Presentation of proverbs of different nations. Presentation: Proverbs and Sayings

Genres of fine art Genres are a community of works of art that forms in the process of historical development in art on the basis of their self-determination in terms of their objective meaning. Animalistic genre; Landscape; Still life; Portrait; Subject-thematic picture;

LANDSCAPE image of nature "landscape" with French. "Kind of country, area" MORSKOY (MARINA); LYRICAL; RURAL; URBAN; SPACE; MOUNTAIN; FANTASTIC;

STILL LIFE from French "dead nature" is an image of inanimate objects: household utensils, dishes, weapons, fruits, fruits, flowers, etc. etc. Still life as an independent genre emerged in Holland in the 17th century. in Russia - appeared in the eighteenth century, together with the approval of secular painting, reflecting the cognitive interest of the era.

A portrait is an image of an individual image of a person, his feelings, mood, inner world. Ceremonial; Intimate (home) group; psychological; Self-portrait;

Genre genre The genre genre includes paintings that tell about the events of everyday life. The homeland of the genre is considered to be Holland in the 17th century. often works on everyday subjects are called genre or related to genre painting. G. Terborch Glass of lemonade 1660

Household genre in Russia The ancestors of genre painting in Russia are A. G. Venitsianov and I. P. Fedotov. A significant contribution was made by artists: V.G. Perov (1834-1882), I.E.Repin 91844-1930), V.E.Makovsky (1846-1920), V.V. Pukirev (1832-1890 ) A.G. Venitsianov discovered peasant types in Russian painting. IP Fedotov showed the merchant and bourgeois class.

Historical genre He has a special place. Works that capture significant historical events, heroes of the past. bright representatives of the historical genre: N.N. Ge (1831 -1894). I.E. Repin (1844-1930), V.I.Surikov (1848-1916), V.V. Vereshchagin (18421904) and V.M. Vasnetsov (1848-1904). paintings that reflect the events of our day that are of great importance may belong to the historical genre

The BATTLE GENRE (From the French. Bataille - battle) - is dedicated to the themes of war, battles, campaigns and episodes of military life. It can be an integral part of the historical and mythological genre, as well as depict the modern life of the army and navy. Outstanding representatives of the battle genre: A. Watteau, F. Goya, G. Geripot, V. Vereshchagin, M. Grekov, etc.

A. A. Deineka "Defense of Sevastopol 1942"

The content of the plot-thematic drawing is any plot or landscape. The child depicts objects located in space, in their interconnections and relationships. According to the content of the concept, children's drawing is very early, from about two years old (from the first youngest group), it is a plot, but according to objective criteria it does not become such for a long time. If you observe the development process of even an associative image in a drawing, you can see that it often develops as a plot image. Doodle drawings, carried out according to the plan, for all their objective unrecognizability for the baby, can be full of meaning. However, the plot is not expressed in the drawing, it rather exists about the drawing, about the drawing. Even when these separate image-images are recognizable, they seem to be side by side on the sheet, coexist in the drawing, there is no objectively recognizable relationship, the connection between individual objects-images is conveyed by a word, a motor action, a game. Some image techniques appear spontaneously to help convey the relationship between objects. For example, some details testifying to the action (the girl is holding a bouquet of flowers, which means she is collecting flowers), etc. However, the spontaneous finds are very insignificant and do not satisfy the child very much.

Why does a child's drawing by design very early become a plot? The objective man-made world, the natural world (animals, plants) do not exist in isolation, they are connected in reality, they are connected with a person, a person is interconnected with other people. As soon as the child begins to establish these connections, this is reflected in the modeling types of activity (primarily play, performance). Therefore, the content of children's drawing (modeling) is almost always plot-based. However, the image does not immediately become subject.

Why is the plot concept not being embodied adequately, figuratively? At first, the child does not have such a need, and when a desire arises, he is faced with the difficulties of the image, since he does not know the pictorial techniques and methods of transferring these connections.

The preschooler needs to master the available techniques for constructing the general composition of the drawing: to learn how to place the objects-images on the two-dimensional plane of the sheet so that it expresses, at least approximately, the location of these objects in real three-dimensional space. These methods are conditional, they were invented by mankind for many hundreds of years.

