossible, however, there are similar historical coincidences, an increase in natural disasters, mystical phenomena, revolutionary events, civil wars and more.
We propose a conversation about the purpose of art, about the place of the creator in the life of society and about the relationship between classical and avant-garde art.
For artists and masters of art of Pridnestrovie, this is especially interesting. Being a province for such centers as Moscow or St. Petersburg, as Chisinau or Kyiv, we, due to modern means of communication and information, are not distant from topical issues and general development trends. And since May 22 is the 130th anniversary of the birth of the artist M. Larionov.
We offer you a personal exhibition of the director of the Children's Art School M.Yu. Sharaka "Radiant, radiant Larionov" and discussion in the following areas: "Creativity of Larion is relevant?", "Classical art is not relevant?", "Avant-garde is the future?".
Professor, Dean of the Faculty of Art and Architecture of PTU named after V.I. T.G. Shevchenko Nelli Valentinovna Okushko and Honored Artist of the PMR, teacher of special disciplines of the BCU, Valentin Nikolaevich Tyumin.
The opinions of these well-known and respected people in their professions are very interesting to us, but it is allowed to agree with them or argue. They are given the floor. Speakers:
1.Gerasimenko O.D., member of the Union of Artists of Transnistria;
2.Melnikova L.V., writer;
3.Rudenko M.I., Honored Worker of Culture of the PMR, member of the Union of Artists of Pridnestrovie;
4.Iovitsa E.F., member of the Union of Artists of Transnistria;
5.Rashunkina V., TSV correspondent;
6.Mosnichuk I.P., head. Department of DPI PTU;
7.Palamar A.A., Chairman of the Union of Photographers of Pridnestrovie; honored artist;
8.Polikarpova O.Yu., head of Department of SKD PSU;
9.Aksengor N.N., lecturer BCU disciplines;
10.Sharak M.Yu., director of the Children's Art School in Bendery;
11.Maryan M.N., director of the Children's Art School in Tiraspol;
12.Stukalo A.N., Chairman of the City Public Organization "Civic Position".
With his black square, K. Malevich metaphorically proclaimed the end of painting. The end of music was lithophorically expressed by Schnidke. But painting is alive and symphonic music is alive. Today, at the turn of the 20th and 21st centuries, they are experiencing turbulent transformations, changes, and even a new wave of interest.
The purpose of our art discussion is not only a tribute to the famous M.F. Larionov (the 130th anniversary of his birth will be celebrated by the artistic community on May 22, 2011), the purpose of our discussion is to raise questions about art criticism in the Pridnestrovian Moldavian Republic, about the development of education in the field of art and the search for ways of interaction between artists, art critics, viewers.
So the debate about the classical and the avant-garde is always relevant and continues, in the very field of fine arts, in the work of artists, in the work of teachers, art historians, museum workers, and journalists.
Project "Magic Workshop"
It is impossible not to pay attention to the form of work with younger schoolchildren, tested for the first time this year - the Magic Workshop Project, the presentation of which took place on February 19, 2011. After the school holidays, on October 8, the Project continued its work. Its participants are children from 5 to 10 years old.
Objective of the project.
From a young age, introduce children to art, which has a creative, transformative power.
-in an entertaining way to teach children to know the world;
-develop associative thinking and creative imagination;
-arouse interest in creativity and teach children to see, feel and reflect the surrounding reality.
From the new academic year, the leading employee introduces questions of the history and theory of art into the lesson. Children enjoy the material.
The leading psychological and methodological techniques are used:
The word of the teacher;
Video sequence;
A game;
-creative work;
-demonstration of the cartoon;
-inspection of the created works.
Plan-scenario of the lesson in the "Magic Workshop" for October 8, 2011 Topic: "Space fantasies"
-development of associative thinking and creative imagination;
-survey study of the foundations of art history;
-motivation for visual activity.
Technical means:
-paper, pencils, erasers, crayons;
-video about rock art of the primitive period;
-visual aids, in the form of "live" drawings, spacecraft, an image of an astronaut and our planet;
-production of individual badges "Astronauts" - a symbol of this lesson.
Lesson plan.
