IV. Methods of depicting reality

Origin of art.

The most ancient of works of art familiar to us date back to the late Paleolithic era (twenty thousand years ago BC). The desire to understand one’s place in the world around us is revered in the images that were brought to us by engraved and painted images on stone. These stones were located mainly in Burdel, El Parnallo, and Isturitz. Also widely known are the Paleolithic paintings and petroglyphs (images carved, scratched or carved on stone) of the caves of Lascaux, Altamira, Nio, rock art North Africa and Sahara. Before the nobleman Marcelino de Southwalla discovered paintings in the Spanish cave of Altamira in 1879, there was an opinion among ethnographers and archaeologists that primitive man was completely devoid of spirituality and was only engaged in searching for food. Individual scientists before today take a rather simplistic approach to assessing the images of primitive artistic creation. However, already at the beginning of the century, in England, a researcher primitive art Henri Breuil spoke of a true "Stone Age civilization". He was able to trace the evolution of primitive art from the simplest spirals and handprints on clay through engraved images of animals on bones, stone and horn to multi-colored paintings in caves across vast areas of Europe and Asia. Henri Breuil is an adherent of the magical theory, according to which all frescoes, figurines and engravings should be perceived as objects of worship, directly combining them with the need to lure animals to hunting grounds.

About 4 thousand years ago, another thing happened in the evolutionary development of man watershed event- discovery of metals by people, the beginning of their processing. Copper became the first metal used by humans to make tools because it was easier to mine. Later, man began to mine and extract other metals from ore, including tin and lead. By fusing copper with tin, man created the first metal that does not exist in nature - bronze. The Celtic cultures that dominated Europe before the Roman conquest made extensive use of bronze and other metals, using them to create their own decorative traditions.

The emergence of art is directly related to the development of society and human living conditions. Society developed, culture developed, more and more new types of art emerged, inextricably linked with the way of life of a person.

Ways to reflect reality in art.

Art itself is a way of reflecting reality. There are two main ways of reflecting reality in art - realistic and conventional. In art, these ways of representing reality are always present. They can exist either in parallel, or one of them will be considered the leader. Realistic art is not just an ordinary copy of reality. Artistic images of the realistic method represent life as if in a concentrated form, focusing significant for a given cultural era characters, events, feelings, ideas, problems. Conventional art provides more opportunities to expand and interpret the content of artistic images. Such art can be symbolic.

IN European culture The art of the Middle Ages was largely conventional, symbolic: pictorial and sculptural images, far from plausible, served religious ideas, the triumph of the spirit over the physical. This is why the sculptures of Gothic cathedrals are so conventional, the figures are usually hidden behind the folds of clothing.

Realistic art reads well in rock art primitive man, it seems to convey reality modern world in which man exists. Reveals his present, without embellishing, and without overthinking.

Art masters and expresses reality in an artistic and figurative form, this is what allows it to be distinguished from all other types human activity. An artistic image is not just external resemblance with reality, and manifestation creative attitude to reality, a way to add certain colors to real life.

Impressionistic ways of depicting reality in Nikolai Khvylovy’s short story “Puss in Boots”

Volnova, after V. Stefanik and M. Kotsyubynsky, created his own style in Ukrainian writing, a unique kind of lyric-romantic, impressionistic short story. One of the writer's short stories, "Puss in Boots", although based on a realistic foundation - the difficult years of the civil war, contains a powerful lyrical-impressionistic stream. In this short story, realistic events are presented as if through the prism of an impressionistic perception of reality.

In order to analyze the short story “Puss in Boots” from this point of view, let us briefly recall the essence and aesthetic principles impressionism.

Impressionism - artistic movement second in art half of the 19th century- beginning of the 20th century Although it arose among artists, the principles of impressionistic images quickly environment moved into literature. Writers have tried gracefully, through artistic details convey subjective instant and changing impressions of something and the slightest shades from observations of the surrounding reality. And it is in constant flux. Consequently, the task of the impressionists was to “catch” and capture a unique moment of impression from an object, landscape or other. The works, like canvases earlier, were painted with strokes of detail, which is expressed in sound, visual, tactile micro-images or its elements. Dynamism, processuality, mystery, and transcendence into eternity are the features of the impression image.