Adult artists convey the visual change of objects in shape, size, color as they move away. Linear and aerial perspective as artistic methods of conveying space and objects in space were invented by mankind relatively recently, during the Renaissance.

Some elements of them turned out to be accessible to children, but the child himself cannot open them. The adult gives him some of the available ways of depicting. For example, objects that are located closer to the perceiver of the picture are located at the bottom of the sheet, those that are farther - at the top. The further the location, the higher the image.

When building a plot image, the compositional center is always highlighted, then the main thing that determines the content of the image. The preschooler has access to some techniques for depicting the main thing: those objects and characters that express the content of a given topic and stand out in the overall composition either by size, or color, shape, or location on the sheet (in the center). Without conveying the main thing, it is difficult to understand the content of the picture. However, this skill must be taught to the child. Otherwise, he can draw a dense forest and claim that he is drawing the fairy tale "Three Bears", although any fairy tale can be depicted in this way (it is impossible to find out without explanation).

When mastering the composition of a plot drawing, it is important to arrange individual images relative to each other, conveying the relationship in magnitude, and the action through the image of movement, the dynamics of individual poses, details.

When depicting a landscape, all these techniques are important, but color is especially important.

All these techniques, although they are the most accessible to children (older preschoolers), however, the process of mastering them is quite complicated and laborious and requires long-term and systematic assistance and training from the teacher.

Why is the child experiencing difficulties? EA Fleerina softly called them "weaknesses" of children's drawing. She noticed that the baby perceives a sheet of paper only as a horizontal plane and "lays out" objects-images, as on a table. Then he draws the ground with a line. On the strip-line representing the ground, he puts objects in a row. Fleerina called this the "frieze" construction of the drawing. Sometimes the child draws two friezes, two stripes-lines of the earth, if the image does not fit on one line. Imagining himself as a participant in the events depicted, the preschooler sometimes looks at the drawing as if from the inside and draws objects that are far from him more shallowly at the bottom of the sheet. EA Flerina called this feature “reverse perspective”.

Later, at the age of four to six, children most often depict the space of the earth and sky in the form of narrow stripes at the bottom and top of the sheet (L.A. Raeva).

This is due to the peculiarities of the ideas of preschoolers: they see the sky above their heads, the earth below, under their feet. This is what they convey in the drawing. Children do not grasp the depth of space with their gaze, they rarely fix their gaze on the sky from the edge of the horizon up to the heavenly dome. A child who lives in an urban area for a very long time may simply not see wide distances with an unobstructed horizon, and therefore has an idea of ​​individual objects located on the ground, and of the ground itself as a horizontal plane. He does not represent the general picture of one or another part of the space and perceives distant plans more difficult.

Therefore, one of the reasons for the "weakness" of children's plot drawing is the small life experience of children, the imperfection of their knowledge of the world around them, the weakness of perception, the inability to distribute attention, to cover a wide space with a glance, to generalize into a single whole in all connections and relations the details of the landscape spreading before them.

Another reason is the difficulty of depicting spatial relationships in a drawing. The child must understand that the lower part of the sheet can represent the horizontal plane of space (ground, floor), and the upper part can represent the vertical plane (sky, walls). The line separating the planes of heaven and earth is the horizon line. The composition of the picture can be two-dimensional and multi-dimensional. It is difficult for a preschooler. Affect the image and weakness of visual control during the image. A well-known weakness of children's drawing is also a distortion of proportional relations when depicting parts of an object (a person has too long arms or legs, a body is rectangular, wide or too narrow, etc.), distortion in the transfer of the relative size of objects (a flower is higher than a house, a person is higher large tree, etc.). This feature is typical for drawings of not only younger, but also older preschoolers.