1. Introduction toguys and handing each badge - "Astronaut" with his name. / 5 min.
2.Congratulations on City Day and International Space Day./5 min.
3.Creation story RKGthem. A.V. Losev and her 40th anniversary./5 min.
4."Space guests" get acquainted with the rock paintings of primitive artists.
5.Drawing a primitive horse./15 min.
6.Watching the m / film based on Kir Bulychev "The Secret of the Third Planet". / 10 min.
7.We draw a flying spacecraft. /10 min.
8.Games: "What piece is superfluous", and "Find five differences." /5 minutes.
9.Express Exhibition. /5 minutes.
10.Homework.
Course progress.
Greetings.
To facilitate the process of getting to know the guys during joint creativity, each is given a badge-symbol of this lesson, “astronaut”, on which his name is indicated (surprise element).
2.Congratulations on the Day of your native city, which happily, and for good reason, coincided with World Space Day. All countries and peoples live in one house, whose name is planet Earth. It was here, from outer space, that the long-awaited "astronauts" arrived.
3.But the surprises for the "astronauts" are just beginning.
"The story of how the art gallery appeared on Earth." A long time ago, when, no one knows anymore, it turned out that one Wizard, the patron of the arts, involuntarily overheard a conversation that very famous paintings were having among themselves. It’s even hard to believe that they lived in different countries, some in the palace, and some in a damp basement. They lived differently, but were unhappy in the same way. They didn't have an audience. -Here, books have a home where they come for them, where they are known and loved - this is a library! said one picture.
And music and ballet have acquired their own home, where the audience even applauds them - this is a theater, - the world masterpiece picked up the conversation, - but who will take care of us and bring our audience to us?
The magician took pity on the beautiful canvases, and created a house where paintings live, and it began to be called art gallery!
Do you know, dear “astronauts”, that exactly 40 years ago an art gallery appeared in our city. It was created by an amazing person - a magician, Losev Alexei Vasilievich, whose name our Republican Art Gallery bears.
After the lesson, you can walk through the halls of the gallery and get acquainted with the works that were the first to settle within these walls.
Dear "astronauts", our "Magic Workshop" is waiting for you with new surprises.
Do you think that people, even primitive ones who lived on Earth a very, very long time ago, always knew how to build houses like ours?
No, they lived in caves, hunted, and just like us, looked at the starry sky, dreamed and drew.
(DVD) Viewvideo sequence of rock paintings by prehistoric artists. How interesting! It turns out that primitive artists turned their cave dwellings into real art galleries! What you will not see in the drawings: mammoths, bison, antelopes and, very beloved by us, horses!
5.And how to draw a horse, we will now see.
On a sheet of paper, in front of the children, the teacher draws a horse, deliberately simplifying and comparing the design with simple banana shapes.
Do any of you guys know the name of the first artist on earth?
And no one will ever know! We, unfortunately, will never know who it was, what age, man or woman, adult or child. But we know that the most ancient and invariable tool of any artist is his (raise our hands, palms to the light), and, in chorus - HANDS!!!
Well, the first artists drew with pieces of coal from a fire, clay and earth, so I also drew my horse with a piece of coal, and you with simple and colored pencils.
We draw a horse like primitive artists. We depicted wonderful horses on our leaves! You seem to have become the first artists yourself!
6.(DVD)Viewing an excerpt from m / film a based on the novel by K. Bulychev "The Secret of the Third Planet".
7.- "Space" guests, isn't it time for you to draw your spacecraft, on which you flew to us, to the "Magic Workshop"? (the stand demonstrates “live” drawings of various spaceships. The teacher immediately, at the easel, draws any model chosen by the children, again simplifying its construction (ball, oval, etc.)
Thanks a lot! Now we understand what kind of ships real astronauts travel in time and space!
8.-Although you came from different planets, But all children are united by a great love for the game.
Take a look at these two astronauts I drew. I tried to portray them the same, but what messed up. What exactly? (game "Find five differences").
If you managed to get from space to our city, then you are very good at reading space maps. Before you lie parts of the map of the Earth, but one of them is superfluous.
Which? (game "What piece is extra").