In my opinion, the image of “Puss in Boots” - Comrade Zhuchka - also has such features. The short story “Puss in Boots” can be analyzed in three aspects: specific issues; compositional organization; visual arts.

One of the most important problems This short story deals with the problem of the discrepancy between dreams and reality. M. Volnovoy, as an impressionist, tries to depict the arrival of the desired happy future through the humanity and spontaneity of a comrade

Zhuchka, depicts Zhuchka's personal time by moving away from historical time, but inexorable reality shows the true state of affairs.

And from here there are two time plans: an imaginary future (or an alluring past) and an unsightly present contrasted with it.

Dream: “...the beginning is October, and the ending is solar age, and we are moving towards it.” Reality: the decline of moral principles in society over revolutionary years; lack of fuel and much more; unsolved national question(Russians and Ukrainians); the truth about Comrade Bug.

If we try to determine the composition of the novella, we will come to the conclusion that it is missing. More precisely, there is no classical composition with a plot, development of action, denouement, but there are individual plot strokes. And this directly indicates the impressionistic nature of the composition of the work. The author of the novella himself warns: “But you won’t get a resolution from me... A denouement in guitar poets...” What strokes can you see in the composition of the novella? I think there are five main ones: the image of Comrade Zhuchka; Civil War, freight train; chance meeting lyrical hero with comrade Zhuchko at the end of the war; "discussion"; the truth about Comrade Bug. These strokes have little direct connection with each other, but if you look at them all together at one glance, you get a more than relief picture of this time. You can even make a forecast of the development of society based on these facts.

As for the impressionistic nature of visual means, there are many of them. Let us give just a few striking examples.

How does the author of the novel portray his main character? The non-impressionist would begin to do this descriptively. M. Volnovoy does it differently: he doesn’t seem to say anything directly about the person, but we get a certain impression: “Gapka is deaf, we are not Gapka, but Comrade Zhuchok. This is true, otherwise it’s deaf.” Or: “But embroidering is bright, because embroidering: embroidering with gold or silver,” “Embroidered - fragrant word, as there is fall in September or grass in the hay - grass when the spirit goes with it at the floodplain sedge. The author uses unusual associative and instant images to depict Comrade Zhuchka: “Puss in Boots”... warm and close, like Nya’s hand with a blue vein, like a transparent evening in the chervonets of autumn.

Next example. M. Volnova depicts all the storminess only with naming sentences and sound-inheriting words For long years war: “Cry! Cry! Cry! Goo! Goo! Bang! Bang!

Cry! Cry! Cry! East. West. North. South. Russia. Ukraine. Siberia. Poland. Turkestan, Georgia. Belarus.

A month, two, three, six, twelve... more, more, more... Goo! Goo! Bang! Bang!

The months rushed by."

Where have the “puss in boots” - comrades Zhuchki - gone? Because “Comrade Bug No. 1 is not there.” Instead - No. 2, 3, 4, etc. Maybe she died during endless wars, maybe she turned, in the words of M. Khvylovy himself, “into the world’s scum,” or maybe she became an ordinary bureaucrat. But the author remembered the unique image of Comrade Zhuchka forever.

Artistic and expressive means of painting includecolor, stroke, line, spot, color and light contrast, coloring, shape, composition, texture.

Color. Every living and inanimate object has its own color. Just like color, lighting plays a huge role. The effects of color, location in space, air condition affect color. The beauty that we admire and love is the colorful richness of reality, or otherwise color.

The artist conveys with the help of color, color sensations, color combinations, harmony of cold and warm colors all the variety of moods and feelings. And to relate to them is joy, anticipation, anxiety, sadness, tenderness.

Brushstroke in painting - a trace of a brush with paint left by an artist on canvas, paper, cardboard. The technique depends on the individual style of the artist; it is very diverse.

Line and spot – a clear outline of a specific object on the canvas with paint. A spot is a tonal, silhouette image of an object. For example, to better understand this expression, let’s look at a spot - a snowy spruce against the background of the distant sky. Or a hill in the dark night sky. It is easier to imagine a line by looking at any painting. Clear lines outline the shadow of one or another object, enhancing feelings of sadness or joy.

Color and light contrast in painting, an example is the sharply highlighting the light and dark relationships of spots and areas of the picture.