The reasons are the same: the weakness of analytical and synthetic perception, the ability to compare, juxtapose objects on the basis of size. Children do not have a distorted idea of ​​the size of objects, but their ideas about their ratios are fuzzy. In studies on the problem of sensory education (under the leadership of L.A. Venger), the possibilities of special formation in children of the ability to assess visual proportions are shown, after which children transfer this skill to drawing. However, this work should be special, using models that demonstrate relationships, teaching how to compare sizes with each other and estimate proportions.

Children also find it difficult to transfer action, movement, dynamics, although the need to transfer movement appears early. EA Flerina noted that at first the child transmits movement, dynamics by real motor action, in a word, by play. This way of embodying a dynamic image is even more convincing for him than a pictorial one. Later, independent searches for a pictorial way of conveying movement rarely end in success. This is due to the same feature that was mentioned above: the difficulty of perceiving a changeable dynamic form by children.

In the activities of preschoolers, in addition to weaknesses in perception, the imperfection of visual control in the process of drawing, the inability to distribute attention, to see the depicted object dismemberment and at the same time holistically (P.P. Chistyakov reminded his students, drawing a heel, to look at the ear), also affects the activity of preschoolers. Therefore, errors in conveying the proportions of movement are inevitable. According to L.A. Raeva, movements of the upper extremities are simpler and more accessible for transmission to children.

Taking into account all the difficulties in the implementation of a plot drawing by a child, understanding their reasons, you can help a preschooler to overcome many difficulties. However, at the same time, one should remember about its capabilities and the extent to which it is necessary to teach a competent drawing.

What are the tasks of teaching preschoolers to plot drawing?

1. To form an interest in the surrounding objects, natural phenomena, social phenomena and events, people, their activities and relationships; contribute to the formation of a moral, aesthetic position in children.

3. To form in children the desire and ability to accept from an adult and set the appropriate goals (themes) and tasks on their own.

4. To develop in children the ability to conceive an image, defining in advance the content and some ways of image.

5. To teach preschoolers some of the available ways of depicting a plot image:

a) techniques for creating the simplest compositions, i.e. arrangement of images on the plane of the sheet, first on the entire sheet, rhythmically repeating the image of the same objects with minor additions (flowers in the meadow, ladybugs on
leaflet) - in junior and middle group; stimulating and encouraging the image of one object in different versions, thereby mastering the ways of depicting an object at a variable level - in middle group; placing the images on a wide strip of the sheet, denoting the earth, the sky, marking the horizon line, placing the image of those objects that are closer - at the bottom of the sheet, further - at the top; by varying the arrangement of images on a sheet (or on a wider or narrower strip, depending on the design), i.e. lead children to a conscious choice and construction of compositions, while depicting objects of the near plans in a larger, distant - smaller - in senior groups;

b) teach to depict the main thing in a drawing, i.e. those objects and characters that express the content of a given topic make it possible to immediately determine the content of the image (middle, senior groups);

c) teach to convey in the picture the relationship in size, relative position in space (older groups);

d) direct children to transfer action through the image of movement, dynamics, postures, details (from the middle, but mainly in older groups).

6. To teach children the methods of perception, observation of the phenomena of the surrounding world, necessary for the implementation of the plot drawing.

7. To develop in children an understanding of the dependence of image quality on the quality of observation, to form in them a desire and in the future, if possible, a need for observation with the aim of a subsequent image.

8. Encourage children to be independent, to be creative in conceiving an image: searching for a kind of content, using adequate, diverse means of expressiveness (composition, color, etc.).

9. To teach children to feel the expressiveness of the image, to induce to an emotional response to it, to lead to an understanding of the dependence of the expressiveness of the image on the means used, methods of image, ie. to form the ability of artistic creative perception of drawings. Thus, the tasks of plot drawing are not reduced to pictorial tasks, but are the concretization of general tasks that direct the teacher to the formation of integral activity in children and the development of the personality of the preschooler.

Plot drawing as a way of active, creative, effective and caring awareness by a child of the world around him and his attitude to it has a huge impact on the development of a preschooler's personality. At all stages of plot drawing, the cognitive, emotional, moral-volitional sphere of the personality is actively manifested, and therefore develops in a single creative process. This creative process is not limited to the scope of the lesson.