A signal from outer space tells us that it's time for you to continue your journey in the ocean of space. Let's hurry up, like the real artists of the planet Earth, to arrange an exhibition right on the floor and sum up today's journey into the world of the first artist. Art Gallery, "Magic Workshop" thanks you for your courage and creativity! We ask you to save your badges, because exactly in a week, we will have a new journey through the country of art, and your "astronauts" will give way to new badges. And those of you who collect the entire set of badges, which means they take our classes seriously, will be awarded a prize at the end of the year!
: But so that you do not have time to get bored at home, we invite you to take part in the competition “draw a portrait of the Lady of the Art Gallery”, dedicated to the anniversary of our gallery. The best portrait will also be awarded a prize at the final exhibition of our creativity! -Happy journey and see you soon!
It is important that children see the results of their work weekly at impromptu exhibitions, which mobilizes their creative forces. The materials are attached (Appendix No. 5 (poster, visual aid to the topic, game moments)).
For a deeper knowledge of the fine arts, master classeswith artists, masters of decorative and applied arts.
This form of work is musical, theatrical, poetic and literary living rooms,which are held in the art gallery with the participation of members of the Union of Artists, the Union of Writers, the Union of Designers, the Union of Theater Workers, performers of state professional groups, famous artists, are designed to promote the development of Pridnestrovian art and the interaction of different types of creativity.
The hallmark of the museum are its publications. They contain information about the republican art fund, about exhibitions, about masters of fine arts. Presentationalbums, catalogs, booklets has become a tradition.
The discussions of exhibitions held in the 1970s and 1980s were transformed into art discussions, round tables, conferences, symposiums. Application No. 6.
A special form of popularization of art, aesthetic education and enlightenment is work with the media.A cycle of television programs "Easel" (BTV), news stories about vernissages, symposiums "Tiras - Plein Air", about new projects "Magic Workshop", "Saturday Lecture Hall", about the latest receipts, about the results of the State Target Program "Preservation and Development of Museum Institutions of the PMR for 2006-2010” and others (TV PMR, TSV, BTV), radio materials and articles in newspapers contribute to the development of museum work in the PMR.
Summing up, it should be noted that over 40 years of work, the art gallery has accumulated rich experience in cultural and educational work, as evidenced by the material of this term paper. The tasks of the gallery at the present stage are to improve the tested forms and to search for new effective forms.
Conclusion
I believe that in order to improve the efficiency of the cultural and educational work of the art gallery, it is necessary:
-search and introduction of new creative projects;
-creation of a permanent contingent of young museum visitors;
-formation of an asset from teachers, parents, students, members of children's circles, students;
-conducting sociological research with the aim of cooperation between the art gallery and the school and family;
-to intensify the organization of exhibitions of children's creativity and meetings of young viewers with artists at the art gallery;
-involvement in the museum activities of young professionals - graduates of the GTGU. T.G. Shevchenko, BHU city of Bendery and other institutions with a profile education corresponding to an art museum.
Bibliography
1.Cultural and educational activities of museums: Sat.tr. IPRIKT. M., 1997
2.Museum and school. Sat. scientific Proceedings. M., 1986
3.Museum business. Museum - culture - society. M., 1992. Issue. 21.
4.Stolyarov B.A. Pedagogy of the art museum from the origins to the present. SPb., 1999
5.Gnedovsky M.B., Dukelsky V.Yu. Museum communication as a subject of museological research // Museum business. Issue. 21. Museum - culture - society. M., 1992
6.Gnedovsky M.B. Timely trends in the development of museum communication in capitalist countries: theory and practice. M., 1986
7.Yukhnevich M.Yu. "I'll take you to the museum", a textbook on museum pedagogy. M., 2001
8.Navozov A. "Palekh miracle", M., "Soviet Russia", 1976
9.Nekrasova M.A. “The art of the ancient tradition “Palekh”, M., “Soviet artist”, 1984
10.Kotov V.T. "Palekh", Kran, "Gorenski vice"
11.Kosolapoe P. "Palekh - the village of crafts in the USSR", m., "Progress", 1977
12.Nosik B.M. "Art crafts of the USSR", M., "Planet", 1987
13.Zinoviev N.M. "Stylistic traditions of Palekh art", Leningrad, "Artist of the RSFSR", 1981
14.Rodnin K.D. "60 Days in China", Chisinau, "Timpul", 1963
15.Vasilyeva N.A. “A.A. Vasiliev, Chisinau, Timpul, 1968
16.Shvedov I. "Alexey Aleksandrovich Vasilyev" (Literary portrait), Chisinau, "Cartya Moldovenyaske", 1969
17.Shabardina T.K., Vasilyeva N.A. “A.A. Vasiliev, Chisinau, Timpul, 1968
One of the most important functions of the museum - educational - is carried out through cultural and educational work.