Color - a system of color tones, their combinations and relationships in a work of art.

Texture - the surface of the paint layer of a painting: glossy or matte, continuous or discontinuous, smooth or uneven.

Composition – the arrangement of all objects, elements and parts of the work in a certain system and sequence for a better disclosure of the artistic image.

Here we will look atshape and design (structure) of an object, we will see artistic and expressive means -tone, stroke, line.

The shape of objects is determined by outline, contour, silhouette. In simplified form - square, triangle, circle, rectangle. Each item in a simplified form is similar to geometric figure. For example, a ball is round, a TV is a rectangle, a clown’s carnival cap is a triangle.

Design (structure) of objects - the basis of the head start, the framework of the structure of objects. The design of each object is one or another geometric body. Geometric bodies - cylinder, ball, cone, parallelepiped, cube, pyramid. Very often, looking at an object, we see that it has several geometric bodies. In drawing there is a method of drawing, or it is more often called “draft”, when you draw its structure, design, which are not visible to our eyes.

Silhouette in fine art (graphic technique) is a type of graphic representation of an object. This is a monochromatic, flat image of an object. Usually, silhouettes are drawn with ink on a light background, or with white on a black background, or a figure is cut out from dark or light paper and glued onto a sheet of a different tone.

Composition in fine graphics – the arrangement of all objects, elements and parts of the work in a certain system and sequence for a better disclosure of the artistic image. The composition is presented in a circle, square, oval, rectangle.

Expressive means of painting, the sequence of execution of a thematic composition, the artist pre-makessketches, studies, drawings, sketches, thereby creating a picture.

He definitely creates it for someone, assuming that it will be read, listened to, taken away and appreciated. Art is dialogical; it is always an interaction between at least two people - the creator and the viewer. Capturing themes that concern him in artistic images, raising from the depths of his soul subtle experiences and impressions of something, the artist offers with his work themes for reflection, empathy or debate, and the role of the viewer is to understand, accept, and comprehend them. That is why the perception work of art- this is serious work associated with both mental and spiritual activity, sometimes requiring special preparation and special aesthetic, cultural and historical knowledge, then the work is revealed, its scope expands, demonstrating the full depth of the artist’s personality and worldview.

Kinds visual arts

The art of representation is the most ancient look creative activity a person who has accompanied him for thousands of years. Even in prehistoric times he painted figures of animals, giving them magical power.

The main types of fine arts are painting, graphics and sculpture. In their creativity, artists use various materials and techniques, creating in a completely special way artistic images the surrounding world. Painting uses all the richness of colors and shades for this, graphics uses only the play of shadows and strict graphic lines, sculpture creates three-dimensional tangible images. Painting and sculpture, in turn, are divided into easel and monumental. Easel works are created on special machines or easels for intimate display at exhibitions or in museum halls, and monumental works of painting and sculpture decorate the facades or walls of buildings and city squares.

Types of fine art are also arts and crafts, which often acts as a synthesis of painting, graphics and sculpture. Art of decoration household items sometimes it is distinguished by such invention and originality that it loses its utilitarian function. Household items created talented artists, occupy pride of place at exhibitions and in museum halls.

Painting

Painting still occupies one of the priority places in artistic creativity. This is an art that can do a lot. With the help of a brush and paints, it is able to convey most fully all the beauty and diversity of the visible world. Each image created by an artist is not only a reflection of external reality, it contains deeply internal content, feelings, emotions of the creator, his thoughts and experiences.

Color and light are the two main expressions in painting, but there are many techniques for performing work. oil gouache, pastel, tempera. Painting techniques also include mosaic and stained glass art.

Graphic arts

Graphics is a type of fine art that, compared to painting, does not strive to convey all the colorful fullness of the surrounding world; its language is more conventional and symbolic. Graphic image is a drawing created by a combination of lines, spots and strokes of predominantly one black color, sometimes with limited use of one or more additional colors - most often red.

Depending from fullness The display method of the image is distinguished:

show full And partial.

depending on the image method: general(generalized image methods) and variable

by the nature of the actions: show gesture and show image reception.

Group And individual the demonstration can take place in the form of a joint action between a teacher and a group of children or a teacher and a child.