Based on the complex of tasks of managing plot drawing, taking into account the difficulties of mastering this type of activity (especially the perception of children) and the complexity of the graphic embodiment of the plot image, the method of working with children should be built in two directions:

1. Enriching children with vivid impressions of the world around them: social and natural phenomena. Development of observation, the ability to see, feel, notice the expressiveness of the form, proportions, colors of individual objects, their relationship and combination.

2. Help children to comprehend the means of graphic representation of the plot, to establish a connection between representations and methods of representation.

All methods are based on specially organized observations, preceded, accompanied and reinforced by conversation. Observations provide the basis for all impressions of the phenomena and events of interest to children. The purpose and content of such observations can be focused on the general cognitive, emotional, moral and volitional development of preschoolers. Such observations are carried out in the system of general educational work. As a rule, "live" impressions (work of adults, hometown or village, spring nature, etc.) are complemented by reading fiction, watching filmstrips, meeting-conversations with people of various professions, listening to music, conversations, etc. ... The resulting intellectual and emotional experience of children serves as the basis for play and other types of activity, including visual arts.

Like any other, visual activity should organically fit into the system of general educational work aimed at developing the personality of a preschooler, his general mental development. It is important for the teacher to know only the possibilities and specifics of personal development in the conditions of this type of activity. Depending on the dominant type of preschooler's orientation (towards the objective world, towards a person and his business, people and their interactions, events), leading types of activity arise and change, their content is determined. For example, the content of a child's play and a child's drawing is people and their professional activities. but in addition to the motive and the setting of an appropriate goal-theme for drawing, it is necessary to clearly understand the pictorial aspects of this phenomenon: what to draw, what objects, how to arrange them, what color to use, etc. For the emergence of such an idea, a pictorial representation, L.A. Raeva recommends to carry out a lot of preparatory work before plot, thematic drawing, expanding and clarifying the children's ideas: reading, conversations, examining illustrations, etc. This creates favorable conditions for the consolidation of the newly formed ties, their synthesis with the old ones.

The acquisition of specific knowledge, the formation of ideas about the phenomena depicted in the process of preliminary work must certainly be associated with feelings. Encouraging children to indifferent perception, cognition is a guarantee of proactive, creative creation and implementation of a plan.

Only the development in the unity of knowledge (ideas), the corresponding feelings and their expression in active artistic action has an impact on the formation of the personality, its initiative in "aspirations" to cognition and the effective expression of attitude to what is known.

Thus, after the teacher has determined the topic of the image (preferably together with the children), there is a stage of special preparation for the lesson. In terms of the types and forms of work with children, it may be the same as in the system of general educational work, but in fact it is narrower and more purposeful. Observation takes the leading place.

Depending on the specific tasks of the lesson, the experience of the children, the content and methods of observation are determined. In plot drawing, you need to convey the appearance of individual objects (shape, structure, proportional relationships, color), relationships, their interaction in the plot, the location of these objects in space.

Therefore, this will be the content of the observation. If the task is to transfer spatial relations - the location of individual images on the plane - the emphasis in observation is made at this moment, if the central task is to transfer movement, during observation, special attention is paid to postures, changes in the position of arms, legs in relation to the body, etc. As children master various ways of depicting, their attention is fixed on all pictorial features: the spatial arrangement of various objects, color, movement, etc.

Observations specially conducted for the lesson on visual activity should be repeated, the latter being as close as possible to the moment of the image. As L.A. Raeva's research has shown, four days after observation, a large number of details appear in the drawing, the insignificant is discarded, however, the proportions of many objects are violated, spatial relations are not clearly conveyed. And a few days after the observation, the freshness of the impression is lost, this entails a decrease in the emotional mood, the brightness of the performance. Imagination, not supported by freshness of impressions, works less intensively. The drawing is not expressive enough, it can be done carelessly. Drawing seven days after direct observation already reveals moments of forgetting, therefore last thing observation is carried out before class.