The educational activities of our museum are diverse in terms of the forms of organization and conduct. The forms of this work can be divided into main categories: traditional (excursions, lectures) and public events.
A museum tour is a “collective tour of a museum by visitors grouped into tour groups”. The museum organizes sightseeing, thematic and educational excursions.
Sightseeing tours are held throughout the museum's exposition and aim to familiarize visitors with the museum in general. The sightseeing tour is of a general educational nature.
Thematic excursions that are held in the museum are distinguished by a clear thematic certainty in terms of chronology and content, they are devoted to a specific issue. Therefore, they are held not throughout the museum, but based on the materials of one of the halls or a specific section of the exposition. Thematic excursions for their intended purpose are educational in nature. The guides of the museum have compiled and are conducting the following excursions: “Sivaya memory of the day”, “The war has passed our land”, “Valozhynshchyna today”, “Hour and we”, “Living memory” and others.
Excursions of an educational orientation are intended to expand the knowledge that students received according to the curriculum at the lyceum, to concretize them on the basis of genuine monuments - museum objects. Such are excursions in history (the topic is “The Great Patriotic War”), on the course “Man. Society. State” (topic “Man in the system of market relations”), etc.
Study tours are very diverse in form. These are lessons-excursions conducted at the exposition by a guide or the teacher himself, and excursions-seminars with the performance of the audience.
The development of excursions in our museum is carried out by students from the group of guides. The main source of the contents of the excursion is the exposition and museum items.
The museum tour route is based on three principles - chronological, thematic, thematic-chronological.
For example, the route of the sightseeing tour is based on the chronological principle, and the route of the thematic and educational excursions is based on the thematic principle.
the purpose of the excursion, the significance of its topic, are called the main questions that are revealed during the excursion. At the end, general conclusions are given.
on the topic of the tour.
In addition to excursions, lectures are held in our museum. They differ from excursions in the purpose and presentation of the material. The main goal of the museum lecture is to convey theoretical material to the audience, illustrating it with museum objects. Successfully passed lectures under the general title “I know that I would only be here…”
- “Architecture of Valozhynshchyna”,
- “Reminders of history and culture of the city of Valozhyn”,
- “Navuchalnya stanovy of the city of Valozhyn”,
- "The Formal Succession of the City".
The most diverse and multifaceted in the form of holding are mass educational events. These are evenings devoted to a certain topic or any events, dates, anniversaries, meetings with interesting people, quizzes, performances. So, during 2008-2009. The following events took place on the basis of our museum: round table “It’s scary to remember, and it’s impossible to forget”, a lesson of courage “Memory of the heart”, a historical quiz “The struggle for Belarus”, an oral magazine “Flipping through the pages of wartime”, a literary and musical composition “By the ways of war”, a literary drawing room “In memory people forever” and others.
stock work
The collections of our museum consist of the main and scientific auxiliary funds. All materials stored and exhibited in the museum constitute the fund of the museum.
The most valuable and most important in quantitative and qualitative terms, part of the museum collections - main fund. This includes only authentic monuments of history and culture that have the status of a museum object. This
exhibited in the museum and real archaeological materials obtained as a result of excavations, as well as random finds: tools, product samples, weapons, household items and clothing, numismatic materials: coins, seals. Of great interest to museum visitors is the weapons of the Great Patriotic War (bayonets, shells, cartridge cases from shells and rifles, etc.)