Distinguish teacher demonstration And showing how a child portrays (actions).

In all cases, the demonstration is accompanied by verbal explanations.

Method of application

Demonstration of technical techniques can be included in the structure as information-receptive, so reproductive method. To the structure heuristic method - if you organize a search activity and children can demonstrate the image options they have found, since all children are placed in a search situation, and the display is, as it were, a public demonstration of one of the image options.

The demonstration of technical techniques in the first lesson - when an object of a given form is depicted for the first time - is demonstrated by the teacher, after an appropriate examination. An indispensable condition is to explain the relationship between the image method and the movement of the hand along the contour during the examination.

In subsequent classes, where objects of the same shape are depicted, children are involved in demonstrating the method of depiction.

In younger groups the display takes up more space, and in older groups it takes up less space.

The gesture explains the location of the object on the sheet. The movement of a hand or a pencil stick on a sheet of paper is often enough for children even 3-4 years old to understand the tasks of the image. A gesture can restore in the child’s memory the basic shape of an object, if it is simple, or its individual parts.

It is effective to repeat the movement with which the teacher accompanied his explanation during perception. Such repetition facilitates the reproduction of connections formed in consciousness. A gesture that reproduces the shape of an object helps memory and allows you to show the movement of the hand of the drawer during the image. How smaller child, the more important the demonstration of hand movements is in his training. The preschooler does not yet fully control his movements and therefore does not know what movement will be required to depict this or that form.

For example, when observing children during the construction of a house, the teacher gestures to show the contours of the buildings under construction, emphasizing their upward direction. He repeats the same movement at the beginning of the lesson in which children draw skyscraper. There is also a well-known technique when the teacher younger group makes an image together with the child, leading his hand. This technique should be used when the child’s movements are not developed and he does not know how to control them. We must give the opportunity to feel this movement.

With a gesture you can outline the entire object if its shape is simple (a ball, a book, an apple), or the details of the shape (the arrangement of branches in a spruce tree, the bend of the neck in birds). More small parts The teacher demonstrates in drawing or modeling.

Character of the show depends on the tasks that the teacher sets in this lesson.

Showing an image of the entire object is given if the task is to teach how to correctly depict the basic shape of the object. Typically this technique is used in the younger group. For example To teach children to draw round shapes, the teacher draws a ball or an apple, explaining his actions.

If, when depicting an object, it is necessary to accurately convey the sequence of drawing a particular detail, then a holistic display of the entire object can also be given. With such a display, it is desirable that the teacher involve the children in analyzing the subject with the question: “What should we draw now?”

In teaching children of older groups, partial display is more often used - the image of a detail or an individual element that preschoolers do not yet know how to depict. For example, children 4-5 years old draw a tree trunk in the form of a triangle with a wide base. This mistake is sometimes caused by the teacher’s explanation: “The tree trunk is narrow at the top and wide at the bottom,” and the children literally follow this instruction. The teacher, along with verbal instructions, needs to show a picture of a tree trunk.

IN senior group In drawing on the theme “Beautiful House”, the teacher shows on the board how different the shapes of windows and doors can be. Such a variable display does not limit the child’s ability to create the entire drawing.

During repeated exercises to consolidate skills and then use them independently, demonstrations are given only on an individual basis to children who have not mastered a particular skill.

Passion for constant display methods of completing a task will teach children to wait for instructions and help from the teacher in all cases, which leads to passivity and inhibition of thought processes.

14. List verbal methods and techniques used in the process of teaching preschoolers visual arts. Reveal the conditions for the effective use of verbal methods and techniques in visual arts classes. Justify the need for use artistic word in the process of teaching preschoolers visual arts.

Solve a pedagogical problem:

Having finished sticking the truck for Mishutka, Yulia shows the work to the teacher: “Did I stick it well?” - "Let's watch! - Lidia Fedorovna responds. “There is a cabin, the body also holds tightly, but as soon as the car starts moving, the wheels will immediately fall off!” The teacher shows the girl the loosely glued wheels. Yulia takes work and goes to glue the wheels. Having finished the job, she meets the teacher’s approving glance and, pleased, shows the work to Mishutka, who “agrees” to take a ride in this car.

Interpret the proposed situation. Design your activities as a teacher in a similar situation.