Along with observations that are common to all, observations with small subgroups of children and individual ones should be widely practiced in order to diversify children's impressions, clarify and enrich, if possible, individual ideas. Depending on the nature of the observed objects, it is necessary to fix attention to a greater extent either on their aesthetic side (the beauty of nature) and evoke the corresponding feelings, or on the moral. For example, taking care of birds for baby chicks.

In the process of observation, L.A. Raeva recommended using game techniques - a viewfinder, a "camera" (a box with holes on opposite sides). Such a viewfinder helps to limit the perceived space, the number of objects and allows children to focus on their relationship, mutual position.

Examination of objects through the viewfinder brings nature closer to the picture, gives it a planar appearance, clearly shows the arrangement of objects (one after another) in the "picture". This helps children to more consciously perceive the space in nature and better understand the way it is depicted on a plane in the form of a wide strip. Viewing the landscape gives preschoolers the opportunity to make sure that the sky (which they often see above their heads and therefore represent it in the form of a plane parallel to the ground and depict it as a plane on top of the sheet) is the background for all objects towering above the ground. If the horizon line is visible in the landscape, then the children easily perceive it and consciously transfer it to their drawing, bring the plane of the sky to the line of the earth.

Children, playing with a "camera" - a viewfinder, pay attention to the visible decrease in distant objects.

Direct, playful cognition of this feature by children is important, since it makes it easier for preschoolers to understand the techniques of conveying perspective in pictures. Children know that the objects in the picture are depicted in a smaller size as they move away, but they do not understand the true size of the reduction of the depicted objects.

While observing, comparison games "What does it look like?" Are useful. (clouds); inventing riddles about the observed, etc. These games also sharpen children's perception of the environment, shape, color, size.

In older groups, it is advisable to plan a future drawing on a sheet of paper - the location of individual images. That is, to correlate the space of the observed nature (nature) with the space of the sheet, where the image will be performed.

After observation, and then in parallel with it, it is useful to consider the originals and reproductions of famous paintings, which reflect similar phenomena (Levitan "Golden Autumn", Gerasimov "Bees are ringing", Savrasov "The Rooks Have Arrived", etc.). The aesthetic and meaningful perception of paintings is conditioned by "live" observations, at the same time, in the process of their perception, the pictorial and expressive means are better understood.

To establish a connection between the representation of space and the methods of its transmission in a drawing, L.A. Raeva for the first time proposed a number of techniques, which later found wide application in practice. So, already with young people should formulate the themes of the drawings as plot("Flowers grow in the meadow"). In addition, it is effective when offering children a colored sheet of paper to immediately say: “This is a green lawn. We will draw flowers (chickens, beetles, etc.) on it ”or“ A blue leaf is the sky, we will draw clouds on it ”, etc. Such techniques help teach children to place the image on the entire plane of the sheet.

Pre-planning on the sheet for the location of individual images also helps to comprehend the techniques of the image. This technique is used at the time of observation and in the first part of the lesson, in a conversation when forming an idea.

In plot-thematic drawing, in addition to the transfer of spatial relations and the ratio of objects in size, a solution is also required for one more significant task, namely, the highlighting of the main thing in the topic and, if possible, its expressive transfer in the drawing. To highlight the main thing means to comprehend well the topic, its content; highlighting the main disciplines the imagination, directs the child's main thought in a certain direction, does not allow distraction - it limits the passive flow of the associative stream of thoughts based on the child's weak, not yet sufficiently systematized experience. Creative imagination is always purposeful. However, the analysis of thematic drawings of children shows that the main theme is often lost. The child depicts objects that are not directly related to the content of the topic. Drawing of the latter is caused by the passive emergence in the child's mind of associations based not on essential, but on random connections (by external similarity, etc.). Sometimes just an involuntary movement of a pencil on paper, leaving a trail that resembles some form, takes the child away from the topic due to the weakness of the inhibition processes and the lack of purposefulness in his actions.

Highlighting the main thing contributes to greater focus in the execution of the picture. Having realized the main thing, the main thing in the topic, the child puts in the first place the image of the main action. In some cases (where possible), he begins his drawing with him. This primarily contributes to the improvement of the composition of the drawing. The child in the center of the sheet depicts the main characters, the main action, further filling the drawing with secondary details.