Available written museum items of the following types: handwritten and printed institutional and personal materials (testimonies, diplomas, letters, memoirs, certificates, party, Komsomol, trade union tickets), periodicals and non-periodicals, books, leaflets. In the funds of our museum there are personal testimonies "Ausweis, the Red Army book of the times of the war,
fine museum items are works of decorative and applied art: graphics, painting, sculpture, posters, etc., photographs. Of the audio recordings, the museum keeps audio cassettes with memories of veterans of the Great Patriotic War, documentaries about the war.
In addition to the main one, the museum has auxiliary a fund, which is a complex combination of various materials that do not have the status of a museum object. These are materials produced by the museum for exposition and propaganda work.
Legal documents in the museum are acts of receipts, acts of issue, books of receipts.
Accounting has two goals: ensuring the safety of the object itself and its scientific protection, that is, ensuring the safety of the available information about
A museum is an institution engaged in collecting, studying, storing and exhibiting objects - monuments of natural history, material and spiritual culture, as well as educational and popularization activities. Funkts M: exposition and exhibition; excursion; research and educational. Cult-forming activity is one of the main activities of M, the theoretical basis of which is museum pedagogy - teaching regionals. history by means of a museum object will form activities. The forms of cult-educational activity of M are diverse: excursions (survey, thematic, historical, architectural and urban planning); museum lessons; scientific conferences.
Types of museums - scientific and educational, research, educational.
One of the most important categories of classification is the profile of the museum, that is, its specialization. The fundamental feature of the classification here is the connection of the museum with a specific science or art form, technology, production and its branches. This connection can be traced in the composition of the museum's funds, in the subject of its scientific, expositional, cultural and educational activities.
Museums of the same specialization, that is, of the same profile, are combined into specialized groups: natural science museums, historical museums, art museums, architectural museums, literary museums, theater museums, music museums, museums of science and technology, industrial museums, agricultural museums, pedagogical museums . Depending on the structure of the profile discipline or branch of knowledge, these main profile groups are divided into narrower ones. historical museums are divided into:
General history museums (broad profile); (State Historical Museum in Moscow);
archaeological museums; (archaeological museum-reserve "Tanais");
ethnographic museums; (Russian Ethnographic Museum in St. Petersburg);
military history museums; (Central Museum of the Great Patriotic War 1941-1945 in Moscow);
Museums of political history; (Museum of Political History of Russia in St. Petersburg);
Museums of the History of Religion; (Museum of the History of Religion in St. Petersburg);
Museums of history and everyday life, recreating or preserving a picture of the life of various segments of the population, while, unlike ethnographic museums, they document not ethnic, but socio-psychological features of life, which are most clearly manifested in the interiors of dwellings; (Museum of urban life "Old Vladimir");
Monographic museums dedicated to a specific person, event, institution, team; (Museum of G.K. Zhukov in the village of Zhukovo, Kaluga Region, Leningrad Defense Museum);
Other historical museums; (Museum of the History of Moscow, Museum of the History of the Political Police of Russia in the 19th–20th centuries in St. Petersburg).
Artistic museums are divided into:
Museums of fine arts (national and foreign); (Russian Museum in St. Petersburg, Museum of Fine Arts named after A.S. Pushkin in Moscow);
Museums of decorative and applied arts; (All-Russian Museum of Decorative, Applied and Folk Art in Moscow);
Museums of Folk Art; (Museum of Folk Art of the Research Institute of the Art Industry in Moscow, Museum "Vyatka Folk Art Crafts" in Kirov);
Monographic; (Museum-estate of I.E. Repin "Penates", Museum of frescoes of Dionysius in the village of Ferapontovo, Kirillovsky district, Vologda region);
Other art museums.
Natural Science Museums are divided into paleontological, anthropological, biological (broad profile), botanical, zoological, mineralogical, geological, geographical and others.
There are museums whose collections and activities are related to several scientific disciplines or branches of knowledge. They are called complex museums. The most common among them are local history museums that combine at least historical and natural science specialization, because their collections document not only the history, but also the nature of the region. They often create artistic and literary departments, which further complicates their profile.
They also have a complex profile ensemble museums created on the basis of architectural monuments, their interiors, the surrounding area and various structures. Depending on the nature of the ensemble, they can be historical-artistic, historical-architectural, historical-cultural museums. Architectural and ethnographic For example, the Kostroma Museum of Folk Architecture and Folk Life has a profile; one of the largest museums in the Moscow Region, New Jerusalem, has a historical, architectural and artistic profile.