Verbal methods and techniques: conversation, teacher's story, pedagogical assessment and analysis of children's work

questions, encouragement, advice, directions, artistic expression.

Conversation – one of the leading verbal methods of teaching visual arts . A conversation in art classes is a conversation organized by the teacher, during which the teacher, using questions, clarifications, clarifications, contributes to the formation in children of ideas about the depicted object or phenomenon and ways of recreating it in drawing, modeling, and appliqué. The specifics of the conversation method provide for maximum stimulation of the child's activity. That is why conversation has found widespread use as a method of developmental teaching in visual arts.

The conversation is used in the first part of the lesson - when the task is to form a visual representation, and at the end of the lesson - when it is important to help children see their work, feel their expressiveness and strengths, and understand their weaknesses.

The conversation technique depends on the content, type of lesson, and specific didactic tasks.

IN subject drawing when children are taught to convey a plot, during the conversation it is necessary to help the children introduce image content, composition, features of motion transmission, color characteristics of the image, i.e. think over visual means to convey the plot. The teacher clarifies with the children some technical techniques of work and the sequence of creating an image.

Depending on the content of the image (based on a literary work, on topics from the surrounding reality, on free topic) the methodology of conversations has its own specifics. So, when drawing (sculpting) on ​​the theme of a literary work it is important to remember its main thought, idea; emotionally revive the image(read lines from a poem, fairy tale). Describe the external appearance of the characters, recall their relationships, clarify the composition, techniques and sequence of work.

Drawing (sculpting) on topics of the surrounding reality needs revitalization life situation, reproduction of the content of events, conditions, clarification expressive means: compositions, details, methods of conveying movement, etc., clarifying techniques and sequence of images.

When drawing (sculpting) on a free topic necessary preliminary work with children. In conversation, the teacher revives impressions. Then he invites some children to explain the idea: what they will draw (blind), how they will draw, so that it is clear to others where they will place this or that part of the image. The teacher clarifies some technical techniques of work. Using the example of children's stories, the teacher once again teaches preschoolers how to conceive an image.

In classes where the content of the image is a separate subject, conversation often accompanies the process examination (examination). In this case, during the conversation, it is necessary to evoke an active, meaningful perception of the object by children, to help them understand the features of its shape, structure, determine the uniqueness of color, proportional relationships, etc. The nature and content of the teacher’s questions should aim the children to establish dependencies between appearance an object and its functional purpose or characteristics of living conditions (food, movement, protection). Completing these tasks is not an end in itself, but a means of forming generalized ideas necessary for the development of independence, activity, and initiative of children when creating an image. The richer the children’s experience, the higher the degree of mental and speech activity of preschoolers in conversations of this kind.

In design and appliqué classes, where the subject of examination and conversation is often sample, also provide for a greater degree of mental, verbal, emotional and, if possible, motor activity children.

At the end of the lesson in the process of viewing and analyzing children's works we need to help children feel the expressiveness of the images they created. Teaching the ability to see and feel the expressiveness of drawings and sculpting is one of the important tasks facing the teacher. At the same time, the nature of the adult’s questions and comments should ensure a certain emotional response from the children.

In older groups, during the conversation, the teacher leads children to independently establish the dependence of the expressiveness of the image on the methods of action.

Age characteristics influence the content of the conversation and the degree of activity of children. Depending on specific didactic tasks nature of the issues is changing. In some cases, questions are aimed at describing the external signs of a perceived object, in others - at recall and reproduction, at inference. With the help of questions, the teacher clarifies children’s ideas about an object, phenomenon, and ways of depicting it. Questions are used in general conversation and individual work with children during the lesson. The requirements for questions are of a general pedagogical nature: accessibility, clarity and clarity of formulation, brevity, emotionality.

Explanation- a verbal way of influencing the consciousness of children, helping them understand and assimilate what and how they should do during classes and what they should get as a result. The explanation is given in a simple, accessible form simultaneously to the entire group of children or to individual children. Explanation is often combined with observation, showing ways and techniques of performing work.

Advice used in cases where the child finds it difficult to create an image, but do not rush to give advice. Children who work at a slow pace and are able to to the question asked find a solution, often do not need advice. In these cases, the advice does not contribute to the growth of independence and activity of children.