Thus, highlighting the main thing contributes to a greater comprehension of the topic, purposefulness in drawing, enrichment, discipline of children's, sometimes groundless, fantasy, and improvement of the composition of the drawing.

How can you help your child to highlight the main thing? As a rule, this happens in a conversation, where, with the help of questions, it is found out what the children will draw. What should be portrayed so that it is immediately clear? How will this or that object look in the drawing? Where is the best location for the main image?

If this is a landscape, it is important to figure out what time of year will be depicted? What and how should you depict so that you can immediately see - is autumn (winter) drawn? What trees (bushes) can you draw? What breed are they? What size (width) will be the strip of the earth, the sky? Where will the trees (bushes) "grow"? What will be shown at the bottom of the sheet (right, left)? What will happen in the middle of the clearing? How will the crowns of trees be located (against the background of the sky, earth)? Etc.

In the system of preliminary work, drawing a landscape directly from life is very effective. In this case, preschoolers are much easier, with fewer mistakes, more consciously master the image of a wide space - land, river, distant shore; they depict objects more freely: the near ones are lower on the sheet, the distant ones are higher. Let's give an example of such observation-drawing with children of 6 years old. Children draw a view of the Volga from the Nizhny Novgorod slope: a lawn on the edge of which two large trees grow at a distance of 6-8 meters from each other. Far from the trees, one can see the ribbon of the river, the ships on it, the opposite bank and the dim outlines of houses, the distant forest and the blue space of the sky above the horizon.

Educator: Children, look how beautiful it is here. What a blue sky, how the water glitters and shimmers in the sun. You see: trees, a river, ships on it (pause). Let's try to paint such a beautiful picture. First, let's think about what we are going to draw. What is closer to us? (Lawn and two trees.) Where are the trees? (On the right, the tree is tall and bent a little.) And what foliage is on the tree? (Green, yellow, dense.) And on the other hand, what tree, is it the same size as the first? (Below, the foliage is thicker.)

What color is it? Is it wide? (Wide, blue and ships on it.)

And what can be seen beyond the coast? (The sky is blue and a little gray.) Here, children, we will draw everything that can be seen between the trees. What will we draw at the bottom of the sheet? (What is closer to us: grass, wide lawn.) Then what are we going to draw? (Trees and what is visible between them, the other bank of the Volga, etc.)

Let's think about how we better plan the drawing?

Let's try to outline the horizon line (with a thin line with a simple pencil). How much space on the sheet will a strip of earth, sky take?

The strip of land is wider than the strip of the sky. We need to think about what we will depict on the strip of land, what will we have in the foreground, at the bottom of the sheet? Take another look at this landscape (lawn). Is it wide? Sketch with a pencil. What do we see behind the lawn? (Volga.) Mark the width of the strip-tape of the river. And beyond the Volga there is another, sandy shore and the horizon line is visible. Here we have outlined the main plans in the drawing.

Now think and outline where you depict trees?

We took with you colored wax crayons and pencils. Decide for yourself what you will paint with.

Drawing a landscape from nature helps children perceive the space of the earth, sky, the relative position of individual objects and the way to adequately construct an image (first outlining the horizon line, then plans, the image of individual objects).

At the initial stages of training, you can depict simpler ones: one- and two-plan landscapes.

If children depict an event in life or the plot of a literary work, then the child needs to understand the main action,

the main idea. The work is read in advance. Without understanding and feeling the word (comparisons, epithets, etc.), it is difficult to evoke an image in the imagination of preschoolers. (About what is told in the tale "Geese-Swans"? Why did you immediately feel that Mashenka is a brave girl, as the tale says about it? And so on.)

For visual activity, it is important to translate the auditory image into a visual one. The child needs to be helped to visualize the future drawing. When preliminary forming individual ideas, you can ask: “What do you want to draw about? What picture, episode can be portrayed? And what needs to be drawn so that you can immediately find out that Mashenka is asking the apple tree to hide it from the geese? What is the most important thing here, without which the picture will be incomprehensible? And where will you draw Mashenka, and an apple tree? And what will Mashenka be wearing? What kind of sundress can you dress her up in? Think about how you need to draw her so that you can immediately see it, she persuades, asks for an apple tree ... "and so on. In older groups, children can be offered to draw one specific episode from a fairy tale. (How Gingerbread Man met a bunny.)