The development of science, technology, art, culture leads to the emergence of new specialized groups. For example, the invention of scuba gear in the 1940s. laid the foundation for the emergence of underwater archeology. The results of underwater excavations, combined with the development of new technologies in the field of restoration and conservation of wet wood, led to the emergence of a new profile group among historical museums - museums of underwater archeology. In their collections there are skeletons and fragments of ships, cargoes and various objects raised from the depths of the sea. The most famous among the museums of this profile group are the Vasa Museum in Stockholm, where a Swedish warship of the 17th century is exhibited.
Along with the profile classification, a typological division of museums that does not coincide with it is also used. There is a typology based on the public purpose of museums, according to which they are divided into research, scientific and educational and educational.
Research museums operate at research institutes and academies of sciences, which usually include them as structural units. Their funds are used for scientific purposes, and expositions are primarily aimed at specialists. An example of this type of museum is the Scientific Museum of the Institute of the Brain of the Russian Academy of Medical Sciences or, for example, the Museum of Extraterrestrial Matter at the Institute of Geochemistry and Analytical Chemistry of the Russian Academy of Sciences (Moscow).
The most common type is scientific and educational museums. They are also engaged in research work, but since they are focused on the mass visitor, their funds are widely used for cultural and educational purposes. In their activities, much attention is paid to the creation of expositions, exhibitions and various cultural and educational events. These are, for example, the Polytechnic Museum and the Museum of Fine Arts. A.S. Pushkin in Moscow; Hermitage and Museum of Anthropology and Ethnography in St. Petersburg.
Main purpose training museums - to provide visibility and objectivity to the process of education and training. This type of museum exists mainly at various educational institutions and special departments - the Museum of Forestry. G.F. Morozov of the St. Petersburg Forestry Academy, the Museum of Decorative and Applied Art of the St. Petersburg Higher Art and Industrial School. In addition to the traditional tour display, educational museums widely use specific forms and methods of working with collections: demonstration of individual museum objects at lectures, scientific description and processing of field research materials during practical classes, copying of works of fine art. In some cases, the funds and expositions of educational museums may not be available to the general public. Such, for example, are some museums of criminalistics of the system of the Ministry of Internal Affairs.
The typology on the basis of the public purpose of museums is rather arbitrary, and there is no hard line between these types. Scientific and educational museums are used in the educational process, and their collections are used for scientific purposes. Many scientific and educational museums are visited not only by students and specialists, but also by the general public.
There is another typology of museums, according to which collection-type museums and ensemble-type museums are distinguished. It is based on the division on such a basis as the way museums carry out the function of documentation. Collection type museums build their activities on the basis of a traditional collection of material, written, pictorial materials that correspond to their profile. Thus, they carry out the function of documentation by completing and preserving the fund of museum objects. At the core of activity museums of ensemble type there are architectural monuments with their interiors, adjacent territory, natural environment. They perform the function of documentation by preserving or recreating the ensemble of immovable monuments and their surroundings. The most common forms of this type of museums are open-air museum, palace-museum, house-museum, museum-apartment, museum-workshop.
Among open-air museums, there is a special group of museums that are created on the basis of immovable monuments, museumified at their location with the preservation or restoration of the historical, cultural and natural environment. Due to their special value, they have the status reserve museums, for example, the Kirillo-Belozersky Historical, Architectural and Art Museum-Reserve, the Borodino Military Historical Museum-Reserve.
A special typological group is formed by memorial museums created to perpetuate the memory of outstanding people and events. Memoriality is sometimes erroneously confused with the profile of the museum, although it is in no way related to the characteristics of the profile classification.