As your visual skills and creativity develop, you are offered any episode to choose from. The more opportunities for choice, the more independence and creativity are required from children.

Preliminary reading and conversations with individual children or with subgroups are very important, as well as viewing illustrations by different artists with an analysis of the main characters, the spatial arrangement of objects and characters, images of actions that convey the feelings and experiences of the heroes.

Subject-thematic drawing presents great opportunities for children's creativity. The more creative it is (in accordance with the tasks), the more emphasis is placed on preliminary work.

Lesson topic: "Thematic (plot) picture".

Goals:

To form an idea of ​​a thematic (plot) picture, its types.

Lead students to understand the characteristics of the genre through repetition and generalization.

To foster a moral and aesthetic attitude towards the world and art.

To develop associative-figurative thinking, creative and cognitive activity.

Equipment and materials:

Selection of illustrations and reproductions of various genres.

Computer presentation on the genres of fine art.

Artistic materials for practical work.

Lesson plan

Conversation about the concept of a genre with verification and consolidation of students' knowledge.

Introductory conversation about a thematic picture, its types with demonstration of illustrations.

Statement of the artistic task.

Practical implementation of the task.

Summing up and analysis of works.

During the classes.

The lessons in the last quarter discussed the role of fine art in human life and what is the main theme in it. Human. Yes, art mainly speaks about a person, about his achievements, thoughts, about his life. Fine art speaks of this in the language of various genres: those already familiar to you and those that you have yet to learn about.

The lessons of this quarter are about the history and development of the plot picture and, in particular, its special type, the everyday genre.

Think about what kinds of fine art you know.

The fine arts are divided into five types: architecture, sculpture, graphics, painting, and decorative arts. Each of these five types is divided into genres. This division is most clearly manifested in painting and graphics.

What are genres in the visual arts?

Artists paint different pictures. On some we see nature, on others - people, others talk about the most everyday, everyday things. And so, according to their content, they began to be divided into genres: the image of nature - a landscape, things - a still life, a person - a portrait, life events - a plot-thematic picture.

(Show presentation about genres)

In turn, each of the genres has its own subdivisions - genre varieties. So, the landscape can be rural, urban, industrial. And the artists depicting the sea are called marine painters. There are also varieties in the portrait genre - ceremonial, intimate, group portrait. Genre varieties of subject-thematic paintings - historical, battle, everyday paintings.

Now choose from the pictures on the board those whose genre is familiar to you.

(Students group the pictures suggested by the teacher.

The teacher asks what unites the remaining group of pictures. Plot? But it can be completely different.)

What is the plot of the paintings presented?

(Students try to define the plot by thinking “what the picture is about”.)

So, what kind of plots can a thematic picture have?

Historical - a special place belongs to him. This genre includes works on the theme of great public interest, reflecting significant events in history.

What paintings in the historical genre are familiar to you? Try to remember the author.

(V.I.Surikov "The Morning of the Strelets' Execution", "Suvorov's Crossing the Alps", K. Bryullov "The Last Day of Pompeii", etc.)

However, the work does not necessarily have to be dedicated to the past: it can be any important events of our day that have great historical significance.

Battle genre (from French bataille - battle) - dedicated to the themes of war, battles, campaigns and episodes of military life. It can be an integral part of the historical and mythological genre, as well as depict the modern life of the army and navy.

(Works by Titian, F. Goya, A. Watteau, V. Vereshchagin, M. Grekov).

Try to define yourself withcaso-epic and religious-mythological genres, tell us about them and give examples.

(Students give a definition of the fairy-tale genre, recalling the works of V.M. Vasnetsov "Heroes", "The Knight at the Crossroads", "Ivan Tsarevich on the Gray Wolf" and others. The teacher complements the presented series with M. Vrubel's painting "The Swan Princess", "Demon" and others.

When talking about the religious and mythological genre, paintings by S. Botticelli, Raphael, Rubens, Rembrandt, A. Ivanov and others are shown.)

Genre concept formed in European art of modern times. Holland of the 17th century is considered his homeland. In our time, it is one of the most widespread genres of fine art, although even in the first half of the 19th century, it was considered inferior, unworthy of the artist's attention. Often, works on everyday subjects are called genre, or related to genre painting.

The everyday genre includes paintings, drawings, sculptures that tell about the events of everyday life.

We will talk about this genre in more detail in the next lesson, using the example of acquaintance with the work of the "little Dutchmen".

I invite you to do a search creative work on the topic “What do I know about the Little Dutchmen?”.

Now try to sketch for a future painting in any of the genres.

At home, finish the job and name it.

Homework: prepare for the conference lesson "What do I know about the Little Dutchmen?"

Perform creative work (message-abstract) with the selection of illustrative material on any of the proposed topics:

1. The history of the emergence of Dutch painting.

2. Holland is the birthplace of genre painting. Why?

3. Creativity of P. Bruegel and others.

Dutch painting - its emergence and early period to such an extent merge with the first stages of development of Flemish painting that the latest art historians consider one and the other for all the time up to the end of the XVI century. inseparably, under one general name "Dutch school". Both of them, constituting the offspring of the Rhine branch of mute. painting, the main representatives of which are Wilhelm of Cologne and Stefan Lochner, are considered their ancestors to be the Van Eyck brothers; both for a long time follow the same direction, inspired by the same ideals, pursue the same tasks, develop the same technique, so that the artists of Holland are no different from their fellows of Flanders and Brabant.

This continues throughout the rule over the country, first by the Burgundian, and then by the Austrian house - until a violent revolution breaks out, ending in the complete triumph of the Gauls. people over the Spaniards who oppressed him.

From this era, each of the two branches of Dutch art began to move separately, although sometimes they happen to come into very close contact with each other. G. painting at once assumes an original, completely national character and quickly reaches a bright and abundant flowering. The reasons for this phenomenon, the likes of which can hardly be found throughout the history of the arts, lie in topographic, religious, political and social circumstances.

In this "lowland" (hol land), consisting of bogs, islands and peninsulas, constantly washed away by the sea and threatened by its raids, the population, as soon as it overthrew the foreign yoke, had to re-create absolutely everything, starting with the physical conditions of the soil and ending with moral and intellectual conditions, because everything was destroyed by the previous struggle for independence. Thanks to their entrepreneurial spirit, practical sense and persistent work, the Dutch managed to turn the swamps into fertile fields and luxurious pastures, reclaim vast land areas from the sea, acquire material well-being and external political significance.

The achievement of these results was greatly facilitated by the federal-republican form of government established in the country and the reasonably implemented principle of freedom of thought and religious beliefs. As if by a miracle, everywhere, in all spheres of human labor, an ardent activity suddenly began to boil in a new, original, purely folk spirit, among other things, in the field of art.

Of the latter's branches, on the soil of Holland, it was mainly lucky to be one - painting, which took here in the works of many more or less talented artists who appeared almost simultaneously, a direction very versatile and at the same time completely different from the direction of art in other countries. The main feature that characterizes these artists is love for nature, the desire to reproduce it in all its simplicity and truth, without the slightest embellishment, without bringing a preconceived ideal under any conditions. The second distinctive feature of goll. painters have a subtle sense of color and an understanding of what a strong, enchanting impression can be produced, in addition to the content of the picture, by only one true and powerful transfer of colorful relationships conditioned in nature by the action of light rays, proximity or distance of distances.

Among the best representatives of G. in painting, this sense of colors and chiaroscuro is developed to such an extent that light, with its countless and varied nuances, plays in the picture, one might say, the role of the main character and imparts high interest to the most insignificant plot, the most inelegant forms and images. Then it should be noted that most of the Gauls. artists do not embark on distant searches for material for their work, but is content with what he finds around him, in his native nature and in the life of his people.