The concept of "memorial museum" has undergone significant evolution during its existence. Based on the etymology of the word, to memorial museums in the 1920s - early 1960s. included all museums dedicated to outstanding figures and historical events, even those that were created in places not associated with these people and events, and which did not have memorial items in their expositions. Later, by the efforts of researchers
A.M. Razgona and S.A. Kasparinskaya, a different meaning began to be invested in the concept of "memorial museum". The authenticity of the place began to be considered a necessary component of memoriality: a memorial building, where the memorial environment in which a person lived or an event took place is preserved or recreated on a documentary basis. Such an understanding of a memorial museum, the necessary criteria of which are a memorial building or place, a collection of memorial objects and a memorial and everyday exposition, was fixed by the “Regulations on memorial museums of the system of the Ministry of Culture” (1967). As for the profile of the memorial museum, it is determined by the content of the event or the nature of the activity of the person to whom it is dedicated.
The typology on the basis of the implementation of the function of documentation is also to a certain extent conditional, since collection museums can be located in architectural monuments preserved in historical integrity (for example, the Hermitage), and ensemble museums do not limit their activities only to the preservation of architectural monuments, but also create specialized collections.
Both profile classification and typology are aimed at identifying groups of comparable museums. This makes it possible to coordinate the work of museums of the same profile or of the same type, to identify the patterns of their development, and to contribute to the greater efficiency of museum activities in general.
The classification of museums may be based on an administrative-territorial feature.
According to their affiliation (legal status), museums are divided into state, public and private.
State museums are the property of the state and financed from the state budget. Most of them are under the jurisdiction of the Ministry of Culture of the Russian Federation. At the same time, there is a significant group of state museums that are not subordinate to the cultural management bodies, but to various ministries and departments, solving the tasks set by them. These are the so-called departmental museums; they are financed from the state budget through the Ministry of Finance and relevant departments. Their examples are: Zoological Museum of Moscow University. M.V. Lomonosov, which is under the jurisdiction of the Ministry of General and Vocational Education; Central Museum of Railway Transport of Russia of the Ministry of Railways (Petersburg); Medical Museum of the Russian Academy of Medical Sciences, Military Medical Museum of the Ministry of Defense (Petersburg). A significant part of the departmental museums is under the jurisdiction of the Russian Academy of Sciences: 51 museums as of 1998. Among them are world-famous museums - the Museum of Anthropology and Ethnography. Peter the Great "Kunstkamera", Mineralogical Museum. A.E. Fersman, Paleontological Museum. Yu.A. Orlov, Literary Museum (Pushkin House).
Category public Museums include museums created on the initiative of the public and operating on a voluntary basis, but under the scientific and methodological guidance of state museums. Public museums are funded by the institutions under which they were created. Until 1978, the term "people's museum" was used in the meaning of "public museum". The tradition of creating public museums began to take shape in Russia at the turn of the 19th–20th centuries; museum construction gained momentum in the 1920s. in connection with the rise of the local lore movement and work on the creation of "chronicles" of factories and factories. However, in 1941, only about 10 public museums retained their status. The modern network of public museums began to form in the second half of the 1950s, and as of January 1. In 1990, there were 4373 museums in it, operating on the territory of 26 republics, territories and regions of Russia.
In n. 1990s changes in the socio-political and economic life of the country led to a significant reduction in the network of public museums. Museums of revolutionary glory, Komsomol and pioneer glory, military and labor glory were closed; museums dedicated to the leaders of the communist party. But at the same time, such museums began to appear, the creation of which was previously impossible for ideological reasons - the museums of A.A. Akhmatova, M.I. Tsvetaeva, B.C. Vysotsky. In 1994, the cultural authorities supervised the activities of about 1000 public museums.
In the last decade of the past century, conditions began to develop in Russia for the revival private museums, that is, museums based on collections owned by private individuals, but available for study and inspection. In the early 1990s museums of this kind were created in Moscow (Museum of Nature), Yaroslavl (Museum of Russian Antiquity), Irkutsk (Mineralogical Museum) and other cities.
In 1993, the first private art museum, the Russian National Museum of Art, was registered in Moscow. Its funds contain works of Russian and Western European painting, sculpture, graphics, and decorative and applied arts. In order to acquire outstanding works, the museum is actively engaged in exhibition activities and regularly holds auctions, where it exhibits individual items from its collection. Due to the sale of works that are quite worthy, but do not fit into the concept of the museum, it has the opportunity to constantly update and improve the collections. Funds received at the auction allow you to make valuable acquisitions, some of which are worthy of the largest state museum collections.
